The Beatles Help! 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 331/500! & lt;br & gt;Rolling Stone 500 Greatest Songs of All Time - & quot;Ticket To Ride & quot; - Rated 394/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;br & gt; Help! is the fifth UK album and the 10th U.S. album by The Beatles. It features the singles & quot;Help! & quot;, & quot;Ticket To Ride & quot; and & quot;Yesterday & quot; and was ranked in 2003 by Rolling Stone magazine at number 332 on their list of the 500 greatest albums of all time. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Lennon claimed that this composition of his was the first heavy-metal song. For his part, McCartney played lead guitar. 'We almost invented the idea of a new bit of a song on the fade-out,' he said of 'Ticket.' 'It was quite radical at the time.' & quot; & lt;/b & gt; - Rolling Stone & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Help! & lt;br & gt; 2. The Night Before & lt;br & gt; 3. You've Got To Hide Your Love Away & lt;br & gt; 4. I Need You & lt;br & gt; 5. Another Girl & lt;br & gt; 6. You're Going To Lose That Girl & lt;br & gt; 7. Ticket to Ride & lt;br & gt; 8. Act Naturally & lt;br & gt; 9. It's Only Love & lt;br & gt; 10. You Like Me Too Much & lt;br & gt; 11. Tell Me What You See & lt;br & gt; 12. I've Just Seen a Face & lt;br & gt; 13. Yesterday & lt;br & gt; 14. Dizzy Miss Lizzy
The Beatles Please Please Me 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Michael Fremer Rated 10/10 Music, 9/10 Sonics! & lt;br & gt; & lt;br & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 39/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 39/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Their debut album, Please Please Me, was released in 1963. The album was rush-released in the UK to capitalize on the success of the singles & quot;Please Please Me & quot; and & quot;Love Me Do & quot;. Eight of the songs on this album were written by Lennon & amp; McCartney. The album is chock full of hit tunes including & quot;P.S. I Love You & quot;, & quot;Do You Want To Know a Secret & quot; and & quot;I Saw Her Standing There & quot;. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;This reissue is among the box's most successful. Like the rest of the newly remastered albums it's got more bass than the original. It's also slightly drier. The dryer environment and the EQ balance helps emphasize the rhythm guitar that was kind of buried in the original's wash of reverb... If you're of a certain age, every listen will take you back to the supercharged excitement these exotic lads brought to a then lame pop music scene and if you aren't singing along you should be. & quot; & lt;/b & gt; - Michael Fremer. www.analogplanet.com, Music 10/10, Sound 9/10! & lt;br & gt; & lt;a href= & quot;http://www.analogplanet.com/content/please-please-me-still-jolts-almost-fifty-years-later & quot; & gt; & lt;font color= & quot;0000FF & quot; & gt; & lt;b & gt;Click Here to read the entire review! & lt;/b & gt; & lt;/font & gt; & lt;/a & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. I Saw Her Standing There & lt;br & gt; 2. Misery & lt;br & gt; 3. Anna (Go To Him) & lt;br & gt; 4. Chains & lt;br & gt; 5. Boys & lt;br & gt; 6. Ask Me Why & lt;br & gt; 7. Please Please Me & lt;br & gt; 8. Love Me Do (mono) & lt;br & gt; 9. P.S. I Love You (mono) & lt;br & gt; 10. Baby It's You & lt;br & gt; 11. Do You Want To Know A Secret & lt;br & gt; 12. A Taste Of Honey & lt;br & gt; 13. There's A Place & lt;br & gt; 14. Twist And Shout
The Beatles Rubber Soul 180g LP (Vinyl)
& lt;p & gt; & lt;strong & gt;TAS Super LP List! Special Merit: Informal & lt;/strong & gt; & lt;/p & gt;
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 5/500! & lt;br & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 5/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The sixth UK studio album and the 11th in the U.S. was released in 1965. The album was recorded in just over four weeks and showcased a folk-rock influence typical of The Byrds and Bob Dylan. Features & quot;Drive My Car & quot;, & quot;Nowhere Man & quot;, and & quot;Michelle & quot;. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Musically speaking, George Harrison's sitar on & quot;Norwegian Wood & quot; the first time the instrument was used in a pop song and Paul McCartney's fuzz bass on & quot;Think for Yourself & quot; document the band's increasing awareness that the studio could be more than a pit stop between tours. From this point on, a fascination with the sonic possibilities of recording would inspire the Beatles' greatest work. & quot; & lt;/b & gt; - www.rollingstone.com & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Drive My Car & lt;br & gt; 2. Norwegian Wood (This Bird Has Flown) & lt;br & gt; 3. You Won't See Me & lt;br & gt; 4. Nowhere Man & lt;br & gt; 5. Think For Yourself & lt;br & gt; 6. The Word & lt;br & gt; 7. Michelle & lt;br & gt; 8. What Goes On & lt;br & gt; 9. Girl & lt;br & gt; 10. I'm Looking Through You & lt;br & gt; 11. In My Life & lt;br & gt; 12. Wait & lt;br & gt; 13. If I Needed Someone & lt;br & gt; 14. Run For Your Life
The Beatles With The Beatles 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 53/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The Beatles' second UK album was recorded four months after their debut and was released in November 1963. It features eight original compositions, including the first by George Harrison, and six covers. Features & quot;All My Loving & quot;, & quot;Roll Over Beethoven & quot;, & quot;You Really Got a Hold On Me & quot;, and & quot;Money (That's What I Want) & quot;. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. It Won't Be Long & lt;br & gt; 2. All I've Got To Do & lt;br & gt; 3. All My Loving & lt;br & gt; 4. Don't Bother Me & lt;br & gt; 5. Little Child & lt;br & gt; 6. Till There Was You & lt;br & gt; 7. Please Mister Postman & lt;br & gt; 8. Roll Over Beethoven & lt;br & gt; 9. Hold Me Tight & lt;br & gt; 10. You Really Got A Hold On Me & lt;br & gt; 11. I Wanna Be Your Man & lt;br & gt; 12. Devil In Her Heart & lt;br & gt; 13. Not A Second Time & lt;br & gt; 14. Money (That's What I Want)
The Beatles Magical Mystery Tour 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Songs of All Time - & quot;Penny Lane & quot; - Rated 456/500, & quot;All You Need Is Love & quot; - Rated 370/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Magical Mystery Tour was originally released in 1967 and is the soundtrack to a one-hour TV film of the same name. Originally, the UK version was a double EP but was expanded to a full album for the U.S. release. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;After Lennon composed 'Strawberry Fields Forever,' McCartney wrote his own snappy memoir. Penny Lane was a Liverpool bus stop where Lennon and McCartney often met. 'John came over and helped me with the third verse, as was often the case,' McCartney said. 'We were writing recently faded memories from eight or 10 years before.' & quot; & lt;/b & gt; - Rolling Stone & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Twenty-four days after the release of Sgt. Pepper, the Beatles represented England on the six hour TV show Our World, a satellite broadcast seen by 400 million. 'All You Need Is Love' was the simple message they wanted to send to the world. 'It was for love and bloody peace,' Ringo Starr said. The backing choir on the single included Mick Jagger, Keith Moon and Donovan. & quot; & lt;/b & gt; - Rolling Stone & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Magical Mystery Tour & lt;br & gt; 2. The Fool On The Hill & lt;br & gt; 3. Flying & lt;br & gt; 4. Blue Jay Way & lt;br & gt; 5. Your Mother Should Know & lt;br & gt; 6. I Am The Walrus & lt;br & gt; 7. Hello, Goodbye & lt;br & gt; 8. Strawberry Fields Forever & lt;br & gt; 9. Penny Lane & lt;br & gt; 10. Baby You're A Rich Man & lt;br & gt; 11. All You Need Is Love
The Beatles The Beatles (The White Album) 180g 2LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 10/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt;
& lt;p & gt; & lt;strong & gt;This item not eligible for any further discount offers! & lt;/strong & gt; & lt;/p & gt;
The middle of 1968 saw the band busy recording the double album The Beatles, better known as The White Album because of its plain white cover. Dissension began to creep in the group during this time period due to Ringo's temporarily leaving the band and Yoko Ono's (Lennon's new girlfriend at the time) constant presence during the recording sessions. This was also the time in which McCartney was becoming more dominant within the group. The double disc album features & quot;Back In the U.S.S.R. & quot;, & quot;Ob-La-Di, Ob-La-Da & quot;, & quot;While My Guitar Gently Weeps & quot;, & quot;Sexy Sadie & quot;, and & quot;Blackbird & quot;. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;There are many exhilarating and rewarding moments on this album. There are also, weird snippets and partial compositions that somehow contribute to the mystique. Vinyl is the perfect vehicle for this music, as each side has its own sequential logic. The tonal quality is smooth, and the stereo separation is flawless. The session was notable for the transition to 8-track recording. This was the debut release on Apple Records. Hi-gloss finish, individual & quot;head shot & quot; photos and a giant poster with lyrics (like the original) make this a collector's item. The Beatles gambled on personal growth, innovative musicality and experimental aesthetics...and it paid off! & quot; & lt;/b & gt; - Robbie Gearson, audaud.com, 4.5/5 Stars! & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP1 - Side One: & lt;br & gt; & lt;/b & gt;1. Back in the U.S.S.R & lt;br & gt; 2. Dear Prudence & lt;br & gt; 3. Glass Onion & lt;br & gt; 4. Ob-La-Di, Ob-La-Da & lt;br & gt; 5. Wild Honey Pie & lt;br & gt; 6. The Continuing Story of Bungalow Bill & lt;br & gt; 7. While My Guitar Gently Weeps & lt;br & gt; 8. Happiness Is A Warm Gun & lt;br & gt; & lt;b & gt;LP1 - Side Two: & lt;br & gt; & lt;/b & gt;1. Martha My Dear & lt;br & gt; 2. I'm So Tired & lt;br & gt; 3. Blackbird & lt;br & gt; 4. Piggies & lt;br & gt; 5. Rocky Raccoon & lt;br & gt; 6. Don't Pass Me By & lt;br & gt; 7. Why Don't We Do It In The Road & lt;br & gt; 8. I Will & lt;br & gt; 9. Julia & lt;br & gt; & lt;b & gt;LP2 - Side Three: & lt;br & gt; & lt;/b & gt;1. Birthday & lt;br & gt; 2. Yer Blues & lt;br & gt; 3. Mother Nature's Son & lt;br & gt; 4. Everybody's Got Something to Hide Except Me and My Monkey & lt;br & gt; 5. Sexy Sadie & lt;br & gt; 6. Helter Skelter & lt;br & gt; 7. Long, Long, Long & lt;br & gt; & lt;b & gt;LP2 - Side Four: & lt;br & gt; & lt;/b & gt;1. Revolution 1 & lt;br & gt; 2. Honey Pie & lt;br & gt; 3. Savoy Truffle & lt;br & gt; 4. Cry Baby Cry & lt;br & gt; 5. Revolution 9 & lt;br & gt; 6. Good Night
The Beatles Yellow Submarine 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The 1969 release Yellow Submarine is the soundtrack for the film of the same name and features & quot;Yellow Submarine & quot; and & quot;All You Need Is Love'. & quot;Only a Northern Song & quot; is presented in mono. Additional insert includes original American liner notes. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Yellow Submarine & lt;br & gt; 2. Only A Northern Song (mono) & lt;br & gt; 3. All Together Now & lt;br & gt; 4. Hey Bulldog & lt;br & gt; 5. It's All Too Much & lt;br & gt; 6. All You Need Is Love & lt;br & gt; 7. Pepperland & lt;br & gt; 8. Sea Of Time & lt;br & gt; 9. Sea Of Holes & lt;br & gt; 10. Sea Of Monsters & lt;br & gt; 11. March Of The Meanies & lt;br & gt; 12. Pepperland Laid Waste & lt;br & gt; 13. Yellow Submarine In Pepperland
The Beatles Let It Be 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 392/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Originally released in 1970, Let It Be was the final release for The Beatles as a group. The album features & quot;Let It Be & quot;, & quot;Maggie Mae & quot;, & quot;The Long and Winding Road & quot;, and & quot;Get Back & quot;. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; & amp;bull; Available for the First Time on 180 Gram Vinyl & lt;br & gt; & amp;bull; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Two Of Us & lt;br & gt; 2. Dig A Pony & lt;br & gt; 3. Across The Universe & lt;br & gt; 4. I Me Mine & lt;br & gt; 5. Dig It & lt;br & gt; 6. Let It Be & lt;br & gt; 7. Maggie Mae & lt;br & gt; 8. I've Got A Feeling & lt;br & gt; 9. One After 909 & lt;br & gt; 10. The Long And Winding Road & lt;br & gt; 11. For You Blue & lt;br & gt; 12. Get Back
Peter Gabriel So 180g 2LP/4CD/2DVD Box Set (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;TAS Super LP List! Special Merit: Informal & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Limited Edition 180g Vinyl LP, 12 & quot; AA Vinyl Single, 4 CDS, & amp; 2 DVDs Box Set! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 187/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;br & gt; One of the most successful and iconic music releases, Peter Gabriel's 1986 album, So, has been remastered for this special 25th Anniversary Limited Edition Box Set! & lt;br & gt; & lt;br & gt; Released in 1986, & quot;So & quot; became one of the defining albums of the era and landed an international array of multi-platinum certifications ( in the US alone, it has sold over 5 million copies). Launched with the huge hit single and groundbreaking music video & quot;Sledgehammer & quot;, which remains MTV's most played video of all time, & quot;So & quot; also contains many of Gabriel's biggest hits and most loved songs including & quot;In Your Eyes & quot;, which famously featured in Cameron Crowe's movie & quot;Say Anything & quot; the haunting duet & quot;Don't' Give Up & quot;, which was performed with Kate Bush, and & quot;Big Time & quot;. & lt;br & gt; & lt;br & gt; Released in 1986, 'So' became one of the defining albums of the era, landing multitudes of awards, millions of sales and a huge hit single with 'Sledgehammer'. But when Peter started work on this, his fifth album, in February 1985 in an old farmhouse called Ashcombe near Bath he had no idea of the explosive and enduring impact this album would have. & lt;br & gt; & lt;br & gt; In February 1986 Peter finally finished the album: & lt;br & gt; & lt;b & gt; & quot;I think when we played the album back we knew it was good. It wasnt like I was an obscure artist; Id had hits with Shock The Monkey, Games Without Frontiers and Solsbury Hill but after each of them Id purposefully retreated partially back into the shadows. With 'So' this was the end of the idea of me being a sort of cult artist at the fringes of the mainstream, especially in America. There wasnt an option to go and hide in the shadows any more. & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; 'So' 25th anniversary edition is the opportunity to explore how the album was made, the stories behind the songs, the evolution of each track and the outstanding live performance of the 'So' tour. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Limited Edition Box Set & lt;br & gt; 180g LP - re-mastered & amp; re-sequenced original album & lt;br & gt; 12 & quot; AA Vinyl single & lt;br & gt; CD1 - original album - remastered & lt;br & gt; CD2 - So DNA & lt;br & gt; CD 3 & amp;4 - Live In Athens 1987 & lt;br & gt; DVD 1 - Live in Athens 1987 concert film + 5.1 surround audio mix & lt;br & gt; DVD 2 - So: Classic Album - documentary & lt;br & gt; 60-Page Casebound Book with new liner notes & amp; extensive collection of rare and previously unpublished photographs & lt;br & gt; NTSC, 0 & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP Original album remastered (sequence unknown) & lt;br & gt; & lt;/b & gt;1. Red Rain & lt;br & gt; 2. Sledgehammer & lt;br & gt; 3. Don't Give Up (with Kate Bush) & lt;br & gt; 4. That Voice Again & lt;br & gt; 5. Mercy Street & lt;br & gt; 6. Big Time & lt;br & gt; 7. We Do What We're Told (Milgram's 37) & lt;br & gt; 8. This Is the Picture (Excellent Birds) & lt;br & gt; 9. In Your Eyes & lt;br & gt; & lt;br & gt; & lt;b & gt;12 & quot; AA Vinyl Single: & lt;br & gt; & lt;/b & gt;1. Courage (previously unreleased) & lt;br & gt; 2. Sagrada (previously unreleased) & lt;br & gt; 3. Don't Give Up (Alternative version - piano and bvox mix) & lt;br & gt; & lt;br & gt; & lt;b & gt;CD1 - Original album remastered & lt;br & gt; & lt;/b & gt;1. Red Rain & lt;br & gt; 2. Sledgehammer & lt;br & gt; 3. Don't Give Up (with Kate Bush) & lt;br & gt; 4. That Voice Again & lt;br & gt; 5. Mercy Street & lt;br & gt; 6. Big Time & lt;br & gt; 7. We Do What We're Told (Milgram's 37) & lt;br & gt; 8. This Is the Picture (Excellent Birds) & lt;br & gt; 9. In Your Eyes & lt;br & gt; & lt;br & gt; & lt;b & gt;CD 2 : & lt;br & gt; So DNA - work-in-progress song drafts & lt;br & gt; & lt;/b & gt;1. Red Rain & lt;br & gt; 2. Sledgehammer & lt;br & gt; 3. Don't Give Up (with Kate Bush) & lt;br & gt; 4. That Voice Again & lt;br & gt; 5. Mercy Street & lt;br & gt; 6. Big Time & lt;br & gt; 7. We Do What We're Told (Milgram's 37) & lt;br & gt; 8. This Is the Picture (Excellent Birds) & lt;br & gt; 9. In Your Eyes & lt;br & gt; & lt;br & gt; & lt;b & gt;CD3: & lt;br & gt; Live in Athens 1987 & lt;br & gt; & lt;/b & gt;1. This Is the Picture (Excellent Birds) & lt;br & gt; 2. San Jacinto & lt;br & gt; 3. Shock the Monkey & lt;br & gt; 4. Family Snapshot & lt;br & gt; 5. Intruder & lt;br & gt; 6. Games Without Frontiers & lt;br & gt; 7. No Self Control & lt;br & gt; 8. Mercy Street & lt;br & gt; 9. The Family and The Fishing Net & lt;br & gt; & lt;b & gt;CD 4: & lt;br & gt; & lt;/b & gt;10. Don't Give Up & lt;br & gt; 11. Solsbury Hill & lt;br & gt; 12. Lay Your Hands On Me & lt;br & gt; 13. Sledgehammer & lt;br & gt; 14. Here Comes the Flood & lt;br & gt; 15. In Your Eyes & lt;br & gt; 16. Biko & lt;br & gt; & lt;br & gt; & lt;b & gt;DVD 1 - Live in Athens 1987 concert film - Plus 5.1 Surround audio mix & lt;br & gt; & lt;/b & gt;1. This Is the Picture (Excellent Birds) & lt;br & gt; 2. San Jacinto & lt;br & gt; 3. Shock the Monkey & lt;br & gt; 4. Family Snapshot & lt;br & gt; 5. Intruder & lt;br & gt; 6. Games Without Frontiers & lt;br & gt; 7. No Self Control & lt;br & gt; 8. Mercy Street & lt;br & gt; 9. The Family and The Fishing Net & lt;br & gt; 10. Don't Give Up & lt;br & gt; 11. Solsbury Hill & lt;br & gt; 12. Lay Your Hands On Me & lt;br & gt; 13. Sledgehammer & lt;br & gt; 14. Here Comes the Flood & lt;br & gt; 15. In Your Eyes & lt;br & gt; 16. Biko & lt;br & gt; & lt;br & gt; & lt;b & gt;DVD 2 - So: Classic Album - documentary
Norah Jones The Fall 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Vinyl with Gatefold Jacket and 24 & quot; x 36 & quot; Full Color Poster of Norah Jones Included! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Norah Jones releases her fourth studio album, The Fall, with a cover that features a portrait by photographer Autumn de Wilde. & lt;br & gt; & lt;br & gt; Jones has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits, and Modest Mouse among others. Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil Rivers Will Sheff, as well as her frequent partner Jesse Harris. King also helped Jones put together a new group of musicians to perform on the album, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer). & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; 180g vinyl LP & lt;br & gt; Gatefold jacket & lt;br & gt; 24 & quot;x36 & quot; Full color poster included & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Chasing Pirates & lt;br & gt; 2. Even Though & lt;br & gt; 3. Light As a Feather & lt;br & gt; 4. Young Blood & lt;br & gt; 5. I Wouldn't Need You & lt;br & gt; 6. Waiting & lt;br & gt; 7. It's Gonna Be & lt;br & gt; 8. You've Ruined Me & lt;br & gt; 9. Back To Manhattan & lt;br & gt; 10. Stuck & lt;br & gt; 11. December & lt;br & gt; 12. Tell Your Mama & lt;br & gt; 13. Man of the Hour
Norah Jones ...Featuring Norah Jones 180g 2LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;TAS Rated 4/5 Music, 4.5/5 Sonics in the January 2011 Issue of The Absolute Sound! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Besides selling 40 million albums and winning 9 Grammy awards in less than 10 years, over the years Norah Jones has collaborated with dozens and dozens of artists from across the spectrum of music. This album collects Norahs favorite collaborations from 2001-2010 into one amazing collection: legends like Ray Charles, Willie Nelson and Herbie Hancock, rock artists ranging from Foo Fighters to Ryan Adams to Belle and Sebastian, hip hop luminaries Outkast, Q-Tip and Talib Kweli. No matter the genre however, Norahs enchanting voice is the common denominator and while the partners are varied, she ends up owning every song and this album is a wonderful collection that holds together brilliantly. The album is a testament to Norahs status as one of the most in-demand and tasteful musical connectors in music. This album will be an amazing gift item for any Norah fan. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;...Others [Songs], especially the slow ballads - with Ray Charles ( & quot;Here We Go Again & quot;), Willie Nelson ( & quot;Baby It's Cold Outside & quot;), the Little Willies ( & quot;Love Me & quot;), the Foo Fighters (the samba ballad & quot;Virginia Moon & quot;), Herbie Hancock ( & quot;Court & amp; Spark & quot;), Ryan Adams ( & quot;Dear John & quot;), and M. Ward ( & quot;Blue Bayou & quot;) - rank among Jones' best material. & quot; & lt;/b & gt; - Greg Cahill, & lt;i & gt;The Absolute Sound & lt;/i & gt;, January 2011 & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Over and again, Jones caresses these assorted jazz, R & amp;B, and country ballads with her silky voice and intimate delivery. & quot; & lt;/b & gt; - Greg Cahill, & lt;i & gt;The Absolute Sound & lt;/i & gt;, January 2011 & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Double Vinyl LP & lt;br & gt; Gatefold jacket & lt;br & gt; Features guest artists, Ryan Adams, Belle & amp; Sebastian, Sean Bones, Ray Charles, Dirty Dozen Brass Band, El Madmo, Foo Fighters, Herbie Hancock, Talib Kweli, Little Willies, Outkast, Dolly Parton, Q-Tip, M. Ward, David Rawlings & amp; Gillian Welch & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Love Me (The Little Willies) & lt;br & gt; 2. Virginia Moon (Foo Fighters feat. Norah Jones) & lt;br & gt; 3. Turn Them (Sean Bones feat. Norah Jones) & lt;br & gt; 4. Baby It's Cold Outside (Willie Nelson feat. Norah Jones) & lt;br & gt; 5. Bull Rider (Norah Jones and Sasha Dobson) & lt;br & gt; 6. Ruler of My Heart (Dirty Dozen Brass Band feat. Norah Jones and Robert Randolph) & lt;br & gt; 7. The Best Part (El Madmo) & lt;br & gt; 8. Take Off Your Cool (Outkast feat. Norah Jones) & lt;br & gt; 9. Life Is Better (Q-Tip feat. Norah Jones) & lt;br & gt; 10. Soon the New Day (Talib Kweli feat. Norah Jones) & lt;br & gt; 11. Little Lou, Prophet Jack, Ugly John (Bell & amp; Sebastian feat. Norah Jones) & lt;br & gt; 12. Here We Go Again (Ray Charles feat. Norah Jones) & lt;br & gt; 13. Loretta (Norah Jones feat. Gillian Welch and David Rawlings) & lt;br & gt; 14. Dear John (Ryan Adams feat. Norah Jones) & lt;br & gt; 15. Creepin' In (Norah Jones feat. Dolly Parton) & lt;br & gt; 16. Court & amp; Spark (Herbie Hancock feat. Norah Jones) & lt;br & gt; 17. More Than This (Charlie Hunter feat. Norah Jones) & lt;br & gt; 18. Blue Bayou (Norah Jones feat. M. Ward)
Amos Lee/Mission Bell 180g LP (Vinyl)
& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;The Mission Bell features a multitude of Musicians, Guest Vocalists and Instruments on 180 Gram LP! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Amos Lee's fourth album for EMI's Blue Note Records, Mission Bell, is his richest and most fully formed album to date. & lt;br & gt; & lt;br & gt; Mission Bell, which was produced by Joey Burns of the acclaimed band Calexico, displays both range and cohesion, an array of emotions unified by Lees eclectic taste and distinctive vocals. With a remarkable set of guests, including Lucinda Williams, Willie Nelson, Sam Beam (Iron & amp; Wine), Priscilla Ahn, Pieta Brown, and James Gadson, and the musical backing of Calexico, the album marks the arrival of Amos Lee as a mature artist who continues to explore his musical and thematic interests. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;A true story teller, unique to his generation. & quot; & lt;/b & gt; - Willie Nelson & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Amos Lee knows how to use his voice to tell a story with a hint of mystery. & quot; & lt;/b & gt; - Lucinda Williams & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180 Gram Vinyl & lt;br & gt; Gatefold Jacket & lt;br & gt; Contains Download Code for Free Digital Album (Limited Time Only) & lt;br & gt; Includes Performances with Special Guests Sam Beam (Iron & amp; Wine), Willie Nelson & amp; Lucinda Williams & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;br & gt; & lt;/b & gt; Amos Lee, vocals, acoustic guitar, electric guitar, electric fuzz guitar, vibraphones & lt;br & gt; Jacob Valenzuela, trumpets & lt;br & gt; Jaron Olevsky, piano, organ, avocado shaker, Rhodes electric keyboard, electric guitar, electric bass, bowed bass, vibraphones, shaker, Wurlitzer keyboard, backing vocals & lt;br & gt; Joey Burns, nylon string guitar, upright bass, tenor guitar, electric guitar, baritone guitar, Nashville tuning acoustic guitar, 12-string guitar, electric tremolo guitar, piano, Wurlitzer keyboard, backing vocals & lt;br & gt; Greg Leisz, lap steel, pedal steel, electric guitar, mandolin, Weissenborn slide guitar & lt;br & gt; Craig Schumacher, synth bass, harmonica & lt;br & gt; Johnny O'Halloran, bowed saw & lt;br & gt; Michey Raphael, harmonica & lt;br & gt; John Convertino, drums, thunder drum & lt;br & gt; James Gadson, drums, tambourine, backing vocals & lt;br & gt; Brian Lopez, backing vocals & lt;br & gt; Priscilla Ahn, backing vocals & lt;br & gt; Pieta Brown, backing vocals & lt;br & gt; Zach Djanikian, backing vocals & lt;br & gt; Mutlu Onaral, backing vocals & lt;br & gt; Silver Thread Trio: Gabrielle Pietrangelo, Laura Kepner-Adney, Caroline Isaacs, backing vocals & lt;br & gt; Lucinda Williams, vocals (Side B: 4) & lt;br & gt; Willie Nelson, vocals, nylon string guitar (Side B: 5) & lt;br & gt; Sam Beam, vocals (Side A: 3) & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;br & gt; & lt;/b & gt; 1. El Camino & lt;br & gt; 2. Windows Are Rolled Down & lt;br & gt; 3. Violin - featuring Sam Beam (Iron & amp; Wine) & lt;br & gt; 4. Flower & lt;br & gt; 5. Stay With Me & lt;br & gt; 6. Out Of The Cold & lt;br & gt; 7. Jesus & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Hello Again & lt;br & gt; 2. Learned A Lot & lt;br & gt; 3. Cup Of Sorrow & lt;br & gt; 4. Clear Blue Eyes - featuring Lucinda Williams & lt;br & gt; 5. Behind Me Now / El Camino (Reprise) - featuring Willie Nelson
The Beach Boys The Smile Sessions Mono 2LP/2-7"/5CD Box Set (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;2012 Grammy Award Winner for Best Historical Album! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 381/500! & lt;br & gt; & lt;br & gt;Michael Fremer Rated 9/10 Music, 8/10 Sonics in his March 2012 reviews on www.musicangle.com! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Featured in Michael Fremer's Heavy Rotation in the March 2012 Issue of Stereophile! & lt;br & gt; & lt;br & gt;Legendary Unreleased 1966-'67 Album! & lt;br & gt;Drawn From Original Masters This Deluxe Box Set Contains Two 180g LPs, 5CDs, Two 7 & quot; Singles, 60-Page Hardbound Book & amp; More! & lt;br & gt;Housed In Box With 3D Shadow Box Lid! & lt;br & gt;Artwork Designed by Frank Holmes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has, for the first time, collected and compiled the bands legendary 1966-67 sessions for the never-completed SMiLE album. & lt;br & gt; & lt;br & gt; In numerous sessions between the spring of 1966 and the summer of 1967, The Beach Boys recorded a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band's 1966 masterpiece, Pet Sounds. The master tapes were ultimately shelved, and The Beach Boys' SMiLE has never been released. Drawn from the original masters, The SMiLE Sessions presents an in-depth overview of The Beach Boys' recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world. & lt;br & gt; & lt;br & gt; This expanded, boxed edition of The SMiLE Sessions features the main SMiLE album tracks, plus four CDs of additional audio from the legendary sessions, a double 180g vinyl LP set, and two 7 vinyl singles. The deluxe box also contains a 60-page hardbound book with rare and previously unseen photos and memorabilia from The Beach Boys archive and newly-written essays by Beach Boys Al Jardine, Mike Love, Brian Wilson, and Bruce Johnston, as well as by Beach Boys historian and author Domenic Priore and many other inner-circle participants. & lt;br & gt; & lt;br & gt; & lt;iframe width= & quot;560 & quot; height= & quot;315 & quot; src= & quot;http://www.youtube.com/embed/fvB0glRsolw & quot; frameborder= & quot;0 & quot; allowfullscreen & gt; & lt;/iframe & gt; & lt;br & gt; & lt;br & gt; Produced by Brian Wilson, Mark Linett, Alan Boyd and Dennis Wolfe in Los Angeles The SMiLE Sessions box set includes an assembled collection of core session tracks. It also delves much deeper into the sessions, adding early song drafts, alternate takes, instrumental and vocals-only mixes, and studio chatter. The SMiLE Sessions invites the listener into the studio to experience the album's creation, with producer, singer and bassist Brian Wilson's vision leading the way as he guides his fellow Beach Boys, singer Mike Love, drummer Dennis Wilson, lead guitarist Carl Wilson, rhythm guitarist Al Jardine, and newest member Bruce Johnston (who'd replaced Brian Wilson in the touring group during 1965), through the legendary sessions. & lt;br & gt; & lt;br & gt; Artwork for all of The SMiLE Sessions has been created with and inspired by Beat-Pop artist Frank Holmes original 1967 LP sleeve art and booklet designs intended for the SMiLE album. With its three-dimensional shadowbox lid, The SMiLE Sessions box set offers a whimsical peek inside the storied SMiLE Shop. & lt;br & gt; & lt;br & gt; When Capitol/EMI and The Beach Boys first announced plans for The SMiLE Sessions 2011 release, the news spread rapidly. Pitchfork reported, & quot;The Beach Boys SMiLE is quite possibly the most storied album in rock history, & quot; Billboard proclaimed the upcoming release & quot;an event that pop music fans have been waiting for since the Summer of Love, & quot; and The Washington Post called SMiLE & quot;the most legendary unreleased album of all time. & quot; & lt;br & gt; & lt;br & gt; The best efforts have been taken by The Beach Boys, the producers, and Capitol/EMI to present the SMiLE album sessions most vital and fascinating elements. However, there will no doubt be some debate amongst Beach Boys fans around the world who, during the past four decades, have become familiar with a variety of widely-traded bootlegged bits and pieces from the sessions. As recently explained by the Detroit Metro Times, No album, released or not, has generated a more personal relationship with its audience, since no two people can ever agree on its content and purpose. & lt;br & gt; & lt;br & gt; Beginning with Good Vibrations, The Beach Boys best-selling record in a long string of hits, Brian Wilson had begun to construct songs in a modular form, crafting individual sections that would later be edited together to form a coherent whole. In several intense bursts of creative energy, Wilson, drawing on the talents of the finest studio musicians in Los Angeles and utilizing the best studio facilities available on any given day, laid down dozens of musical fragments, all designed to fit together in any number of possible combinations. No one had done this before in pop music, and his next endeavor would be an album-length version of this unique and luxurious songwriting parlance: SMiLE. & lt;br & gt; & lt;br & gt; In 1965, Brian Wilson met an up-and-coming session keyboard player and songwriter, Van Dyke Parks. Noticing Parks' conversational eloquence, Wilson felt that he could help to volley The Beach Boys songwriting into the wave of broader-messaged and socially-conscious rock 'n' roll that would come to define the '60s. They were soon collaborating on keynote songs for SMiLE, including Heroes And Villains, the bands follow-up single to Good Vibrations. Wilson and Parks would also co-write Surf's Up, Vega-Tables, Cabin Essence, Do You Like Worms, Wonderful, Wind Chimes, and other pieces of the SMiLE tapestry. Parks also introduced Frank Holmes to create album sleeve art and a booklet interpreting the albums James Joyce-mode lyrics. & lt;br & gt; & lt;br & gt; The reason SMiLE did not see a release in 1967 had more to do with back room business that obscured the creative side of the program than anything else. In late 1966, The Beach Boys formed Brother Records, initially to produce outside artists. Soon, however, The Beach Boys would become embroiled in a court action with Capitol Records with the goal to become the top-selling artists on their self-owned, independent label. The group withheld Heroes And Villains and announced they would instead release Vega-Tables recorded with the bands own money in April of '67 on Brother Records. By July of 1967, Capitol Records and The Beach Boys had come to terms, with Capitol agreeing to distribute the bands Brother Records, and it was agreed that SMiLE was no longer to be the bands next album. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The most famous unfinished album in rock & amp; roll history... & quot; & lt;/b & gt; - Rolling Stone & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Whether you listen as an arranging and engineering workshop or just to enjoy the tunes, the release of Smile both closes and opens a chapter in American musical history. You can take much of what you hear for granted until you get to the & quot;Cabin Essence & quot; studio highights and then you realize that real people sitting in a real studio were playing all of this crazy and complex stuff all directed and supervised by the musical master Brian Wilson all of 24 at the time. & quot; & lt;/b & gt;- Michael Fremer, www.musicangle.com, Music 9/10, Sound 8/10 & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 3D Shadow Box Lid featuring original artwork by Frank Holmes & lt;br & gt; Drawn from Original Masters & lt;br & gt; 13 & quot; x 13 & quot; x 2.5 & quot; Box & lt;br & gt; 6 Panel folder holding 5 CDs and 7 & quot; Singles & lt;br & gt; 2 - 7 & quot; Vinyl Singles & lt;br & gt; Two 180g LPs - Gatefold jacket & lt;br & gt; Stereo mixes & amp; session highlights (on vinyl only) & lt;br & gt; 60-page hardbound book & lt;br & gt; Previously unreleased photos & lt;br & gt; 24 & quot; x 36 & quot; poster of Frank Holmes cover art & lt;br & gt; Drawings by Frank Holmes & lt;br & gt; 12 & quot; x 12 & quot; booklet created for original release & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; 180 Gram Double Vinyl: & lt;br & gt; LP1 - Side 1: & lt;br & gt; & lt;/b & gt; 1. Our Prayer & lt;br & gt; 2. Gee & lt;br & gt; 3. Heroes and Villains & lt;br & gt; 4. Do You Like Worms (Roll Plymouth Rock) & lt;br & gt; 5. I'm In Great Shape & lt;br & gt; 6. Barnyard & lt;br & gt; 7. My Only Sunshine (The Old Master Painter/You Are My Sunshine) & lt;br & gt; 8. Cabin Essence & lt;br & gt; & lt;b & gt;LP1 - Side 2: & lt;/b & gt; & lt;br & gt; 1. Wonderful & lt;br & gt; 2. Look (Song for Children) & lt;br & gt; 3. Child Is Father Of the Man & lt;br & gt; 4. Surf's Up & lt;br & gt; & lt;b & gt;LP2 - Side 3: & lt;br & gt; & lt;/b & gt; 1. I Wanna Be Around / Workshop & lt;br & gt; 2. Vega-Tables & lt;br & gt; 3. Holidays & lt;br & gt; 4. Wind Chimes & lt;br & gt; 5. The Elements: Fire (Mrs. O'Leary's Cow) & lt;br & gt; 6. Love to Say Dada & lt;br & gt; 7. Good Vibrations & lt;br & gt; & lt;b & gt;LP2 - Side 4: & lt;/b & gt; & lt;br & gt; 1. You're Welcome (stereo mix) & lt;br & gt; 2. Vega-Tables (stereo mix) & lt;br & gt; 3. Wind Chimes (stereo mix) & lt;br & gt; 4. Cabin Essence (Session highlights and stereo backing track) & lt;br & gt; 5. Surf's Up (Session Excerpt and Stereo mix) & lt;br & gt; & lt;br & gt; & lt;b & gt;7 & quot; Vinyl Single1: & lt;br & gt; Heroes and Villains & quot;Smile & quot; 7 & quot; single: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; Heroes and Villains Part One & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; Heroes and Villains Part Two & lt;br & gt; & lt;br & gt; & lt;b & gt;7 & quot; Vinyl Single2: & lt;br & gt; Vega-Tables 7 & quot; single: & lt;br & gt; Side A: & lt;br & gt; & lt;/b & gt; Vega-Tables & lt;br & gt; & lt;b & gt;Side B: & lt;br & gt; & lt;/b & gt; Surf's Up & lt;br & gt; & lt;br & gt; & lt;b & gt;CD1: SMiLE & lt;/b & gt; & lt;br & gt; 1. Our Prayer & lt;br & gt; 2. Gee & lt;br & gt; 3. Heroes and Villains & lt;br & gt; 4. Do You Like Worms (Roll Plymouth Rock) & lt;br & gt; 5. I'm In Great Shape & lt;br & gt; 6. Barnyard & lt;br & gt; 7. My Only Sunshine (The Old Master Painter/You Are My Sunshine) & lt;br & gt; 8. Cabin Essence & lt;br & gt; 9. Wonderful & lt;br & gt; 10. Look (Song for Children) & lt;br & gt; 11. Child Is Father Of the Man & lt;br & gt; 12. Surf's Up & lt;br & gt; 13. I Wanna Be Around / Workshop & lt;br & gt; 14. Vega-Tables & lt;br & gt; 15. Holidays & lt;br & gt; 16. Wind Chimes & lt;br & gt; 17. The Elements: Fire (Mrs. O'Leary's Cow) & lt;br & gt; 18. Love to Say Dada & lt;br & gt; 19. Good Vibrations & lt;br & gt; & lt;b & gt;Bonus Tracks: & lt;/b & gt; & lt;br & gt; 20. You're Welcome & lt;br & gt; 21. Heroes and Villains (Stereo mix) & lt;br & gt; 22. Heroes and Villains Sections (Stereo mix) & lt;br & gt; 23. Vega-Tables Demo & lt;br & gt; 24. He Gives Speeches & lt;br & gt; 25. Smile Backing Vocals Montage & lt;br & gt; 26. Surf's Up 1967 (solo version) & lt;br & gt; 27. Psycodelic Sounds: Brian Falls Into A Piano & lt;br & gt; & lt;br & gt; & lt;b & gt;CD2: Session Highlights & lt;br & gt; Our Prayer & lt;/b & gt; & lt;br & gt; 1. Our Prayer & quot;Dialog & quot; (9/19/66) & lt;br & gt; 2. Our Prayer (10/14/66) & lt;br & gt; & lt;b & gt;Heroes and Villains & lt;br & gt; Heroes and Villains Session (10/20/66) & lt;/b & gt; & lt;br & gt; 3. Verse (Master take) & lt;br & gt; 4. Barnyard (Master take) & lt;br & gt; 5. I'm In Great Shape (10/27/66) & lt;br & gt; 6. Intro (Early version - circa 12/66) & lt;br & gt; & lt;b & gt;Heroes and Villains Session (1/3/67) & lt;br & gt; & lt;/b & gt; 7. Do A Lot & lt;br & gt; 8. Back of Tricks & lt;br & gt; 9. Mission Pak & lt;br & gt; 10. Bridge To Indians & lt;br & gt; 11. Part 1 Tag & lt;br & gt; 12. Pickup To 3rd Verse & lt;br & gt; & lt;b & gt;Heroes and Villains (1/27/67) & lt;/b & gt; & lt;br & gt; 13. Children Were Raised & lt;br & gt; 14. Part 2 (Cantina track) & lt;br & gt; 15. Whistling Bridge & lt;br & gt; 16. Cantina & lt;br & gt; 17. All Day & lt;br & gt; 18. Verse Edit Experiment & lt;br & gt; & lt;b & gt;Heroes and Villains Session (2/15/67) & lt;br & gt; & lt;/b & gt; 19. Prelude to Fade & lt;br & gt; 20. Piano Theme & lt;br & gt; & lt;b & gt;Heroes and Villains Session (2/20/67) & lt;/b & gt; & lt;br & gt; 21. Part 2 & lt;br & gt; 22. Part 2 (Gee)(Master take) & lt;br & gt; 23. Part 2 Revised & lt;br & gt; 24. Part 2 Revised (Master take) & lt;br & gt; 25. Part 3 (Animals)(Master take) & lt;br & gt; 26. Part 4 & lt;br & gt; 27. Part Two (Master take) (2/27/67) & lt;br & gt; 28. Fade (2/28/67) & lt;br & gt; & lt;b & gt;Heroes and Villains Session (3/1/67) & lt;/b & gt; & lt;br & gt; 29. Verse Remake & lt;br & gt; 30. Organ Waltz / Intro & lt;br & gt; & lt;b & gt;Heroes and Villains Session (6/14/67) & lt;br & gt; & lt;/b & gt; 31. Chorus Vocals & lt;br & gt; 32. Barbershop & lt;br & gt; 33. Children Were Raised (Remake) & lt;br & gt; 34. Children Were Raised (Master take Overdubs Mix 1) & lt;br & gt; 35. Children Were Raised (Master take A Capella) & lt;br & gt; & lt;b & gt;Bonus Tracks: & lt;/b & gt; & lt;br & gt; 36. Heroes and Villains Piano Demo (incorporating & quot;I'm In Great Shape & quot; and & quot;Barnyard & quot;) Brian with Van Dyke Parks and & quot;Humble Harve & quot; Miller, KHJ Radio (11/4/66) & lt;br & gt; 37. Psycodelic Sounds: Brian Falls Into A Microphone (11/4/66) & lt;br & gt; 38. Psycodelic Sounds: Moaning Laughing (11/4/66) & lt;br & gt; & lt;br & gt; & lt;b & gt;CD3: Session Highlights & lt;br & gt; Do You Like Worms (Roll Plymouth Rock) & lt;br & gt; Do You Like Worms Session (10/18/66) & lt;/b & gt; & lt;br & gt; 1. Part 1 & lt;br & gt; 2. Part 2 (Bicycle Rider) & lt;br & gt; 3. Part 3 & lt;br & gt; 4. Part 4 (Bicycle Rider) & lt;br & gt; 5. Bicycle Rider Overdubs (Heroes And Villains Part 2) (1/5/67) & lt;br & gt; & lt;b & gt;My Only Sunshine (The Old Master Painter / You Are My Sunshine) & lt;/b & gt; & lt;br & gt; 6. Parts 1 & amp; 2 (11/14/66) & lt;br & gt; 7. Part 2 (Master Take With Vocal Overdubs) (2/10/67) & lt;br & gt; & lt;b & gt;Cabin Essence & lt;br & gt; Cabin Essence Session (10/3/66) & lt;/b & gt; & lt;br & gt; 8. Cabin Essence: Verse & lt;br & gt; 9. Cabin Essence: Chorus & lt;br & gt; 10. Cabin Essence: Tag & lt;br & gt; & lt;b & gt;Wonderful & lt;br & gt; & lt;/b & gt; 11. Wonderful (Version 1) (8/25/66) & lt;br & gt; & lt;b & gt;Wonderful (Version 2 Rock With Me, Henry) Session (1/9/67) & lt;/b & gt; & lt;br & gt; 12. Wonderful (Version 2) & lt;br & gt; 13. Wonderful (Version 2 Tag) & lt;br & gt; 14. Wonderful (Version 3) (4/10/67?) & lt;br & gt; & lt;b & gt;Look (Song For Children) & lt;br & gt; & lt;/b & gt; 15. Look (8/12/66) & lt;br & gt; & lt;b & gt;Child Is Father Of The Man & lt;/b & gt; & lt;br & gt; 16. Child Is Father Of The Man (Version 1) (10/7/66) & lt;br & gt; 17. Child Is Father Of The Man (Version 2) (10/11/66) & lt;br & gt; & lt;b & gt;Surf's Up & lt;/b & gt; & lt;br & gt; 18. 1st Movement (11/4/66) & lt;br & gt; 19. Talking Horns (11/7/66) & lt;br & gt; 20. Surfs Up: Piano Demo (Master Take) (12/15/66) & lt;br & gt; & lt;b & gt;I Wanna Be Around / Workshop (Friday Night) & lt;br & gt; & lt;/b & gt; 21. I Wanna Be Around (11/29/66) & lt;br & gt; & lt;b & gt;Vega-Tables (Vegetables) & lt;br & gt; Vegetables Sessions (4/4/67 4/11/67) & lt;br & gt; & lt;/b & gt; 22. Verse (Master Take Track) (4/4 4/11/67) & lt;br & gt; 23. Sleep A Lot (Chorus) & lt;br & gt; 24. Chorus 1 (Master Take) & lt;br & gt; 25. 2nd Chorus (Master Take Track And Backing Vocals) & lt;br & gt; 26. Insert (Part 4) (Master Take) & lt;br & gt; & lt;br & gt; & lt;b & gt;CD4 - Session Highlights & lt;br & gt; Vega-Tables (Vegetables) (continued) & lt;br & gt; & lt;/b & gt; 1. Fade (4/12/67) & lt;br & gt; 2. Ballad Insert (4/14/67) & lt;br & gt; & lt;b & gt;Holidays & lt;br & gt; & lt;/b & gt; 3. Holidays (9/8/66) & lt;br & gt; & lt;b & gt;Wind Chimes & lt;br & gt; & lt;/b & gt; 4. Wind Chimes (Version 1) (8/3/66) & lt;br & gt; & lt;b & gt;Wind Chimes (Version 2) Session (10/5/66) & lt;br & gt; & lt;/b & gt; 5. Wind Chimes (Version 2) & lt;br & gt; 6. Wind Chimes (Version 2 Tag) & lt;br & gt; & lt;b & gt;The Elements: Fire (Mrs. O'Leary's Cow) & lt;/b & gt; & lt;br & gt; 7. The Elements (Fire) (11/28/66) & lt;br & gt; & lt;b & gt;Love to Say Dada / Cool, Cool Water & lt;br & gt; Da Da Session (12/22/66) & lt;/b & gt; & lt;br & gt; 8. Da Da (Taped Piano Strings) & lt;br & gt; 9. Da Da (Fender Rhodes) & lt;br & gt; & lt;b & gt;Love To Say Dada Sessions (5/16/67 - 5/18/67) & lt;/b & gt; & lt;br & gt; 10. Love To Say Dada: Part 1 (5/16/67) & lt;br & gt; 11. Love To Say Dada: Part 2 (5/17/67) & lt;br & gt; 12. Love To Say Dada: Part 2 (Master Take) (5/17/67) & lt;br & gt; 13. Love To Say Dada: Part 2 (Second Day) (5/18/67) & lt;br & gt; & lt;b & gt;Cool, Cool Water & lt;br & gt; & lt;/b & gt; 14. Cool, Cool Water (Version 1) (6/7/67) & lt;br & gt; 15. Cool, Cool Water (Version 2) (10/26/67 & amp; 10/29/67) & lt;br & gt; & lt;b & gt;Smile Additional Sessions & lt;/b & gt; & lt;br & gt; 16. You're Welcome (12/15/66) & lt;br & gt; 17. You're With Me Tonight (6/66/7/67) & lt;br & gt; 18. Tune X (3/3/673/31/67) & lt;br & gt; 19. I Don't Know (1/12/67) & lt;br & gt; 20. Three Blind Mice (10/15/65) & lt;br & gt; 21. Teeter Totter Love (Jasper Dailey) (1/25/67 & amp; 2/9/67) & lt;br & gt; & lt;b & gt;Bonus Tracks: & lt;/b & gt; & lt;br & gt; 22. Psycodelic Sounds - Underwater Chant (11/4/66) & lt;br & gt; 23. Hal Blaine Vega-Tables Promo Session (11/16/66) & lt;br & gt; 24. Early Version Outtake Sections (1/67 2/67) & lt;br & gt; & lt;br & gt; & lt;b & gt;CD5: Session Highlights & lt;br & gt; Good Vibrations Sessions & lt;/b & gt; & lt;br & gt; 1. Gold Star 2/18/66 (The Pet Sounds Session) & lt;br & gt; 2. Gold Star 4/9/66 & lt;br & gt; 3. Western 5/4/66 (First Chorus) & lt;br & gt; 4. Western 5/4/66 (Second Chorus & amp; Fade) & lt;br & gt; 5. Sunset Sound 5/24/66 (Part 1) & lt;br & gt; 6. Sunset Sound 5/24/66 (Parts 2 & amp; 3) & lt;br & gt; 7. Sunset Sound 5/24/66 (Part 4) & lt;br & gt; 8. Western 5/27/66 (Part C) & lt;br & gt; 9. Western 5/27/66 (Chorus) & lt;br & gt; 10. Western 5/27/66 (Fade Sequence) & lt;br & gt; 11. Good Vibrations (Inspiration): Western 6/2/66 (Part 1) & lt;br & gt; 12. Good Vibrations (Inspiration): Western 6/2/66 (Part 3) & lt;br & gt; 13. Good Vibrations (Inspiration): Western 6/2/66 (Part 4) & lt;br & gt; 14. Western 6/16/66 (Part 1) & lt;br & gt; 15. Western 6/16/66 (Part 2 & amp; Verse) & lt;br & gt; 16. Western 6/16/66 (Part 2 Continued) & lt;br & gt; 17. Western 6/18/66 (Part 1) & lt;br & gt; 18. Western 6/18/66 (Part 2) & lt;br & gt; 19. Good Vibrations (Persuasion): Western 9/1/66 & lt;br & gt; 20. Western 9/1/66 (New Bridge) & lt;br & gt; 21. Session Masters & lt;br & gt; 22. Single Version Stereo Track & lt;br & gt; 23. Good Good Good Vibrations (First Version With Overdubs) 3/66 & lt;br & gt; 24. Alternate Edit 8/24/66
The Beach Boys The Smile Sessions 180g Mono 2LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 381/500! & lt;br & gt; & lt;br & gt;Featured in Michael Fremer's Heavy Rotation in the March 2012 Issue of Stereophile! & lt;br & gt; & lt;br & gt;Legendary Unreleased 1966-'67 Album! & lt;br & gt; Cut by Chris Bellman at Bernie Grundman Mastering from Original Masters! & lt;br & gt; Gatefold Packaging & amp; Artwork Designed by Frank Holmes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has, for the first time, collected and compiled the bands legendary 1966-67 sessions for the never-completed SMiLE album. & lt;br & gt; & lt;br & gt; In numerous sessions between the spring of 1966 and the summer of 1967, The Beach Boys recorded a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band's 1966 masterpiece, Pet Sounds. The master tapes were ultimately shelved, and The Beach Boys' SMiLE has never been released. Drawn from the original masters, The SMiLE Sessions presents an in-depth overview of The Beach Boys' recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world. & lt;br & gt; & lt;br & gt; The SMiLE Sessions 180g vinyl double LP features an approximation of what was intended to be the completed SMiLE album, compiled from The Beach Boys original session masters. Additional session highlights and bonus tracks are also included, including demos and stereo mixes. & lt;br & gt; & lt;br & gt; Produced by Brian Wilson, Mark Linett, Alan Boyd and Dennis Wolfe in Los Angeles The SMiLE Sessions 2LP Set includes an assembled collection of core session tracks. The SMiLE Sessions invites the listener into the studio to experience the album's creation, with producer, singer and bassist Brian Wilson's vision leading the way as he guides his fellow Beach Boys, singer Mike Love, drummer Dennis Wilson, lead guitarist Carl Wilson, rhythm guitarist Al Jardine, and newest member Bruce Johnston (who'd replaced Brian Wilson in the touring group during 1965), through the legendary sessions. & lt;br & gt; & lt;br & gt; Artwork for The SMiLE Sessions has been created with and inspired by Beat-Pop artist Frank Holmes original 1967 LP sleeve art and booklet designs intended for the SMiLE album. & lt;br & gt; & lt;br & gt; When Capitol/EMI and The Beach Boys first announced plans for The SMiLE Sessions 2011 release, the news spread rapidly. Pitchfork reported, & quot;The Beach Boys SMiLE is quite possibly the most storied album in rock history, & quot; Billboard proclaimed the upcoming release & quot;an event that pop music fans have been waiting for since the Summer of Love, & quot; and The Washington Post called SMiLE & quot;the most legendary unreleased album of all time. & quot; & lt;br & gt; & lt;br & gt; The best efforts have been taken by The Beach Boys, the producers, and Capitol/EMI to present the SMiLE album sessions most vital and fascinating elements. However, there will no doubt be some debate amongst Beach Boys fans around the world who, during the past four decades, have become familiar with a variety of widely-traded bootlegged bits and pieces from the sessions. As recently explained by the Detroit Metro Times, No album, released or not, has generated a more personal relationship with its audience, since no two people can ever agree on its content and purpose. & lt;br & gt; & lt;br & gt; Beginning with Good Vibrations, The Beach Boys best-selling record in a long string of hits, Brian Wilson had begun to construct songs in a modular form, crafting individual sections that would later be edited together to form a coherent whole. In several intense bursts of creative energy, Wilson, drawing on the talents of the finest studio musicians in Los Angeles and utilizing the best studio facilities available on any given day, laid down dozens of musical fragments, all designed to fit together in any number of possible combinations. No one had done this before in pop music, and his next endeavor would be an album-length version of this unique and luxurious songwriting parlance: SMiLE. & lt;br & gt; & lt;br & gt; In 1965, Brian Wilson met an up-and-coming session keyboard player and songwriter, Van Dyke Parks. Noticing Parks' conversational eloquence, Wilson felt that he could help to volley The Beach Boys songwriting into the wave of broader-messaged and socially-conscious rock 'n' roll that would come to define the '60s. They were soon collaborating on keynote songs for SMiLE, including Heroes And Villains, the bands follow-up single to Good Vibrations. Wilson and Parks would also co-write Surf's Up, Vega-Tables, Cabin Essence, Do You Like Worms, Wonderful, Wind Chimes, and other pieces of the SMiLE tapestry. Parks also introduced Frank Holmes to create album sleeve art and a booklet interpreting the albums James Joyce-mode lyrics. & lt;br & gt; & lt;br & gt; The reason SMiLE did not see a release in 1967 had more to do with back room business that obscured the creative side of the program than anything else. In late 1966, The Beach Boys formed Brother Records, initially to produce outside artists. Soon, however, The Beach Boys would become embroiled in a court action with Capitol Records with the goal to become the top-selling artists on their self-owned, independent label. The group withheld Heroes And Villains and announced they would instead release Vega-Tables recorded with the bands own money in April of '67 on Brother Records. By July of 1967, Capitol Records and The Beach Boys had come to terms, with Capitol agreeing to distribute the bands Brother Records, and it was agreed that SMiLE was no longer to be the bands next album. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The most famous unfinished album in rock & amp; roll history... & quot; & lt;/b & gt; - Rolling Stone & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; Double LP & lt;br & gt; Gatefold packaging & lt;br & gt; Drawn from Original Masters & lt;br & gt; Inner sleeve art & lt;br & gt; Lyrics & lt;br & gt; 12 & quot; x 12 & quot; booklet created for the original release & lt;br & gt; Original Mono Mix & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP1 - Side 1: & lt;/b & gt; & lt;br & gt; 1. Our Prayer & lt;br & gt; 2. Gee & lt;br & gt; 3. Heroes and Villains & lt;br & gt; 4. Do You Like Worms (Roll Plymouth Rock) & lt;br & gt; 5. I'm In Great Shape & lt;br & gt; 6. Barnyard & lt;br & gt; 7. My Only Sunshine (The Old Master Painter/You Are My Sunshine) & lt;br & gt; 8. Cabin Essence & lt;br & gt; & lt;b & gt;LP1 - Side 2: & lt;/b & gt; & lt;br & gt; 1. Wonderful & lt;br & gt; 2. Look (Song for Children) & lt;br & gt; 3. Child Is Father Of the Man & lt;br & gt; 4. Surf's Up & lt;br & gt; & lt;br & gt; & lt;b & gt;LP2 - Side 3: & lt;/b & gt; & lt;br & gt; 1. I Wanna Be Around / Workshop & lt;br & gt; 2. Vega-Tables & lt;br & gt; 3. Holidays & lt;br & gt; 4. Wind Chimes & lt;br & gt; 5. The Elements: Fire (Mrs. O'Leary's Cow) & lt;br & gt; 6. Love to Say Dada & lt;br & gt; 7. Good Vibrations & lt;br & gt; & lt;b & gt;LP2 - Side 4: & lt;/b & gt; & lt;br & gt; 1. You're Welcome (stereo mix) & lt;br & gt; 2. Vega-Tables (stereo mix) & lt;br & gt; 3. Wind Chimes (stereo mix) & lt;br & gt; 4. Cabin Essence (Session highlights and stereo backing track) & lt;br & gt; 5. Surf's Up (Session Excerpt and Stereo mix)
Coldplay Mylo Xyloto 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl packaged in a Special Gatefold Die-Cut Jacket with 12 & quot; x 36 & quot; Full-Color Graffiti Poster! Features the smash single & quot;Every Teardrop Is A Waterfall & quot;. & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Coldplay's fifth studio album, Mylo Xyloto (pronounced my-lo zy-letoe) was produced by Markus Dravs, Daniel Green and Rik Simpson with Enoxification and additional composition by Brian Eno. The album is the follow-up to the multi-platinum selling Viva La Vida, which charted at No. 1 in 36 countries, including the U.S. and the U.K. The band has sold more than 50 million records worldwide and won numerous awards including seven Grammy Awards, six Brit Awards and four MTV Video Music Awards. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Coldplay finally surrender to their essential good nature on Mylo Xyloto, their fifth album and first to ditch all pretense of brooding melancholia. Which isnt to say the band doesnt drift along on some pleasingly spacy atmospheres conjured by longtime producer Brian Eno: theres still a veneer of classy disaffection that inevitably dissipates due to the relentless sunniness of Chris Martin and company. Eno's echoes and ambience -- the only things that still mark Coldplay as anything resembling progressive -- positively sparkle when they meet the bands bright, chipper melodies, yet Coldplay's innate good manners restrain the album, keeping it just this side of a rush of candied pop. Such politeness can verge on the dull -- criminally so when they bring Rihanna in for Princess of China, a duet so toothless she may as well have stayed home -- but Mylo Xyloto has a leg up on other Coldplay records for this simple reason: theyre no longer attempting to mimic U2's portentous piety. Theyve embraced their schoolboy selves and are simply singing songs of love and good cheer, albeit on a grand scale that somehow seems smaller due to the groups insuppressible niceness. & quot; & lt;/b & gt; - www.allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; Special Gatefold Die-Cut Jacket & lt;br & gt; 12 & quot; x 36 & quot; Full-Color Graffiti Poster & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Mylo Xyloto & lt;br & gt; 2. Hurts Like Heaven & lt;br & gt; 3. Paradise & lt;br & gt; 4. Charlie Brown & lt;br & gt; 5. Us Against The World & lt;br & gt; 6. M.M.I.X. & lt;br & gt; 7. Every Teardrop Is A Waterfall & lt;br & gt; & lt;b & gt;Side B: & lt;br & gt; & lt;/b & gt; 1. Major Minus & lt;br & gt; 2. U.F.O. & lt;br & gt; 3. Princess Of China & lt;br & gt; 4. Up In Flames & lt;br & gt; 5. A Hopeful Transmission & lt;br & gt; 6. Don't Let It Break Your Heart & lt;br & gt; 7. Up With The Birds
Ryan Adams Ashes & Fire 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Mastered by Doug Sax and Pressed on 180g Vinyl! & lt;br & gt;Features Norah Jones & amp; Mandy Moore! Includes Poster & amp; Download Card! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Ryan Adams releases Ashes & amp; Fire on PAX-AM/Capitol label. This is Adams' first solo album to be released via a new arrangement with his own label, PAX-AM, and EMI's Capitol Records. The album was recorded at Sunset Sound Factory in Hollywood and produced by Glyn Johns, renowned for his work with the likes of The Beatles, Bob Dylan, The Clash, The Who and The Rolling Stones - and whose son Ethan produced previous Adams albums Heartbreaker, Gold and 29. & lt;br & gt; & lt;br & gt; From the slow-burning opening stunner & quot;Dirty Rain & quot; through the infectious shuffle of the title track, to the irresistible harmonies of & quot;Lucky Now & quot; and the closing lament of & quot;I Love You But I Don't Know What To Say & quot;, Ashes & amp; Fire is arguably the most cohesive and beautiful album of Adams' distinguished career. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180 Gram Vinyl & lt;br & gt; Mastered by Doug Sax at the Mastering Lab, CA & lt;br & gt; Gatefold Jacket & lt;br & gt; 12 & quot; x 24 & quot; Poster Insert & lt;br & gt; Limited Time 320kbps mp3 download card for the entire album! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Dirty Rain & lt;br & gt; 2. Ashes & amp; Fire & lt;br & gt; 3. Come Home & lt;br & gt; 4. Rocks & lt;br & gt; 5. Do I Wait & lt;br & gt; 6. Chains Of Love & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Invisible Riverside & lt;br & gt; 2. Save Me & lt;br & gt; 3. Kindness & lt;br & gt; 4. Lucky Now & lt;br & gt; 5. I Love You But I Don't Know What To Say
The Smashing Pumpkins Gish 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Groundbreaking, Iconic Debut Album Remastered & amp; Reissued for the First Time! & lt;br & gt;Includes & quot;I Am One, & quot; & quot;Rhinoceros, & quot; and & quot;Siva & quot; on 180 Gram Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The Smashing Pumpkins have created one of the most acclaimed bodies of work in musical history and have sold over 30 million albums. & lt;br & gt; & lt;br & gt; The Smashing Pumpkins' frontman Billy Corgan has described Gish as a 'very spiritual album'. & lt;br & gt; & lt;br & gt; Gish was recorded in Butch Vig's Smart Studios with a budget of only $20,000. Billy Corgan pushed Vig to making this the best album they could. The inclusion of a massive production style reminiscent of ELO and Queen was unusual for an independent band at the time. Whereas many albums at the time used drum sampling and processing, Gish used unprocessed drum recordings, and an exacting, unique guitar sound. Billy Corgan also performed nearly all the guitar and bass parts on the record. & lt;br & gt; & lt;br & gt; Gish was recorded toward the end of Billy Corgan's psychedelic influence while the band's New Wave roots had almost entirely disappeared. The album introduced more of a hard rock sound and heavy dynamic shifts that would characterize later Smashing Pumpkins work. & lt;br & gt; & lt;br & gt; The album was named after silent film icon Lillian Gish. Apparently, Corgan's grandmother used to tell him that one of the biggest things to happen to her was when Lillian Gish rode through her hometown on a train. Since his grandmother lived in the middle of nowhere, that was a big deal. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180 Gram Vinyl LP & lt;br & gt; Deluxe Shiny Purple Metallic Gatefold Jacket! & lt;br & gt; Audiophile Anti-Static Inner Sleeves & amp; Slip Covers with Complete Lyrics! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; & lt;/b & gt; 1. I Am One & lt;br & gt; 2. Siva & lt;br & gt; 3. Rhinoceros & lt;br & gt; 4. Bury Me & lt;br & gt; 5. Crush & lt;br & gt; 6. Suffer & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Snail & lt;br & gt; 2. Tristessa & lt;br & gt; 3. Window Paine & lt;br & gt; 4. Daydream
The Little Willies For The Good Times 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Stellar Collection on 180 Gram Vinyl of Country Covers By Norah Jones and The Little Willies Includes Music By Dolly Parton, Johnny Cash, Willie Nelson, Loretta Lynn and Kris Kristofferson! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;I love playing country music, & quot; & lt;/b & gt; says Norah Jones. & lt;b & gt; & quot;More than any other genre, it makes me feel at home. & quot; & lt;/b & gt; Over the past 10 years, The Little Willies, a group of friends and like-minded souls - Lee Alexander, Jim Campilongo, Norah Jones, Richard Julian, and Dan Rieser - have periodically gathered to make music for fun, playing their favorite country tunes and conjuring that down-home spirit. With their second album, For the Good Times, The Little Willies take on songs by such masters as Loretta Lynn, Willie Nelson, Johnny Cash and Dolly Parton. The results demonstrate the joy they take, and commitment they make, to a project that was first born for purely practical reasons. & lt;br & gt; & lt;br & gt; Material for this album was taken from the Willies' live repertoire, and by passing around ideas drawn from disparate sources. The selections include more surprising choices, like the trucker classic & quot;Diesel Smoke, Dangerous Curves & quot; and & quot;Foul Owl on the Prowl & quot;, from the soundtrack to In the Heat Of the Night. Alongside the more obscure songs, though, For The Good Times also includes some of the best-known songs in the history of country music, like Dolly Parton's & quot;Jolene & quot; and the title track, written by Kris Kristofferson and made famous by such singers as Ray Price and Al Green. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180 Gram Vinyl & lt;br & gt; Mastered by Greg Calbi at Sterling Sound & lt;br & gt; Gatefold Jacket & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Norah Jones, vocals, piano & lt;br & gt; Richard Julian, acoustic guitar, vocals & lt;br & gt; Jim Campilongo, electric and acoustic guitars, background vocals & lt;br & gt; Lee Alexander, bass, background vocals & lt;br & gt; Dan Rieser, drums, background vocals & lt;br & gt; Rob Moose, strings on & quot;Jolene & quot; & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;br & gt; & lt;/b & gt; 1. I Worship You & lt;br & gt; 2. Remember Me & lt;br & gt; 3. Diesel Smoke, Dangerous Curves & lt;br & gt; 4. Lovesick Blues & lt;br & gt; 5. Tommy Rockwood & lt;br & gt; 6. Fist City & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Permanently Lonely & lt;br & gt; 2. Foul Owl On the Prowl & lt;br & gt; 3. Wide Open Road & lt;br & gt; 4. For the Good Times & lt;br & gt; 5. If You've Got the Money I've Got the Time & lt;br & gt; 6. Jolene
Norah Jones ...Little Broken Hearts 180g 2LP (White Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Pressed on Limited Edition 180 Gram Weight White Double Vinyl! Mastered at Sterling Sound by Greg Calbi! & lt;br & gt;Grammy Award Winning Artist Norah Jones' 5th Solo Album! Featuring & quot;Happy Pills & quot;. & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Norah Jones' album Little Broken Hearts is a stunning album produced by Danger Mouse (aka Brian Burton). The 12-song set features original songs co-written by Jones and Burton. & lt;br & gt; & lt;br & gt; Jones drew the inspiration for the album cover from the vintage movie posters that adorn Burtons Los Angeles studio. Brian has this great collection of Russ Meyer posters in his studio, explains Jones, and this particular one, called Mudhoney, was right over the couch where I sat every day. I always was looking at it and thinking thats so cool I want to look like her! I remember staring at the poster the whole time we made the record. Its a great visual. & quot; & lt;br & gt; & lt;br & gt; Little Broken Hearts is the fascinating next step in the artistic evolution of one of the music worlds most consistently intriguing singer-songwriters. Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described moody little record that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 Grammy Awards and signaling a paradigm shift away from the prevailing synthetic pop music of the time. Come Away With Me has become the #10 best-selling album of the Soundscan era. The album has sold 25 million copies worldwide. & lt;br & gt; & lt;br & gt; Since then, Jones has released three more critically acclaimed and commercially successful solo albumsFeels Like Home (2004), Not Too Late (2007), and The Fall (2009)as well as two albums with her country collective The Little Willies. The 2010 compilation ...Featuring Norah Jones showed her to possess an incredibly versatile voice by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Jones previously collaborated with Danger Mouse on his acclaimed 2011 album ROME, a valentine to classic Italian film score music that also featured Jack White. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Double White Vinyl & lt;br & gt; Mastered by Greg Calbi at Sterling Sound & lt;br & gt; Gatefold Jacket & lt;br & gt; Includes Code for Digital Download of Entire Album & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Norah Jones, vocals, bass guitar, Fender Rhodes, guitar, acoustic guitar, electric guitar, organ, piano, wurlitzer & lt;br & gt; Brian Burton & quot;Danger Mouse & quot;, bass guitar, drums, acoustic guitar, electric guitar, organ, percussion, piano, string arrangements, synthesizer & lt;br & gt; Blake Mills, acoustic guitar, electric guitar & lt;br & gt; Gus Seyffert, electric guitar, bass guitar & lt;br & gt; Joey Waronker, drums, percussion & lt;br & gt; Heather McIntosh, bass guitar, cello, cello arrangement & lt;br & gt; The Sonus Quartet, strings & lt;br & gt; Dan Elkan, electric guitar & lt;br & gt; Jonathan Hischke, bass guitar & lt;br & gt; Todd Monfalcone, electric guitar. engineering & lt;br & gt; Kennie Takahashi, engineering, mixing & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP1 - Side A: & lt;/b & gt; & lt;br & gt; 1. Good Morning & lt;br & gt; 2. Say Goodbye & lt;br & gt; 3. Little Broken Hearts & lt;br & gt; & lt;b & gt;LP1 - Side B: & lt;/b & gt; & lt;br & gt; 1. She's 22 & lt;br & gt; 2. Take It Back & lt;br & gt; 3. After The Fall & lt;br & gt; & lt;b & gt;LP2 - Side C: & lt;/b & gt; & lt;br & gt; 1. 4 Broken Hearts & lt;br & gt; 2. Travelin' On & lt;br & gt; 3. Out On The Road & lt;br & gt; & lt;b & gt;LP2 - Side D: & lt;/b & gt; & lt;br & gt; 1. Happy Pills & lt;br & gt; 2. Miriam & lt;br & gt; 3. All A Dream
The Beastie Boys Hello Nasty 180g 2LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Faithfully Restored Audiophile Remastered Edition Pressed on 180 Gram Vinyl and Packaged in a Glossy, Full-Color Gatefold Jacket! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The group's fifth studio album, originally release in 1998, sold 681,000 copies in its first week and debuted at #1 on the Billboard 200 album sales chart. Hello Nasty earned the boys two awards at the 1999 Grammys; Best Alternative Music Album and Best Rap Performance by a Duo or Group (Intergalactic). & lt;br & gt; & lt;br & gt; On their previous album, Ill Communication, the Beastie Boys expanded their parameters yet again, melding cutting-edge hip-hop with slinky jazz, butt-wiggling funk, weepy classical, and combustive punk rock. Four years down the line, the group's music isn't nearly as organic. They've all but abandoned the guitars and returned to the kind of old-school beats and rhythms that defined their groundbreaking 1989 disc, Paul's Boutique. & lt;br & gt; & lt;br & gt; (On Hello Nasty, the Beastie Boys) show that--though they've grown up, matured, and just gotten older - they're still in touch with the inner brat that always made them so much fun. Turns out that the brat's turned into an ace record collector with choice taste in collaborators, too. - Randy Silver & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; Remastered Edition & lt;br & gt; 180 Gram Vinyl & lt;br & gt; Audiophile Quality & lt;br & gt; Faithfully Restored & lt;br & gt; Glossy, Full-Color Gatefold Jacket & lt;br & gt; Double LP & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP1 - Side A: & lt;/b & gt; & lt;br & gt; 1. Super Disco Breakin' & lt;br & gt; 2. The Move & lt;br & gt; 3. Remote Control & lt;br & gt; 4. Song for the Man & lt;br & gt; 5. Just a Test & lt;br & gt; 6. Body Movin' & lt;br & gt; & lt;b & gt;LP1 - Side B: & lt;/b & gt; & lt;br & gt; 7. Intergalactic & lt;br & gt; 8. Sneakin' Out the Hospital & lt;br & gt; 9. Putting Shame in Your Game & lt;br & gt; 10. Flowin' Prose & lt;br & gt; 11. And Me & lt;br & gt; 12. Three MC's and One DJ & lt;br & gt; & lt;b & gt;LP2 - Side C: & lt;br & gt; & lt;/b & gt; 13. The Grasshopper Unit (Keep Movin') & lt;br & gt; 14. Song for Junior & lt;br & gt; 15. I Don't Know & lt;br & gt; 16. The Negotiation Limerick File & lt;br & gt; 17. Electrify & lt;br & gt; & lt;b & gt;LP2 - Side D: & lt;br & gt; & lt;/b & gt; 18. Picture This & lt;br & gt; 19. Unite & lt;br & gt; 20. Dedication & lt;br & gt; 21. Dr. Lee, PhD & lt;br & gt; 22. Instant Death
The Beatles Beatles For Sale 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Their fourth album, released in December of 1964, produced the hit single & quot;Eight Days a Week & quot;. & lt;br & gt; & lt;br & gt; The wait is finally over, The Beatles catalog is getting the audiophile treatment! 180 Gram Vinyl Pressings Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;THE BEATLES ACCLAIMED STUDIO ALBUM REMASTERS ON 180-GRAM VINYL: & lt;/b & gt; & lt;br & gt; Pressed on 180-Gram, Audiophile Quality Vinyl with replicated artwork, The Beatles 14 albums return to their original glory! No detail was spared, including the poster in The Beatles (The White Album), the Sgt. Peppers Lonely Heart Club Bands cutouts, and special inner bags for some of the titles. & lt;b & gt;Each album is available individually, or as a & lt;a href= & quot;/THE-BEATLES-STEREO-VINYL-BOX-SET-180g-16LP/productinfo/EMILPB33809/ & quot; & gt; & lt;b & gt; & lt;font color= & quot;#0000FF & quot; & gt;Stereo Box Set & lt;/font & gt; & lt;/b & gt; & lt;/a & gt; which is accompanied by a stunning, elegantly designed 252-page hardbound book housed in a lavish box which is limited to 50,000 copies worldwide! & lt;/b & gt; & lt;br & gt; & lt;br & gt; The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12x12 book showcases a wealth of photographs spanning The Beatles recording career, including many images which were not included in the 2009 CD booklets. & lt;br & gt; & lt;br & gt; The titles include The Beatles 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the groups core catalogue, and Past Masters, Volumes One & amp; Two, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles first four albums make their North American stereo vinyl debuts. In 2013, the remastered albums will make their mono vinyl debuts. & lt;br & gt; & lt;br & gt; Since it was recorded, The Beatles music has been heard on a variety of formats from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We play records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music. & lt;br & gt; & lt;br & gt; When The Beatles albums were first released, the listener enjoyed a tangible relationship with the music in the grooves of a record. There was an emotional connection to the artifact carrying the sound, and this bond was strengthened by the LP sleeve. Rather than a merely functional object to protect the disc, it was elevated to a stylish accessory. Certainly, the cover of a Beatles album conveyed a message about the music it was wrapped around. For example, the dominant orange and brown hues and elongated faces on the front of Rubber Soul seem to embody the sound of the record. With the advent of the cassette tape in the seventies and the compact disc in the 1980s, album artwork was reduced in size and importance, losing much of its charm. That is partly why vinyl LPs have not, as predicted, been discarded. & lt;br & gt; & lt;br & gt; None of that would really matter, were it not for the enduring power of The Beatles music. In September, 2009, The Beatles remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation. & lt;br & gt; & lt;br & gt; For producer Rick Rubin, surveying The Beatles recorded achievements is akin to witnessing a miracle. If we look at it by todays standards, whoever the most popular bands in the world are, they will typically put out an album every four years, Rubin said in a 2009 radio series interview. So, lets say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it cant be done. Truthfully, I think of it as proof of God, because its beyond mans ability. & lt;br & gt; & lt;br & gt; & lt;b & gt;REMASTERING THE BEATLES ORIGINAL STUDIO ALBUMS FOR VINYL: & lt;/b & gt; & lt;br & gt; There has always been demand for The Beatles albums on vinyl. Indeed, 2011s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMIs Abbey Road Studios should create new versions of The Beatles vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the idea was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple. & lt;br & gt; & lt;br & gt; The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl. & lt;br & gt; & lt;br & gt; A blind listening test was arranged to choose between a lacquer or copper cut. Using both methods, A Hard Days Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having blank discs of a consistent quality when cutting lacquers. & lt;br & gt; & lt;br & gt; The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the & lt;b & gt;24-bit Digital Masters Sourced from the Original Analog Master Tapes & lt;/b & gt; rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone limiting - a procedure to increase the sound level, which is deemed necessary for most current pop CDs. & lt;br & gt; & lt;br & gt; Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any sibilant episodes - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of inner-groove distortion was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a mushy sound particularly noticeable on vocals. Using what Magee has described as surgical EQ, problem frequencies were identified and reduced in level to compensate for this. & lt;br & gt; & lt;br & gt; The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. & lt;b & gt; In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli. & lt;/b & gt; & lt;br & gt; & lt;br & gt; An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the lock-groove at the end of side two of Sgt. Peppers Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP. & lt;br & gt; & lt;br & gt; & lt;b & gt;Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. & lt;/b & gt; All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Available for the First Time on 180 Gram Vinyl & lt;br & gt; Cut at Abbey Road Studios using the Non-Limited 24-bit Digital Masters Sourced from the Original Analog Master Tapes! & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. No Reply & lt;br & gt; 2. I'm A Loser & lt;br & gt; 3. Baby's In Black & lt;br & gt; 4. Rock And Roll Music & lt;br & gt; 5. I'll Follow The Sun & lt;br & gt; 6. Mr. Moonlight & lt;br & gt; 7. Kansas City : Hey-Hey-Hey-Hey! & lt;br & gt; 8. Eight Days A Week & lt;br & gt; 9. Words Of Love & lt;br & gt; 10. Honey Don't & lt;br & gt; 11. Every Little Thing & lt;br & gt; 13. What You're Doing & lt;br & gt; 14. Everybody's Trying To Be My Baby
