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Holst/The Planets 180g LP (Vinyl)

& lt;img src= & quot;/content/images/hpssuperdisclistlogo.jpg & quot; vspace= & quot;5 & quot; & gt; & lt;br & gt; & lt;b & gt;The Absolute Sound 40th Anniversary Best Sounding Music! & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Vinyl! TAS Recommended! & lt;br & gt;Rated a 'Best Audiophile Label Recording' in the November 2009 issue of The Absolute Sound! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Zubin Mehta and the Los Angeles Philharmonic Orchestra with the Los Angeles Chorale (female section), Roger Wagner, music director. A rather late-model (1971) London release that continually adorns most critical and audiophile & quot;greatest & quot; lists. Begun in 1914 and debuting in 1919, this piece is considered Gustav Holst's pinnacle work. It's rich and extravagant scoreing pushes the orchestra under Mehta's knowledgeable skill, instilling visions of each planet in the solar system. The recording is clear and transparent, reminiscent of the London/Decca golden recording period. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180 Gram Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Los Angeles Philharmonic Orchestra & lt;br & gt; Zubin Mehta, conductor & lt;br & gt; Los Angeles Master Chorale (Female voices of) & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Gustav Holst (1874-1934) & lt;br & gt; The Planets - Suite & lt;/b & gt; & lt;br & gt; 1. I Mars, the Bringer of War - Allegro & lt;br & gt; 2. II Venus, the Bringer of Peace - Adagio & lt;br & gt; 3. III Mercury, the Winged Messenger - Vivace & lt;br & gt; 4. IV Jupiter, the Bringer of Jollity - Allegro giocoso & lt;br & gt; 5. V Saturn, the Bringer of Old Age - Adagio & lt;br & gt; 6. VI Uranus, the Magician - Allegro & lt;br & gt; 7. VII Neptune, the Mystic - Andante

Harry Nilsson Aerial Ballet 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl! High Quality Pressing! & lt;br & gt; 100% Analogue! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; To define in a nutshell the music of Harry Nilsson in accordance with his personality can easily become a fiasco. The American singer-songwriter might well share his reputation as a multi-talented eccentric with a number of other musicians. However, his highly unusual style and his & lt;b & gt; & quot;satirical catchy pop songs [composed] with the sparkling eye of a cynic and the tearful eye of a nostalgic & quot; & lt;/b & gt; (rororo Rock Lexicon) cannot be pigeonholed. Nilsson packaged derisive lines, spiced with a pinch of self-irony, in suspiciously pleasing yet carefully selected tunes. His cultivated and astonishingly supple voice basked to the full in bittersweet phrases, aided by elaborate, melting, slushy arrangements with strings and winds. Several of the wonderfully fresh numbers from & quot;Aerial Ballet & quot; reached top places in the charts. & quot;Everybody’s Talkin’ & quot; became world-famous through its use in the film Asphalt Cowboy and brought Nilsson his first Grammy award. The song & quot;One & quot; soared to the top ten of the charts. The other light and airy songs now invite you to create your very own hit list. Every single number makes great listening! & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Interesting, then, that the band most credited for dramatically reshaping pop music saw in Nilsson a kindred spirit. Perhaps that's because the Beatles recognized that, as mind-blowing as Sgt. Pepper originally seemed, its music hall stylings, old-fashioned horn charts, baroque pope, and chiseled songcraft were right up Nilsson's alley. And if at times Nilsson is under the Fab Four's spell - tracks like & quot;One & quot; and & quot;Mr. Tinker & quot; clearly evoke songs like & quot;Eleanor Rigby & quot; and & quot;She's Leaving Home & quot; - in some ways Aerial Ballet seemed to prefigure the less ornate White Album. & quot; & lt;/b & gt; - Jeff Wilson, & lt;i & gt;The Absolute Sound, & lt;/i & gt; July/August 2017 & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Good Old Desk & lt;br & gt; 2. Don't Leave Me & lt;br & gt; 3. Mr. Richland's Favorite Song & lt;br & gt; 4. Little Cowboy & lt;br & gt; 5. Together & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 1. Everybody's Talkin' & lt;br & gt; 2. I Said Goodbye To Me & lt;br & gt; 3. Little Cowboy & lt;br & gt; 4. Mr. Tinker & lt;br & gt; 5. One & lt;br & gt; 6. The Wailing Of The Willow & lt;br & gt; 7. Bath & lt;br & gt; & lt;br & gt; Recorded 1967 and 1968 at RCA Victor's Music Center of The World, Hollywood.

Shostakovich Concerto for Cello & Symphony No. 1 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! Pressed at Pallas Germany! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; That every beginning has its magic may almost have become forgotten these days, when true world premieres of musical works are almost non-existent. But this special magic still remains in the present recording of Shostakovich’s Cello Concerto No. 1, which was first heard with these artists in 1959. Shostakovich dedicated the work to his friend Mstislav Rostropovich who committed the virtuoso solo part to memory in only four days, before the concert took place. The cellist tackles the work dauntlessly right from the beginning and swirls the burlesque staccatos through space. With a lovely sound and quite in accordance with the title of the movement, & quot;Espressivo & quot;, the soloist lets the melody breathe, supported by wonderfully sonorous orchestral writing, answered by calls on the solo horn. & lt;br & gt; & lt;br & gt; The Finale makes itself heard with a robust inflection, which the soloist counters with an imperturbable steadfastness of rhythm that not only demands refinement but also playing in the top regions and double-stopped harmonics. & lt;br & gt; & lt;br & gt; That this recording is indisputably a work of reference is underlined by its coupling with the First Symphony, which is well worth listening to. Shostakovich composed this work as his graduation piece at the Leningrad Conservatory more than 30 years earlier. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording & lt;br & gt; • Made from the original, analogue mastertapes & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; • Faithful reproduction of original artwork and labels & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Mstislav Rostropovich, cello (Concerto for Cello) & lt;br & gt; Philadelphia Orchestra & lt;br & gt; Eugene Ormandy, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Dmitri Shostakovich (1906-1975) & lt;br & gt; Concerto for Cello in E Flat, Op. 107 & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. First Movement & lt;br & gt; 2. Second Movement & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; Symphony No. 1 in F Major, Op. 10 & lt;br & gt; & lt;br & gt; Recorded November 1959 at Broadwood Hotel, Philadelphia.

Santana Borboletta 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; After some hot live performances and subversive jaunts made in the aftershock of Woodstock, Santana and his band entered the calm atmosphere of the recording studio to make their sixth album. Taking a look at the blue butterfly on the LP cover, it wasn’t surprising that purist Santana fans scented that the music in this particular garden would be more gentle and cultivated than the previous hard-rock sound. But one thing after another: in attune with semi natural sounds, the 'Canto De Los Flores' swings along to dabbed figures on the Rhodes piano and waves of multi-cultural drumming. & lt;br & gt; & lt;br & gt; The drama continues with & quot;Life Is Anew & quot; – a powerfully arranged ballad, followed by a highly emotional rock number ( & quot;Give And Take & quot;). This takes us to where Santana feels most at home – & quot;Promise Of A Fisherman & quot; with its velvety, wonderfully expansive guitar sound. By now, at the latest, the listener joins the sensitive outdoorsman on his chase after the butterfly named & quot;Borboletta & quot; with a wealth of gorgeous sounds. Don’t hesitate to capture this rare specimen for your collection! & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Spring Manifestations & lt;br & gt; 2. Canto de los Flores & lt;br & gt; 3. Life Is Anew & lt;br & gt; 4. Give and Take & lt;br & gt; 5. One With the Sun & lt;br & gt; 6. Aspirations & lt;br & gt; 7. Practice What You Preach & lt;br & gt; 8. Mirage & lt;br & gt; 9. Here and Now & lt;br & gt; 10. Flor de Canela & lt;br & gt; 11. Promise of a Fisherman & lt;br & gt; 12. Borboletta & lt;br & gt; & lt;br & gt; Recorded in 1974 by Glen Kolotkin

The Alan Parsons Project Eye In The Sky 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Audiophile Vinyl! Pressed at Pallas in Germany! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Worth it for the opening cut alone. Remember the Chicago Bulls in Jordan's heyday? They'd introduce the Bulls with the lights turned out (back before every team did that) and this song, & quot;Sirius, & quot; blaring. Even if you weren't a fan, you couldn't help but have goose bumps. But you've never heard that tune sound like this! & lt;br & gt; & lt;br & gt; Alan Parsons, who first took up an apprenticeship as a sound engineer at EMI and was later responsible for several Paul McCartney productions and the Pink Floyd album Dark Side of the Moon at the legendary Abbey Road Studios, drew upon his experience in order to further his solo career. While the co-producer Eric Woolfson wrote the songs, Parsons – who had an uncanny feeling for sound – conjured up a lush mélange of synthetic and natural sounds. & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; • 180g Vinyl & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Sirius & lt;br & gt; 2. Eye In The Sky & lt;br & gt; 3. Children Of The Moon & lt;br & gt; 4. Gemini & lt;br & gt; 5. Silence And I & lt;br & gt; 6. You're Gonna Get Your Fingers Burned & lt;br & gt; 7. Psychobabble & lt;br & gt; 8. Mammagamma & lt;br & gt; 9. Step By Step & lt;br & gt; 10. Old And Wise

Santana & John McLaughlin Love Devotion Surrender 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; For some, & quot;Love Devotion Surrender & quot; is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of & quot;Love Supreme, & quot; Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition & quot;Naima & quot; is performed in a flowing and inspired manner by the duo on their acoustic guitars. & lt;br & gt; & lt;br & gt; The arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song & quot;Let Us Go Into The House, & quot; they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful. & quot; & lt;/b & gt; -Thom Jurek, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1 & lt;/b & gt; & lt;br & gt; 1. A Love Supreme & lt;br & gt; 2. Naima & lt;br & gt; 3. The Life Divine & lt;br & gt; & lt;b & gt;Side 2 & lt;/b & gt; & lt;br & gt; 4. Let Us Go into the House of the Lord & lt;br & gt; 5. Meditation

Charles Lloyd Forest Flower (At Monterey) 180g LP (Vinyl)

& lt;b & gt;Michael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 24/100! & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Michael Fremer Rated 10/11 Music, 9/11 Sonics! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; It was a clever move by George Avakian, producer at Atlantic Records, to record live the Charles Lloyd Quartet during their appearance in Monterey, and to release the LP under the title & quot;Forest Flower & quot;. Although the hippy flower-power movement tended towards a rather different musical genre at the end of the Sixties, they were blown away by this music. The four artists attracted masses of people and ensured that every seat was taken and all standing room filled at jazz festivals such as Newport, Molde (Norway), Antibes (France) and the Fillmore East and West. The super group also appeared in Monterey, 120 Km south of San Francisco, the centre of the hippy movement, on September 18, 1966. & lt;br & gt; & lt;br & gt; On the LP we have the almost 18-minute-long title piece and the standard work & quot;East Of The Sun & quot;, which were recorded at the festival. The disc is complemented by a Keith Jarrett composition and one by Cecil McBee, both of which were recorded in the studio ten days before the festival. & lt;br & gt; & lt;br & gt; Of particular note is the rich interplay, the energy that is palpable throughout, the perfect harmony in each and every change of mood, and the intensity. Even 50 years later, it is quite clear that Charles Lloyd managed to break down the barriers between pop and jazz. Charles Lloyd is committed to this objective to this very day! All four musicians are still active, although they no longer appear together as a group. Such a special treat for the ears is offered by this newly mastered LP. & lt;br & gt; & lt;br & gt; Recording: September 1966 live at Monterey Jazz Festival by Wally Heider & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Kevin Gray's cut is far superior to my original Atlantic pressing, which despite all of the Dual 1009SK/Shure V15 plays, remains quiet and fully extended on top. However, this reissue is far more dynamic and far better EQ'd, especially in the far more transparent midrange that also manages to well convey the outdoor space. & lt;br & gt; & lt;br & gt; & quot;This is so easy to recommend for the music, the sound for its being reissued just in time for the 50th anniversary of the & quot;Summer of Love & quot; and for every other reason real and invented. Highly recommended! & quot; & lt;/b & gt; - Michael Fremer, & lt;i & gt; Analog Planet & lt;/i & gt;, June 2017 & lt;br & gt; & lt;br & gt; & lt;blockquote cite= & quot;www.analogplanet.com & quot; & gt; Everything worked here, including the album's graphic layout and Jim Marshall's cover photography. It was my, and my college roomates' 'go-to' weekend album: we'd assemble Friday afternoon, unbury from the garage our illegal stash, roll and smoke one and then to chill out, listen to Forest Flower. This Speakers Corner reissue cut from the original tape by Kevin Gray sounds better than my treasured original pressing. & lt;footer & gt; -Michael Fremer, Analog Planet's Best Reissues of the Decade, March 2020 & lt;/footer & gt; & lt;/blockquote & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; 180g High Quality Vinyl & lt;br & gt; & amp;bull; Pure Analogue Audiophile Mastering & lt;br & gt; & amp;bull; Gatefold Jacket & lt;br & gt; & amp;bull; AAA Recording & lt;br & gt; & amp;bull; Audiophile Mastering By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Charles Lloyd, tenor saxophone, flute & lt;br & gt; Keith Jarrett, piano & lt;br & gt; Cecil McBee, bass & lt;br & gt; Jack DeJohnette, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Forest Flower - Sunrise & lt;br & gt; 2. Forest Flower - Sunset & lt;br & gt; 3. Sorcery & lt;br & gt; 4. Song of Her & lt;br & gt; 5. East of the Sun

Aretha Franklin Aretha Live At Fillmore West 180g Speakers Corner LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Live recordings come up with extremely different results: most of them land in the rubbish bin, some of them are available as bootleg copies when a star's career has ended and are passed on conspiratorially from one excited collector to another. Only a very few conserve real spirit and sheer enthusiasm, which no arranger or sound mixer can conjure up in the studio. But even more sensational was Aretha Franklin's guest appearance at the Fillmore West, the legendary concert hall in San Francisco, which closed down shortly afterwards. Everyone knew who was going to perform, and yet everything was quite different on these three nights in the spring of 1971: her usual show band was left behind in Detroit and she appeared with King Curtis and The Kingpins - one of the most impressive bands around - accompanied by the trailblazers Cornel Dupree, and Bernard Purdie. The Memphis Horns, a fantastic horn section, blast away in the background, their keen as a razor backing rising up to soaring heights. From Billy Preston's fingertips on the organ flows an aura of spiritual energy and Ray Charles, who by chance (but how fortuitous) was among the audience also got his appearance in the telling title & quot;Spirit In the Dark & quot;. No words need be lost about the queen on the cover. For without the superb albums of the late Sixties, Aretha Franklin would never have become the USA's first sister of soul nor would she have appeared in the Fillmore West. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Cut By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Aretha Franklin & lt;br & gt; Ray Charles & lt;br & gt; King Curtis & lt;br & gt; Billy Preston & lt;br & gt; Truman Thomas & lt;br & gt; Cornell Dupree & lt;br & gt; Jerry Jemmot & lt;br & gt; Bernard Purdie & lt;br & gt; Pancho Morales & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Respect & lt;br & gt; 2. Love The One You're With & lt;br & gt; 3. Bridge Over Troubled Water & lt;br & gt; 4. Eleanor Rigby & lt;br & gt; 5. Make It With You & lt;br & gt; 6. Don't Play That Song & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Dr. Feelgood & lt;br & gt; 2. Spirit In The Dark & lt;br & gt; 3. Spirit In The Dark (Reprise with Ray Charles) & lt;br & gt; 4. Reach Out and Touch (Somebody's Hand) & lt;br & gt; & lt;br & gt; Recorded February 1975 live at Fillmore West, San Francisco.

Aretha Franklin Aretha with the Ray Bryant Combo 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Vinyl! & lt;br & gt; 100% Analogue! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; As is well known, early relationships are not always blessed, and it is certainly no secret that the collaboration between Aretha Franklin and Columbia’s record producer John H. Hammond did not last long. Hammond’s later attempts to candy Franklin’s irrepressible natural voice with sugary arrangements and studio gimmicks did not go down well with the public. On the first Franklin disc from Columbia, however, it was honeymoon all the way. With a successful mix of pop and jazz standards, the super talent – Aretha had just turned 18 years old – brought her vocal chords to vibrate. Fired on with youthful élan, these evergreens sound so fresh, new and intoxicating that the question of their genre is quite irrelevant. From a seesawing R & amp;B ( & quot;Won’t Be Long & quot;) via bell-like waves of melody ( & quot;Over The Rainbow & quot;) right up to the freely styled, jazzy Gershwin classic & quot;It Ain’t Necessarily So & quot; – everything is right there! The Ray Bryant Trio – augmented with winds – proves itself a formidable ensemble with true presence yet unobtrusive accompaniment. If you compare the mature performances of Aretha Franklin in her subsequent years with Atlantic (Atlantic SD7205), you will soon recognize that the later 'First Lady of Soul' was in full command of her profession right from the very beginning. & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • 100% Analogue & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Aretha Franklin, vocals, piano & lt;br & gt; Quentin Jackson, trombone & lt;br & gt; Tyree Glenn, trombone & lt;br & gt; Al Sears, tenor saxophone & lt;br & gt; Ray Bryant, piano & lt;br & gt; Lord Westbrook, guitar & lt;br & gt; Skeeter Best, guitar & lt;br & gt; Milt Hinton, bass & lt;br & gt; Bill Lee, bass & lt;br & gt; Belton Evans, drums & lt;br & gt; Sticks Evans, drums & lt;br & gt; Osie Johnson, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Won't Be Long & lt;br & gt; 2. Over The Rainbow & lt;br & gt; 3. Love Is The Only Thing & lt;br & gt; 4. Sweet Lover & lt;br & gt; 5. All Night Long & lt;br & gt; 6. Who Needs You? & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Right Now & lt;br & gt; 2. Are You Sure & lt;br & gt; 3. Maybe I'm A Fool & lt;br & gt; 4. It Ain't Necessarily So & lt;br & gt; 5. By Myself & lt;br & gt; 6. Today I Sing The Blues

Thelonious Monk It's Monk's Time 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Michael Fremer Rated 8/10 Music, 8/10 Sonics! & lt;br & gt; & lt;br & gt;180 Gram Virgin Vinyl! For All Jazz Fans! The High Priest of Be-Bop! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; With its three compositions by Thelonious Monk, one might call this LP from 1964 “3 Standards and 3 Monks”. The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skillful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk’s solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering. & lt;br & gt; & lt;br & gt; Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball – most especially if you put this super disc with the promising title & quot;It’s Monks Time & quot; on your turntable! & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Although often unrightfully maligned by self-proclaimed & quot;purists, & quot; Thelonious Monk did some brilliant work during his early- to mid-'60s stint for Columbia Records. It's Monk's Time (1964) contains some of the best -- if not arguably the best -- studio sides that the pianist cut during his final years as a recording musician. The album's title turned out to be somewhat prophetic, as Time magazine featured Monk as the cover subject for its February 28, 1964, edition...From four sessions in early 1964, It's Monk's Time gathers four quartet and two solo sides, presenting the pinnacle of what these musicians offered stylistically as well as from the standpoint of presentation. There is sense of mischievous playfulness in Monk's nimble keyboard work, especially notable on the beautifully off-kilter unaccompanied opening to & quot;Lulu's Back in Town, & quot; and the same practically impish quality also drives the solo performance on & quot;Nice Work if You Can Get It. & quot; Both pop standards are prime examples of the bop pioneer's inimitable approach to arranging, and also provide an uncanny insight to his influences. Immediately evident are the styles of stride legends from the well-known Willie & quot;The Lion & quot; Smith and James P. Johnson to the slightly more obscure and decidedly frenetic playing of Cliff Jackson, as well as the ragtime approach of Walter L. Rose. The results are bound together in Monk's arithmetically advanced delivery and harmonic composition. The combo -- especially Rouse -- effectively supports and punctuates the tricky timing of & quot;Stuffy Turkey & quot; and the more aggressive bop of & quot;Brake's Sake. & quot; The latter title also unleashes some tasty interaction between Monk and Rouse, sonically exemplifying their practically single-minded synergy. The concluding cut, & quot;Shuffle Boil, & quot; is one of the lost gems of the artist's later work. It sports an effortless swing over a sophisticated and challenging melodic structure. Bassist Warren steps up to the plate, providing a supple and pulsating bed for both Monk and Rouse as they trade solos. & quot; & lt;/b & gt; - Lindsay Planer, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;This is as close as jazz comes to rock'n'roll in my opinion: it's muscular, straight to the point (within the bounds of Monk's rhythmic madness/genius) and gets the toe tapping and the blood flowing. I don't think jazz offers more fun listening than Monk. & quot; & lt;/b & gt;- Michael Fremer, www.analogplanet.com, Music 8/10, Sound 8/10! & lt;br & gt; & lt;br & gt; Recording: January - March 1964 & lt;br & gt; Production: Teo Macero & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Thelonious Monk, piano & lt;br & gt; Charlie Rouse, tenor saxophone & lt;br & gt; Butch Warren, bass & lt;br & gt; Ben Riley, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. Lulu's Back In Town & lt;br & gt; 2. Memories of You & lt;br & gt; 3. Stuffy Turkey & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. Brake's Sake & lt;br & gt; 2. Nice Work If You Can Get It & lt;br & gt; 3. Shuffle Boil

Blue Oyster Cult Secret Treaties 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl Reissue Features & quot;Career Of Evil, & quot; & quot;Subhuman & quot; and & quot;Astronomy! & quot; & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Back in the days of hard rock and surrounded by fierce competitors with such great names as the Doors, Black Sabbath and the Rolling Stones, a band had to attract attention with far more than histrionic pathos, biker boogie, an adept lead guitarist and a sharp-tongued singer. The band Blue Öyster Cult, founded on Long Island in 1971, possessed all this and much more, relating short scenarios in their lyrics, which conjured up people’s imagination. Rolling Stone magazine enthused that it was & quot;like listenin’ to Hitchcock and Kubrick swap stories about their wet dreams & quot;, and that the group & quot;mix aesthetics and ass-kicking rock to such good advantage & quot;. & lt;br & gt; & lt;br & gt; In their third studio album & quot;Secret Treaties & quot;, BÖC reached the pinnacle of their musical evolution with such memorable songs as & quot;Career Of Evil & quot;, & quot;Subhuman & quot; and & quot;Astronomy & quot;. The lyrics have literary value but are certainly not intended for sensitive souls – the phrases are direct and intentionally drily articulated. The music is as blatant and extroverted as the lyrics: the guitar sound is steely and straightforward, occasionally padded out with a see-sawing Hammond groove, and topped again and again by wonderfully rough string solos that speak the language of hard, merciless and full-bodied rock. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Donald (Buck Dharma) Roeser, lead guitar, vocals & lt;br & gt; Eric Bloom, lead vocals, keyboards, stun guitar & lt;br & gt; Albert Bouchard, drums, vocals & lt;br & gt; Joe Bouchard, bass, vocals & lt;br & gt; Alan Lanier, keyboards, rhythm guitar, all synthesizers & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Career of Evil & lt;br & gt; 2. Subhuman & lt;br & gt; 3. Dominance and Submission & lt;br & gt; 4. ME 262 & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Cagey Cretins & lt;br & gt; 2. Harvester of Eyes & lt;br & gt; 3. Flaming Telepaths & lt;br & gt; 4. Astronomy & lt;br & gt; & lt;br & gt; Recording: 1974 by Tim Geelan and Jerry Smith & lt;br & gt; Production: Murray Krugman and Sandy Pearlman

Miles Davis 'Round About Midnight 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt;Featured in Michael Fremer's Heavy Rotation in the April 2009 Issue of Stereophile! Pressed at Pallas in Germany! & lt;/font & gt; & lt;br & gt; & lt;br & gt; In 1955, Miles Davis signed with jazz powerhouse Columbia Records and immediately began recording 'Round About Midnight. Although he was still under contract with Prestige Records, an agreement stipulated that he could record material for Columbia, to be released after the expiration of his contract with Prestige. & lt;br & gt; & lt;br & gt; 'Round About Midnight was the first recording with Davis's new quintet, composed of Philly Joe Jones on drums, Paul Chambers on bass, Red Garland on piano, and a young John Coltrane on tenor sax. Featuring standards like Bye Bye Blackbird and the title track 'Round Midnight, this record is considered by some to be one of the pinnacles of the hard bop era. & lt;br & gt; & lt;br & gt; For a seasoned veteran or a jazz newcomer, this record represents the origins of post-bop modern jazz and is an absolute necessity for any vinyl collection. & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; • High Qulity Audiophile Mastered 180g Virgin Vinyl & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Miles Davis, trumpet & lt;br & gt; John Coltrane, tenor sax & lt;br & gt; Philly Joe Jones, drums & lt;br & gt; Paul Chambers, bass & lt;br & gt; Red Garland, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. 'Round Midnight & lt;br & gt; 2. Ah-Leu-Cha & lt;br & gt; 3. All of You & lt;br & gt; 4. Bye Bye Blackbird & lt;br & gt; 5. Tadd's Delight & lt;br & gt; 6. Dear Old Stockholm

Lena Horne Lovely and Alive 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! & lt;br & gt; Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Grammy Nominated (1962) & lt;br & gt; • Best Solo Vocal Performance, Female & lt;/font & gt; & lt;br & gt; & lt;br & gt; This Grammy-nominated 1962 album features trumpeter Jack Sheldon and arrangements by Marty Paich...and of course the velvety vocals from songstress Lena Horne. & lt;br & gt; & lt;br & gt; Singing actors and actresses do not always cut a good figure on the silver screen; play-acting singers, however, are all the better when they draw attention to themselves with great vocals. As did Lena Horne in the days of the black-and-white film, who, with her sultry, versatile voice, was constantly employed by Hollywood. Although she occasionally ventured into the world of jazz, and made music with Teddy Wilson and Benny Carter, she never forayed into the wide world of improvisation. Her musical home was in the American Songbook, which she approached with a natural and entertaining manner. A good example of this is the first number here – the Cole Porter classic & quot;I Concentrate On You & quot;, which swings along to the perfectly recorded big-band sound of the Marty Paich Orchestra. A surprise element is the extensive palette of vocal sound-colouring with which the diva enhances her voice to achieve the drama of a Shirley Bassey or the dusky depths of a Dinah Washington. Each and every number on this Grammy-worthy album has been thought out in great detail and guarantees sophisticated entertainment, and a hint of West Coast jazz is perceptible when Jack Sheldon treats us to the sound of his warm and dark trumpet solos. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Lena Horne, vocals & lt;br & gt; Jack Sheldon, trumpet & lt;br & gt; Marty Paich Orchestra & lt;br & gt; Marty Paich, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. I Concentrate On You & lt;br & gt; 2. I Get the Blues When It Rains & lt;br & gt; 3. I've Grown Accustomed To His Face & lt;br & gt; 4. I Got Rhythm & lt;br & gt; 5. I'm Confessin' (That I Love You) & lt;br & gt; 6. I Want To Be Happy & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 7. I Surrender, Dear & lt;br & gt; 8. I've Found A New Baby & lt;br & gt; 9. I Understand & lt;br & gt; 10. I Let A Song Go Out of My Heart & lt;br & gt; 11. I Ain't Got Nobody (And Nobody Cares For Me) & lt;br & gt; 12. I Only Have Eyes For You

Stravinsky Les Noces (The Wedding) & Renard 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Although ten years separate the gigantic composition & quot;Le Sacre du Printemps & quot; and the dance cantata & quot;Les Noces & quot;, the more recent work has several things in common with its scandalous predecessor. Originally Stravinsky planned to use a vast orchestra of 150 musicians, but decided after numerous attempts to settle for four pianos, percussion, voices and mixed chorus. Concealed behind the innocuous title is not a peasant wedding but once again an archaic ritual, & quot;which takes possession of several of the central figures, drives them on and eventually crushes them with its unrelenting movement & quot; (André Boucourechliev, Igor Stravinski, Fayard 1982). Ballet, rhythmic dance through and through, fuses with Russian melodic song and thereby exudes a folkloristic exoticism. & lt;br & gt; & lt;br & gt; Rarely performed yet zestful and a sheer delight for the ears is the burlesque tale & quot;Renard & quot;, a musical fable about Reynard the crafty Fox, the Cock, the Cat, and the Ram. & lt;br & gt; & lt;br & gt; Stravinsky himself conducted this recording made with a grand line-up of America’s top composers at the piano keyboard – Samuel Barber, Lukas Foss, Aaron Copland and Roger Sessions. One certainly can’t ask for more authenticity on record than these contemporary witnesses. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording & lt;br & gt; • Audiophile Mastering By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Samuel Barber, piano & lt;br & gt; Aaron Copland, piano & lt;br & gt; Lukas Foss, piano & lt;br & gt; Roger Sessions, piano & lt;br & gt; Mildred Allen, soprano & lt;br & gt; Regina Sarfaty, mezzo-soprano & lt;br & gt; Loren Driscoll, tenor & lt;br & gt; Robert Oliver, bass & lt;br & gt; The American Concert Choir with Margaret Hillis as director & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Igor Stravinsky (1882-1971) & lt;/b & gt; & lt;br & gt; 1. Les Noces (The Wedding) & lt;br & gt; 2. Renard (The Fox) & lt;br & gt; 3. Ragtime for Eleven Instruments & lt;br & gt; & lt;br & gt; Recording: September 1962 at American Legion Hall, Hollywood, and January 1962 at Manhatten Center, New York, by Edwin Michalski

Antonio Carlos Jobim Stone Flower 180g LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Around the year 1970, almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. Adventurous musicians such as Luis Bonfa, Baden Powell, Charly Byrd, João and Astrud Gilberto, and the saxophonist Stan Getz lent fire and sentiment to the “new trend.” First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song & quot;Desafinado & quot; and the genial & quot;One Note Samba & quot; were heard all over the globe. & lt;br & gt; & lt;br & gt; That the man from Ipanema still had a lot to say is proved by the present album, which presents Jobim’s creativity at the height of his maturity. Right from the very first number, where Urbie Green on the trombone 'sings' & quot;Tereza My Love & quot; so purely in the top register, it is clear that the late bossa with its typical rhythm is structurally far more refined than the early hot dance numbers. The melodies are woven through, as it were, with shining gold and silver threads of rhythm, and clusters of sound are light and airy. However, here and there, the musicians let their hair down, such as in the Latin classic & quot;Brazil. & quot; & lt;br & gt; & lt;br & gt; With that magician of sound Deodato as arranger and conductor, and Rudy van Gelder as recording engineer, this LP is certainly a Bossa masterpiece. There’s no more to be said! & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;...Stone Flower is quite simply one of his most quietly stunning works...simply brilliant, a velvety, late-night snapshot of Jobim at his peak. & quot; & lt;/b & gt; -Thom Jurek, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Gatefold Jacket & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Brazil & lt;br & gt; 2. Stone Flower & lt;br & gt; 3. God And The Devil In The Land Of The Sun & lt;br & gt; 4. Sabia & lt;br & gt; 5. Choro & lt;br & gt; 6. Andorinha & lt;br & gt; 7. Amparo & lt;br & gt; 8. Children's Games & lt;br & gt; 9. Tereza My Love

Stravinsky Le Sacre du Printemps 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl! High Quality Pressing! & lt;br & gt; Pure Analogue Audiophile Mastering & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Antal Dorati conducts the Minneapolis Symphony Orchestra for Stravinsky's Le Sacre Du Printemps. & lt;br & gt; & lt;br & gt; While he was finishing the score of & quot;The Firebird & quot;, the idea came to Stravinsky for a pagan, ritual scenario. The background history of & quot;Le Sacre du printemps & quot; is well known: while the modernists praised the work, the conservative public thought they were being hoaxed. The reason for their irritation and the scandalous fiasco of the premiere is still audible to this day. Stravinsky carries the aggressive, hammering rhythms to the extreme, casting them in atonal harmonies which feed on the alternation between a & quot;red-hot and a mild mixture & quot;, as Stravinsky put it. & lt;br & gt; & lt;br & gt; Dorati urges on his ensemble with robust tempi, and the orchestra is quick to respond to all the refinements of the tightly knit movement. It appears to cope effortlessly with the extremes of contrast and manages to amalgamate the rhythmic excesses with the tenderness of the numerous tiny motifs and figures which seem to sprout like flowers out of hard rock. The excellent recording technique captures both the extreme loudness and the finely pulsating tones, resulting in a sound in which no detail goes unheard. The listener can be sure that this Stravinsky deserves the rating 'excellent' – both for the interpretation and for the sound & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Minneapolis Symphony Orchestra & lt;br & gt; Antal Dorati, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Igor Stravinsky (1882-1971) & lt;br & gt; Le Sacre du Printemps & lt;br & gt; Side A: & lt;br & gt; Part I: The Adoratinon of the Earth & lt;br & gt; & lt;/b & gt;1. Harbingers of Spring & lt;br & gt; 2. Dance of the Adolescents & lt;br & gt; 3. The Mock Abduction & lt;br & gt; 4. The Spring Rounds & lt;b & gt; & lt;br & gt; & lt;br & gt; Side B: & lt;br & gt; Part II: The Sacrifice & lt;br & gt; & lt;/b & gt;1. Mystical Circles of the Adolescents & lt;br & gt; 2. Glorification of the Chosen One & lt;br & gt; 3. Sacrificial Dance & lt;br & gt; & lt;br & gt; Recorded November 1959 at the Northrop Memorial Auditorium, Minnesota

Duke Ellington & His Orchestra Piano In the Background 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Big band fans, take note! These nine numbers belong in every collection. We are talking about the year 1960, and the 17 musicians involved have probably performed this very repertoire every night in a different venue all over the globe. But in the studio it all sounds fresh and new, well practiced but never dull, cool, groovy and intoxicating. The difference to a great number of other Ellington LPs is that here not a single wind soloist stands in the foreground but the whole body of musicians. The arrangements are all new and some of them are even quite unusual, but Sam Woodyard on the drums has everything well under control - sometimes not at all 'Ellington-like'. & lt;br & gt; & lt;br & gt; Snapping the fingers is automatic, and tapping your foot is also not to be frowned on; however this recording demands careful listening! If you have the first version of these numbers in your collection then it would be a good idea to compare them with this recording. The Duke Ellington Orchestra remains young, dynamic and varied thanks to a continually changing ensemble. And the 'Piano Man', as the best 'pause-filling' pianist ironically called himself, sat full of vigour before the 88 keys of the keyboard at the age of 60. & lt;br & gt; & lt;br & gt; Not only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound. & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Duke Ellington, piano & lt;br & gt; Ray Nance, trumpet & lt;br & gt; Willie Cook, trumpet & lt;br & gt; Andres Meringuito, trumpet & lt;br & gt; Eddy Mullins, trumpet & lt;br & gt; Gerald Wilson, trumpet & lt;br & gt; Lawrence Brown, trombone & lt;br & gt; Britt Woodman, trombone & lt;br & gt; & quot;Booty & quot; Wood, trombone & lt;br & gt; Juan Tizol, trombone & lt;br & gt; Johnny Hodges, saxophone & lt;br & gt; Harry Carney, saxophone & lt;br & gt; Paul Gonzalves, saxophone & lt;br & gt; Jimmy Hamilton, saxophone & lt;br & gt; Russell Procope, saxophone & lt;br & gt; Aaron Bell, bass & lt;br & gt; Sam Woodyard, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. Happy Go Lucky Local & lt;br & gt; 2. What Am I Here For & lt;br & gt; 3. Kinda Dukish / Rockin' In Rhythm & lt;br & gt; 4. Perdido & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. I'm Beginning To See The Light & lt;br & gt; 2. Midriff & lt;br & gt; 3. It Don't Mean A Thing & lt;br & gt; 4. Main Stem & lt;br & gt; 5. Take The & quot;A & quot; Train

Elvis Presley Elvis' Golden Records 180g LP (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Compilation of Hit Songs By the King Released on High Quality Pure Analogue 180g Virgin Vinyl LP! & amp;nbsp; & amp;nbsp; Audiophile Remastering! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & quot;Have we got the lot? & quot; The King of Rock 'n' Roll certainly didn't need to ask whether his entourage had collected together all their favorite hits. They had gathered them all together - a collection of & quot;Golden Records & quot;, rather like a selection box of favorite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles. This was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can’t go wrong here. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue & lt;br & gt; • Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Hound Dog & lt;br & gt; 2. Loving You (with The Jordanaires) & lt;br & gt; 3. All Shook Up (with The Jordanaires) & lt;br & gt; 4. Heartbreak Hotel & lt;br & gt; 5. Jailhouse Rock & lt;br & gt; 6. Love Me & lt;br & gt; 7. Too Much (with The Jordanaires) & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 8. Don't Be Cruel & lt;br & gt; 9. That's When Your Heartaches Begin (with The Jordanaires) & lt;br & gt; 10. Teddy Bear (with The Jordanaires) & lt;br & gt; 11. Love Me Tender & lt;br & gt; 12. Treat Me Nice & lt;br & gt; 13. Anyway You Want Me (That's How I Will Be) & lt;br & gt; 14. I Want You, I Need You, I Love You

Chet Baker Chet Is Back! 180g LP Speakers Corner (Vinyl)

After a two year absence from the studio (most of that time spent in an Italian jail) Chet's return could not have been more triumphant. He quiets all notions that he is a & quot;has been & quot; with his fiery delivery as he swings with a great Italian band. His version of & quot;Rainbow & quot; is one of the prettiest things you'll ever hear. This is arguably his best recording of the 1960's. & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Chet Baker, trumpet, vocals & lt;br & gt; Bobby Jaspar, flute, tenor sax & lt;br & gt; Rene Thomas, guitar & lt;br & gt; Daniel Humair, drums & lt;br & gt; Benoit Quersin, bass & lt;br & gt; Amadeo Tommasi, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Well, You Needn’t & lt;br & gt; 2. These Foolish Things & lt;br & gt; 3. Barbados & lt;br & gt; 4. Star Eyes & lt;br & gt; 5. Over The Rainbow & lt;br & gt; 6. Pent Up House & lt;br & gt; 7. Ballata In Forma Di Blues & lt;br & gt; 8. Blues In The Closet

Earth, Wind & Fire Spirit 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl! High Quality Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The wise saying & quot;spiritus ubi vult spirat & quot; ( & quot;the spirit blows where it wills & quot;) is interpreted by Earth, Wind & amp; Fire with impressive clarity. Gentle sounds and modest gestures are foreign to the colorful Afro group, who in their live performances welded together ancient Egyptian Pharaonic mysticism with urban street life. That this spirit, which is found in the LP title and blows all the way through it, was guaranteed not only by the exuberant wind section in the group’s early years. With regard to rhythm, too, the band rolls out almost everything to pave the floor with powerful disco patterns, not forgetting the elegant and finely controlled falsetto, which adds further pep. Out of all this came the highly cultivated and expressive vocals as in & quot;Imagine & quot;, carefully balanced ballads ( & quot;Burnin’ Bush & quot;), as well as a powerful sound that is so good for dancing to, as in the memorable number & quot;Saturday Nite & quot;. An extremely wide range of musical genres was brought together by Earth, Wind & amp; Fire in a big-band sound that is & lt;b & gt; & quot;innovative yet popular, precise yet sensual, calculated yet galvanizing & quot; & lt;/b & gt; - (Rolling Stone Magazine). & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Getaway & lt;br & gt; 2. On Your Face & lt;br & gt; 3. Imagination & lt;br & gt; 4. Spirit & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 1. Saturday Nite & lt;br & gt; 2. Earth, Wind & amp; Fire & lt;br & gt; 3. Departure & lt;br & gt; 4. Biyo & lt;br & gt; 5. Burnin' Bush & lt;br & gt; & lt;br & gt; Recorded in 1976 at Wally Heider Studio 3, Burbank Studios, Hollywood Sound Recorders and Westlake Audio

Schubert Complete Trios For Piano, Violin & Cello 180g 2LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Anyone who takes an interest in Schubert's late works will sooner or later come across cliché-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert's two great Piano Trios: he characterized that in E flat Major as effectual, masculine and dramatic, and the sister work in B flat Major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes. That this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound coloring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters. & lt;br & gt; & lt;br & gt; Having taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording from the Beaux Arts Trio. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Double LP & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Beaux Arts Trio & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Franz Schubert (1797-1828) & lt;/b & gt; & lt;br & gt; 1. Piano Trio in B flat Major & quot;Sonata & quot; & lt;br & gt; 2. Piano Trio in E flat Major, Op. 148 & quot;Notturno & quot; & lt;br & gt; 3. Piano Trio in B flat Major, Op. 99 & lt;br & gt; 4. Piano Trio in E flat Major, Op. 100

Delaney & Bonnie & Friends To Bonnie From Delaney 180g LP (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;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! Pressed at Pallas Germany! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The married couple and musical duo Delaney & amp; Bonnie (Bramlett) ignited critics, fans and famous musical colleagues to veritable bursts of exultation. Mick Jagger of the Rolling Stones talked matter-of-factly of & quot;convincing white gospel song & quot;, while Eric Clapton regarded the duo as the & quot;best pop band in the world & quot;. Clapton’s enthusiasm went so far that he invited the pair to accompany him on a peaceful tour of Europe and was booed by German fans because he stood in the background as a mere accompanist and did not play any solos. The master of the guitar may have had good reasons for staying out of the limelight, if one is to believe the Chicago Daily News, who declared that Delaney & amp; Bonnie were better than Aretha Franklin and Ray Charles together. & lt;br & gt; & lt;br & gt; Indeed the combined voices in the arrangements are so closely knit that there is not a millimetre of space between the singer and backing. In & quot;Hard Luck And Troubles & quot;, a dry cantankerous groove, the vocals cling to a sinewy bass line, criss-crossed by short chords on the organ. Gospel is celebrated spiritually, yet not too much so, in a rocking, rhythmic and dense interplay between the soloist and chorus. And what is more: the great ballad, hovering above a vibrating carpet of sound on the organ ( & quot;The Love Of My Man & quot;) and crisp, firm winds ( & quot;Alone Together & quot;) are included in this exquisite collection of great and even great songs. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording & lt;br & gt; • Made from the original, analogue mastertapes & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; • Faithful reproduction of original artwork and labels & lt;br & gt; • Gatefold jacket & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Bonnie Bramlett, vocals & lt;br & gt; Delaney Bramlett, rhythm guitar, vocals & lt;br & gt; Duane Allman, slide guitar & lt;br & gt; Ben Benay, lead guitar (A6, B3-4) & lt;br & gt; Charlie Freeman, lead guitar (A1-5, B1-2, B5-6) & lt;br & gt; Jerry Jumonville, alto sax (A6, B3-4) & lt;br & gt; Frank Mayes, tenor sax (A6, B3-4) & lt;br & gt; Darrell Leonard, trumpet, trombone (A6, B3-4) & lt;br & gt; Jim Gordon, piano, organ (A6, B3-4) & lt;br & gt; Kenny Gradney, bass (A6, B3-4) & lt;br & gt; Chuck Morgan, drums (A6, B3-4) & lt;br & gt; King Curtis, tenor sax solo (A6) & lt;br & gt; Jim Dickinson, piano (A1-5, B1-2, B5-6) & lt;br & gt; Bobby Whitlock, organ, vocals (A1-5, B1-2, B5-6) & lt;br & gt; Tom McClure, bass (A1-5, B1-2, B5-6) & lt;br & gt; Jerry Scheff, bass (A1-5, B1-2, B5-6) & lt;br & gt; Ron Tutt, drums (A1-5, B1-2, B5-6) & lt;br & gt; Sammy Creason, drums (A1-5, B1-2, B5-6) & lt;br & gt; Andrew Love, tenor sax (A1-5, B1-2, B5-6) & lt;br & gt; Ed Logan, tenor sax (A1-5, B1-2, B5-6) & lt;br & gt; Floyd Newman, baritone sax (A1-5, B1-2, B5-6) & lt;br & gt; Wayne Jackson, trumpet (A1-5, B1-2, B5-6) & lt;br & gt; Jack Hale, trombone (A1-5, B1-2, B5-6) & lt;br & gt; Sam Clayton, congas (A1-5, B1-2, B5-6) & lt;br & gt; Alan Estes, percussion (A1-5, B1-2, B5-6) & lt;br & gt; Little Richard, piano (B2) & lt;br & gt; Mike Utley, piano (A3) & lt;br & gt; Sneeky Pete, steel guitar (A2) & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Hard Luck And Troubles & lt;br & gt; 2. God Knows I Love You & lt;br & gt; 3. Lay Down My Burden & lt;br & gt; 4. Medley: Come On In My Kitchen / Mama, He Treats Your Daughter Mean / Going Down The Road Feeling Bad & lt;br & gt; 5. The Love Of My Man & lt;br & gt; 6. They Call It Rock & amp; Roll Music & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Soul Shake & lt;br & gt; 2. Miss Ann & lt;br & gt; 3. Alone Together & lt;br & gt; 4. Living On The Open Road & lt;br & gt; 5. Let Me Be Your Man & lt;br & gt; 6. Free The People

Mozart Eine Kleine Nachtmusik 180g LP (Vinyl)

180 Gram Virgin Vinyl! High Quality Pressing! Mozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death. From what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl Münchinger proves that this favourite can be imbued with significance. The historical roots of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, Münchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun. This LP is distinguished by its musical and tonal balance and is one of Decca’s best sound recordings. Features:• 180 Gram Virgin Vinyl• High Quality Pressing• Pure Analogue Audiophile MasteringMusicians: Stuttgart Chamber OrchestraKarl Muchinger, conductorSelections: Wolfgang Amadeus Mozart (1756 - 1791)Eine Kleine Nachtmusik 1. Allegro2. Romance (Andante)3. Menuetto and Trio (Allegretto)4. Rondo (Allegro)Divertimento No. 1 in D Major K.136 5. Allegro6. Andante7. PrestoA Musical Joke K522 8. Allegro9. Menuetto - (maestoso) Trio10. Adagio cantabile11. Presto

Janos Starker Mendelssohn & Chopin Cello Sonatas 180g LP (Vinyl)

Any release by Janos Starker is eagerly awaited by record collectors the world over. The New York Times pinpointed the reason: & quot;The clue to his appeal as a concert performer is a melding of poet, virtuoso and thinker, that fascinating mixture of fire and ice in his playing. & quot; He is accompanied here by his childhood friend and longtime collaborator, Gyorgy Sebok, in elegant and magical performances. & lt;br & gt; & lt;br & gt; More magician than cellist, Janos Starker manipulates his instrument as if it were the easiest in the world instead of, as many musicians believe, the most difficult. & lt;br & gt; & lt;br & gt; & lt;b & gt; Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Audiophile Mastering & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Janos Starker, cello & lt;br & gt; Gyorgy Sebok, piano & lt;br & gt; & lt;br & gt; & lt;b & gt; Selections: & lt;br & gt; Felix Mendelssohn (1809-1847) & lt;br & gt; Cello Sonata in D Major, Op. 58 & lt;br & gt; & lt;/b & gt; for Violoncello and Piano & lt;br & gt; & lt;br & gt; & lt;b & gt; Frédéric Chopin (1810-1849) & lt;br & gt; Cello Sonata in g minor, Op. 65 & lt;br & gt; & lt;/b & gt; for Violoncello and Piano

Shorty Rogers The Wizard Of Oz And Other Harold Arlen Songs 180g LP (Mono) (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Out Of Print! Only 1 copy left! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Special Note: Contrary to what the cover artwork implies, this is a Mono Recording. & lt;/b & gt; & lt;br & gt; & lt;br & gt; Shorty Rogers was one of the principal creators of West Coast jazz. He played both the trumpet and flugelhorn, and was in demand for his skills as an arranger. He began as a bugler with the Furriers Post of Jewish War Veterans Boy Scout drum and bugle corps in The Bronx, New York. He played with a number of big bands in the late 1940s, and arranged for Woody Herman, later going to Stan Kenton and His Orchestra. Eventually, he formed a jazz group, The Giants, and recorded a number of albums for RCA Victor. He composed music for the avant-garde UPA cartoons featuring Dr. Seuss (Theodore Geisel) and Stan Freberg, while continuing to arrange and perform many pop and jazz recordings. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;All of trumpeter/arranger Shorty Rogers' recordings from the 1950s (which were quite influential on both arrangers and cool-toned soloists) are well worth searching for... On the first side, Rogers and his Orchestra (which includes such fine soloists as Jimmy Giuffre on clarinet and tenor, valve trombonist Bob Enevoldsen, altoists Bud Shank and Herb Geller, guitarist Barney Kessel and pianist Pete Jolly) perform five familiar songs from Oz, plus 'The Jitterbug,' which did not make it into the final cut. This date is rounded out by fresh versions of five of Arlen's most famous songs, including 'Get Happy,' 'Blues In the Night' and 'That Old Black Magic.' Wonderful music. & quot; & lt;/b & gt; - Scott Yanow, allmusic.com, Rated 4/5 Stars & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • Mono Reissue (Stereo Artwork used) & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Shorty Rogers, trumpet & lt;br & gt; Giants Orchestra & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. We're Off To See The Wizard & lt;br & gt; 2. Over the Rainbow & lt;br & gt; 3. The Jitterbug & lt;br & gt; 4. The Merry Old Land of Oz & lt;br & gt; 5. If I Only Had a Brain & lt;br & gt; 6. Ding Dong! The Witch Is Dead & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 7. My Shining Hour & lt;br & gt; 8. Get Happy & lt;br & gt; 9. Blues In The Night & lt;br & gt; 10. Let's Fall In Love & lt;br & gt; 11. That Old Black Magic

Gershwin Rhapsody In Blue & An American In Paris 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in short space of around 15 minutes. In his & quot;Rhapsody In Blue & quot;, Gershwin wanted to & quot;paint a musical kaleidoscope of America - our enormous melting pot, our typical national traits, our blues, our seething city life & quot;. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version, with the Columbia Symphony from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and maneuvers his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiseled solo playing. In Gershwin's freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word. & lt;br & gt; & lt;br & gt; Most fittingly, on the B side, there is another freely composed work - the autobiographical sketch entitled An American in Paris. The superb New York Philharmonic paint the impressions of a visitor to the hectic French capital city - that too is the sound of America. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; New York Philharmonic on & quot;An American In Paris & quot; & lt;br & gt; The Columbia Symphony on & quot;Rhapsody In Blue & quot; & lt;br & gt; Leonard Bernstein, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; George Gershwin (1898-1937) & lt;/b & gt; & lt;br & gt; 1. Rhapsody In Blue & lt;br & gt; 2. An American In Paris & lt;br & gt; & lt;br & gt; Recorded June 1959 and December 1958 at St. George Hotel, Brooklyn, New York.

Johnny Cash At San Quentin 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;TAS Recommended! Rated a 'Best Audiophile Label Recording' in the November 2009 issue of The Absolute Sound! Pressed at Pallas in Germany! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Featured in Michael Fremer's Heavy Rotation in the September 2008 Issue of Stereophile! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Johnny Cash was a country legend even during his lifetime, although, or perhaps because, he was very different from the numerous country singers with checkered shirts. When performing he chose to wear black as a symbol of solidarity with the oppressed and those who had no rights. His chosen outlaw image was just as convincing as the train-like boom-tiddy-boom sound of his rhythm group who lent their typical sound to many of his 500 songs. At the very zenith of his career, Cash (who himself had committed a few minor offenses) had the idea of singing and playing for the bad guys behind the prison walls for nothing. Initially his suggestion to market the live recording was rejected, but finally his record company decided to release the album At Folsom Prison. Fired by the success of his jailhouse recording, Columbia Records released At San Quentin shortly afterwards. The recording, in which Cash and his combo were frequently applauded more or less at the end of each verse, exceeded all expectations. Today it is still considered by Cash fans to be the best live recording by the & quot;man in black.' & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180 Gram Audiophile Vinyl & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; & lt;br & gt; & lt;b & gt; Selections: & lt;/b & gt; & lt;br & gt; 1. Wanted Man & lt;br & gt; 2. Wreck Of The Old 97 & lt;br & gt; 3. I Walk The Line & lt;br & gt; 4. Darling Companion & lt;br & gt; 5. Starkville City Jail & lt;br & gt; 6. San Quentin & lt;br & gt; 7. San Quentin & lt;br & gt; 8. A Boy Named Sue & lt;br & gt; 9. Folsom Prison Blues

Jocelyn B. Smith Pure & Natural Numbered Limited Edition 180g D2D LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Numbered, Limited Edition 180g Vinyl Direct To Disc Mastered at Emil Berliner Studios! & lt;br & gt;Cut By Maarten de Boer and Pressed At Pallas! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The musicians are absolute experts in their field: take first the legendary saxophonist Volker Schlott who was very famous in the Berlin jazz scene of the '70s and '80s when the city still belonged to the German Democratic Republic. And then you have the extremely versatile pianist Bene Apperdanier, who – as musical director of such talent-spotting TV programmes as “Star Search” and “Deutschland sucht den Superstar” ( & quot;Germany searches for a superstar”) – possesses a wealth of experience in music. Ame Jansens rocks with his mix of technical brilliance and wild, improvised musical abandonment. Heiko Jung, a real sparkling diamond of the German music industry, makes great use of his experience in the areas of jazz, funk and soul to round up the ensemble as a drummer. And if Heiko is a diamond, then Markus Runzheimer is definitely a bombshell. Quiet and modest, until he reaches for his bass, but then truly explosive beats are let loose with a vengeance. With all these amazingly talented musicians Smith succeeds in becoming totally professional and, thanks to her 'live band' concept, creates a sound that is extraordinarily sophisticated and, more importantly, thereby reveals a true love of art. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • Numbered, Limited Edition & lt;br & gt; • Direct To Disc (D2D) & lt;br & gt; • 180g Vinyl & lt;br & gt; • Recorded and Mastered at Emil Berliner Studios & lt;br & gt; • Vinyl cut by Maarten de Boer & lt;br & gt; • Pressed at Pallas GmbH & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Jocelyn B. Smith, vocals, piano & lt;br & gt; Volker Schlott, flute, saxophone, accordion & lt;br & gt; Markus Runzheimer, bass & lt;br & gt; Arne Jansen, guitar & lt;br & gt; Bene Aperdannier, keyboards & lt;br & gt; Heiko Jung, drums & lt;br & gt; Nadine Kuhn, backing vocals & lt;br & gt; Stefanie Mikus, backing vocals & lt;br & gt; Marce Sadlowski, backing vocals & lt;br & gt; Johanna Amelie Storck, backing vocals & lt;br & gt; BiBi Vongehr, backing vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. The Liar & lt;br & gt; 2. Choose To Change & lt;br & gt; 3. Blue (Hoochie Coochie Woman) & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Letter & lt;br & gt; 2. Summertime & lt;br & gt; 3. Move On Up & lt;br & gt; & lt;br & gt; Recorded May 2, 2011 at Emil Berliner Studios, Studio 1 by Tim Tautorat and Maarten de Boer.

Harry Belafonte Belafonte At Carnegie Hall The Complete Concert 180g 2LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Double LP Pressing! & lt;/b & gt; & lt;br & gt; & lt;br & gt;This item not eligible for any further discount offers! & lt;/font & gt; & lt;br & gt; & lt;br & gt; To perform in Carnegie Hall must surely be the greatest ambition of every artist, regardless of his or her style of music. But it also presents an enormous challenge, because on such an evening 'good' isn’t good enough. The artist is not merely expected to perform to his or her usual high standard – the evening must be exceptional. Harry Belafonte, the charismatic and highly experienced performer, certainly managed to fulfill such expectations, as is testified to by the present double album, which has retained its place as a best-seller at the top of the charts over many years. & lt;br & gt; & lt;br & gt; This performance contains three acts, as it were: Afro-American moods, Caribbean songs and excursions into music of the world. Belafonte is in top form and celebrates an exciting, sparkling festival of song, including spontaneous comic interludes, which arise from direct interaction with his enthralled and enthusiastic audience. He is brilliantly supported by Bob Corman and his 47-man orchestra, an ensemble which is reduced to a small combo when the maestro raises his husky voice. It goes without saying that all the favorites are there such as & quot;Jamaica Farewell & quot;, & quot;Day-O & quot; and & quot;Mama Look A Boo Boo & quot;, making this Carnegie Hall event one of the most mesmerizing live performances of all time, which captures the essence of the performer in his prime (All Music Guide). With this double album you too can sit in the audience and enjoy this great event. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The granddaddy of all live albums, this double-LP set captured the excitement of a Harry Belafonte concert at the height of his popularity. Sampled from two consecutive performances of identical material, Belafonte at Carnegie Hall was an anomaly at a time when only comedy albums were recorded outside of the studio environment. It wasn't the first live album ever made, but it was certainly the first to be a major financial and artistic success. It stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs... & quot; & lt;/b & gt;- allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • Double LP & lt;br & gt; • High quality pressing & lt;br & gt; • Pure analogue audiophile mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Harry Belafonte, vocals & lt;br & gt; Millard Thomas, guitar & lt;br & gt; Raphael Boguslav, guitar & lt;br & gt; Norman Keenan, bass & lt;br & gt; Danny Barrajanos, percussion & lt;br & gt; Orchestra (47-man) & lt;br & gt; Robert Corman, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP 1 - Side 1: & lt;/b & gt; & lt;br & gt; 1. Introduction & lt;br & gt; 2. Darlin' Cora & lt;br & gt; 3. Sylvie & lt;br & gt; 4. Cotton Fields & lt;br & gt; 5. John Henry & lt;br & gt; 6. Take My Mother Home & lt;br & gt; & lt;b & gt;LP 1 - Side 2: & lt;/b & gt; & lt;br & gt; 1. The Marching Saints & lt;br & gt; 2. Day-O & lt;br & gt; 3. Jamaica Farewell & lt;br & gt; 4. Man Piaba & lt;br & gt; 5. All My Trials & lt;br & gt; & lt;br & gt; & lt;b & gt;LP 2 - Side 3: & lt;/b & gt; & lt;br & gt; 1. Mama Look A Boo Boo & lt;br & gt; 2. Come Back Liza & lt;br & gt; 3. Man Smart (Woman Smarter) & lt;br & gt; 4. Hava Nageela & lt;br & gt; 5. Danny Boy & lt;br & gt; 6. Merci Bon Dieu & lt;br & gt; & lt;b & gt;LP 2 - Side 4: & lt;/b & gt; & lt;br & gt; 1. Cu Cu Ru Cu Cu Paloma & lt;br & gt; 2. Shenandoah & lt;br & gt; 3. Matilda & lt;br & gt; & lt;br & gt; Recording: April 1959 live at Carnegie Hall, New York, by Bob Simpson

Joan Sutherland The Art of The Prima Donna 180g 2LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Double Virgin Vinyl! La Stupenda! Elegant, Subtle Colorings and Expressive Nuances! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The & quot;Art of the Prima Donna & quot; stands out like a shining star in the firmament of virtuoso song repertoire and the world of grand opera. And this double LP pays homage to this cult. It is of little importance that the majority of the divas who are praised in the cover text celebrated their success long before the days of the phonograph and that therefore no recordings of them exist. After all, Joan Sutherland with her wonderfully supple and artistically flexible soprano voice is more than compensation, and she gives us an idea of how these works would have sounded in the salons of the 18th and 19th century. & lt;br & gt; & lt;br & gt; Joan Sutherland is wonderfully British in her poised rendering of the opening work, Thomas Arne's coloratura aria The Soldier Tir'd, and in Handel's jubilatory Let the Bright Seraphim. But she earned her honorary title & quot;La Stupenda & quot; by singing Italian repertoire. With utmost ease, agility and remarkable clarity in the top register, her voice gets right to the heart of bel canto. One of the most exquisite and beautiful roles is demonstrated in the demanding aria Casta Diva from Bellini's Norma, here sung in the original key. How lucky we are not to have to imagine how this great singer might have sounded, but can listen to her amazing voice over and over again. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Ms. Sutherland’s singing was founded on astonishing technique. Her voice was evenly produced throughout an enormous range, from a low G to effortless flights above high C. She could spin lyrical phrases with elegant legato, subtle colorings and expressive nuances. Her sound was warm, vibrant and resonant, without any forcing. & quot; & lt;/b & gt; - Anthony Tommasini, The New York Times & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • Double LP & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Joan Sutherland & lt;br & gt; Royal Opera House Orchestra & amp; Chorus & lt;br & gt; Francesco Molinari-Pradelli & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Arias from: & lt;br & gt; Thomas Arne & lt;/b & gt; & lt;br & gt; 1. Artaxerxes & lt;br & gt; 2. The Soldier Tir'd & lt;br & gt; & lt;b & gt;Georg Friedrich Handel & lt;/b & gt; & lt;br & gt; 3. Samson & lt;br & gt; 4. Let the Bright Seraphim & lt;br & gt; & lt;b & gt;Vincenzo Bellini & lt;/b & gt; & lt;br & gt; 5. Norma & lt;br & gt; 6. Recit. and Aria Casta Diva & lt;br & gt; 7. I Puritani & lt;br & gt; 8. Polonaise, Son vergin vezzosa / Qui la voce & lt;br & gt; 9. La Sonnambula & lt;br & gt; 10. Recit. and Aria Come per me sereno & lt;br & gt; & lt;b & gt;Gioachino Rossini & lt;/b & gt; & lt;br & gt; 11. Semiramide & lt;br & gt; 12. Bel raggio lusinghier & lt;br & gt; & lt;b & gt;Charles Gounod & lt;/b & gt; & lt;br & gt; 13. Faust & lt;br & gt; 14. Ah! Je ris de me voir si belle & quot;Jewel Song & quot; & lt;br & gt; 15. Romeo et Juliette & lt;br & gt; 16. Je veux vivre dans le reve & quot;Waltz Song & quot; & lt;br & gt; & lt;b & gt;Giuseppe Verdi & lt;/b & gt; & lt;br & gt; 17. Otello & lt;br & gt; 18. Piangea cantando & quot;Willow Song & quot; & lt;br & gt; 19. La Traviata & lt;br & gt; 20. Ah, fors e lui, Sempre libera & lt;br & gt; 21. Rigoletto & lt;br & gt; 22. Recit. and Aria Caro nome & lt;br & gt; & lt;b & gt;Ambroise Thomas & lt;/b & gt; & lt;br & gt; 23. Hamlet & lt;br & gt; 24. A vos jeux & quot;Mad Scene & quot; & lt;br & gt; & lt;b & gt;Leo Delibes & lt;/b & gt; & lt;br & gt; 25. Lakme & lt;br & gt; 26. Ou va la jeune indoue? & quot;Bell Song & quot; & lt;br & gt; & lt;b & gt;Giacomo Meyerbeer & lt;/b & gt; & lt;br & gt; 27. Les Huguenots & lt;br & gt; 28. O beau pays & lt;br & gt; & lt;b & gt;Wolfgang Amadeus Mozart & lt;/b & gt; & lt;br & gt; 29. Die Entfuhrung aus der Serail & lt;br & gt; 30. Martern aller Arten & lt;br & gt; & lt;br & gt; Recorded July and August 1960 in Kingsway Hall, London.

Jocelyn B. Smith & Band Honest Song 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Vinyl! Direct To Disc Recording! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The celebrated Diva Jocelyn B. Smith has been lauded by the Frankfurter Allgemeine Zeitung for her outstanding productions in the fields of jazz, soul, blues, pop, rock, gospel, funk, crossover and classical music, and described her as a & lt;b & gt; & quot;total work of art & quot; & lt;/b & gt;– and now she surprises us yet again with a completely new genre. & lt;br & gt; & lt;br & gt; Born in New York in 1960, she moved to Berlin in 1984 where the music scene has become unthinkable without her. This is not only due to her powerful voice and her numerous cross-genre productions and collaborations – ranging from productions with Falco to composers such as Heiner Goebbels and Mikis Theodorakis – but also due to her social engagement. & lt;br & gt; & lt;br & gt; The present direct-to-disc production was made following the recording of her CD & quot;Here I Am & quot; and contains seven songs, which were performed live in the studio before an enthusiastic audience and captured directly onto disc. & lt;br & gt; & lt;br & gt; This vinyl album takes Jocelyn B. Smith back to her childhood roots and the piano. She transports the sound right back to its original form and uses this as a basis for her art. She then weaves in further strands, whereby she delves into her musical experience and allows both her own compositions and those of old masters (J. S. Bach, Sergej Rachmaninov, Ludwig van Beethoven) to come to life. & lt;br & gt; & lt;br & gt; In & quot;Honest Song & quot; she allows us a peek under her veil, the often-misunderstood 'Diva' veil. We accompany her in her moments of fear, hopelessness and self-contemplation. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Direct To Disc recording & lt;br & gt; • Laquer Disc Developing: Optimal Media GmbH & lt;br & gt; • Cutting Engineer: Maarten de Boer & lt;br & gt; • Recording and Mastering Facilities: Emil Berliner Studios & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Jocelyn B. Smith, vocal, piano & lt;br & gt; Volker Schlott, saxophone, flute & lt;br & gt; Heiko Jung, drums & lt;br & gt; Markus Runzheimer, bass & lt;br & gt; Kai Brückner, guitar & lt;br & gt; Bene Aperdannier, keyboards & lt;br & gt; Simon Anke, hammond B3 & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Honest Song & lt;br & gt; 2. WDOYL (Who Da One You Love) & lt;br & gt; 3. What Are We Doing Here & lt;br & gt; 4. Sometimes & lt;br & gt; & lt;b & gt;Side B: & lt;br & gt; Sergei Rachmaninoff (1873-1943) & lt;br & gt; (adaptation: Jocelyn B. Smith / V. Schlott) & lt;/b & gt; & lt;br & gt; 1. Prelude in C Sharp minor & lt;br & gt; & lt;br & gt; & lt;b & gt;Ludwig van Beethoven (1770-1827) & lt;br & gt; Sonata Op. 27, No. 2 (arrangement & amp; lyrics by Jocelyn B. Smith) & lt;/b & gt; & lt;br & gt; 2. Moonlight Chanson & lt;br & gt; & lt;br & gt; & lt;b & gt;Johann Sebastian Bach (1685-1750) & lt;br & gt; Invention No. 4 in d minor (arrangement by Jocelyn B. Smith & amp; V. Schlott; lyrics by Jocelyn B. Smith) & lt;/b & gt; & lt;br & gt; 3. Live Is

Paavali Jumppanen Moments in Time Numbered, Limited Edition 180g D2D LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Numbered, Limited Edition! & lt;br & gt;180g Vinyl Direct To Disc Mastered at Emil Berliner Studios! & lt;br & gt;Pressed at Pallas! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Recorded in August 2014, Moments in Time features pianist Paavali Jumppanen performing compositional works from Chopin, Kuusisto, and Boulez. & lt;br & gt; & lt;br & gt; & quot;I wanted to play works from three different eras for my second D2D recording, the first having focused in the 'golden era' of vinyl recording. The media is perfect for capturing the acuteness of live performance, which is perhaps the most important aspect shared by the works by Boulez, Chopin, and my compatriot Kuusisto. The works themselves are very independent from one another. & lt;br & gt; & lt;br & gt; The three compositions on the record represent important columns of my repertoire. No pianist can go around Chopin (and only a few would even wish to do so). Jaakko Kuusisto is one of the many composers of my own generation whose works I have premiered. As a performer I feel a responsibility to help the creation of new music, and that responsibility is a constant source of inspiration. & lt;br & gt; & lt;br & gt; & quot;Having recorded the Boulez Sonatas digitally a decade ago, it was fantastic to revisit the Third Sonata at this moment. For one, I have had the opportunity to live with the work on stage all this time and, also, 2015 marks the 90th birthday of the composer. My wish has been to bring a renewed sense of 'now' to the work known for being complicated to build into a performance. & lt;br & gt; & lt;br & gt; & quot;The selection of works on the record challenges our views on what is modern. The three composers' styles can easily be described as original, but the question of their outlook on musical progress is more ambiguous. Boulez is of course a passionate spokesman of music as a progressive, but the stance of both Chopin and Kuusisto can only be guessed. However, listening to the three different compositions, progress as a concept quickly becomes irrelevant. The three compositions are all driven by sounding ideas that in the end capture moments in time. This idea gave the recording its title. & quot; - Paavali Jumppanen & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • Numbered, Limited Edition & lt;br & gt; • 180g Vinyl Direct To Disc & lt;br & gt; • Mastered at Emil Berliner Studios & lt;br & gt; • Cut by Maarten de Boer & lt;br & gt; • Pressed at Pallas GmbH & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Paavali Jumppanen, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;br & gt; Frederic Chopin (1810 - 1849) & lt;br & gt; Barcarolle F Sharp Major, Op. 60 & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Jaako Kuusisto (b.1974) & lt;br & gt; & quot;Jurmo & quot; Op. 31 & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Side B: & lt;br & gt; Pierre Boulez (b.1925) & lt;br & gt; Piano Sonata No. 3 & lt;/b & gt; & lt;br & gt; 1. Formant 2 - Trope (Parenthese - Glose - Commentaire - Texte) & lt;br & gt; 2. Formant 3 - Miroir (Melange - POints 3 - Blocs II - POints 2 - Blocs I - Points 1) & lt;br & gt; & lt;br & gt; Recording: August 7 & amp; 8, 2014 in Meistersaal, Emil Berliner Studios, Berlin, by Stephan Flock

Chet Atkins In Hollywood 180g LP (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! Audiophile Remastering! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; When stringed instruments are employed, it is often an indication that the protagonist is somewhat mature. It is an unwritten law that sooner or later every rock, jazz or folk musician will bathe in soft tones for once. Chet Atkins, however, was light years away from his artistic zenith, came up with a wealth of ideas and was in a great position with regards to recording facilities when he set down his Hollywood album in 1959. Two years earlier, “Mister Guitar” had become boss of the newly founded RCA Studio in Nashville. Here he recorded several records, which reflected his ideas of an appealing, catchy Nashville Sound as an answer to the declining rock and roll. & lt;br & gt; & lt;br & gt; The Hollywood numbers were by no means dynamite movie tracks or showstoppers. Dennis Farnon’s delicate, lush arrangements rather more pay homage to the maestro with his no-frills art of playing. The gentle Italo evergreen & quot;Santa Lucia & quot;, Chaplin’s beautiful & quot;Limelight & quot; with its violins and the time-honored & quot;Greensleeves & quot; – all of them flawlessly performed – are a real pleasure for the ears. Atkins greatly admired the superb string orchestra and two years later he re-recorded the album using the tapes from the Hollywood session to create this new version. & lt;br & gt; & lt;br & gt; Recording: October 1958 in Hollywood & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue & lt;br & gt; • Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Chet Atkins, guitar & lt;br & gt; Howard Roberts, guitar & lt;br & gt; Jethro Burns, mandolin & lt;br & gt; Clifford Hils, bass & lt;br & gt; George Callender, bass & lt;br & gt; Larry Bunker, drums & lt;br & gt; Jack Sperling, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Armen's Theme & lt;br & gt; 2. Let It Be Me & lt;br & gt; 3. Theme From & quot;Picnic & quot; & lt;br & gt; 4. Theme From A Dream & lt;br & gt; 5. Estrellita & lt;br & gt; 6. Jitterbug Waltz & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 7. Little Old Lady & lt;br & gt; 8. Limelight & lt;br & gt; 9. The Three Bells Santa Lucia & lt;br & gt; 10. Greensleeves & lt;br & gt; 11. Meet Mr. Callaghan

Johnny Winter Johnny Winter 180g LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Virgin Vinyl from Speakers Corner! High Quality Pressing, Pure Analogue Audiophile Mastering! Pressed at Pallas in Germany! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; When an international weekly magazine calls a musician the & quot;white pope of black art & quot;, then it sounds suspiciously like charitableness towards a blues musician in his prime, whose good years are in the past. As if! In the case of Johnny Winter, the reviews of his 2011 tour were just as glowing as in his early years, when Rolling Stone magazine described the gaunt Mississippi bard as & quot;a cross-eyed albino with long fleecy hair playing some of the gutsiest fluid blues guitar you have ever heard & quot;. Intentional or not: Winter was able to win for himself some of the & quot;rocker & quot; laurels that were reserved for the young Eric Clapton and Jimi Hendrix. But Winter let everyone know that he was only interested in the blues, gutsy, evoking Howlin’ Wolf’s and Muddy Waters' growling groove, yet nimble-fingered enough on the strings to conjure up astoundingly sleek garlands of sound that fit precisely into each bar of music. & lt;br & gt; & lt;br & gt; Winter remains pretty cool when people attempt to identify personal afflictions in his music: & lt;b & gt; & quot;When I play blues, I feel good, & quot; & lt;/b & gt; he stated recently to a journalist. That the same goes for over 40 years ago is substantiated by both sides of this debut album. & lt;br & gt; & lt;br & gt; Winter's debut album for Columbia was also arguably his bluesiest and best. Straight out of Texas with a hot trio, Winter made blues-rock music for the angels, tearing up a cheap Fender guitar with total abandon on tracks like & quot;I'm Yours and I'm Hers, & quot; & quot;Leland Mississippi Blues, & quot; and perhaps the slow blues moment to die for on this set, B.B. King's & quot;Be Careful with a Fool. & quot; Winter's playing and vocals have yet to become mannered or clichéd on this session, and if you've ever wondered what the fuss is all about, here's the best place to check out his true legacy. - All Music & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180 Gram Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Johnny Winter, guitar, harmonica, vocals & lt;br & gt; Edgar Winter, piano, alto saxophone & lt;br & gt; Albert Wynn Butler, tenor saxophone & lt;br & gt; Karl Garin, trumpet & lt;br & gt; Norman Ray, baritone saxophone & lt;br & gt; Walter Shakey Horton, harmonica & lt;br & gt; Willie Dixon, bass & lt;br & gt; Tommy Shannon, bass & lt;br & gt; Uncle John Turner, drums, percussion & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. I'm Yours And I'm Hers & lt;br & gt; 2. Be Careful With A Fool & lt;br & gt; 3. Dallas & lt;br & gt; 4. Mean Mistreater & lt;br & gt; & lt;b & gt;Side 2: & lt;br & gt; & lt;/b & gt; 1. Leland Mississippi Blues & lt;br & gt; 2. Good Morning Little School Girl & lt;br & gt; 3. When You Got A Good Friend & lt;br & gt; 4. I'll Drown In My Tears & lt;br & gt; 5. Back Door Friend

Ann Peebles Straight From The Heart 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Vinyl! Sharp, Soulful Singing! Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Ann Peebles’ climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song & quot;I Can’t Stand The Rain & quot;. Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialized disco wave, only to return many years later with a revival of her old songs. & lt;br & gt; & lt;br & gt; Her album from the early '70s has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart ( & quot;Slipped, Tripped And Fell In Love & quot;). The beat is powerful, throbbing, young and fresh ( & quot;What You Laid On Me & quot;) or surging and groovy ( & quot;How Strong Is A Woman? & quot;). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven ( & quot;Somebody’s On Your Case & quot;), while a fusion of soft swing and snappy acerbity ( & quot;I Pity The Fool & quot;) rounds off this album which is filled with pure emotion, heart and soul. & lt;br & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;A lean, tough set that was not only a triumph for Peebles, but illustrated how the Hi label had surpassed its crosstown Stax rival for quality Memphis soul in the early '70s... & quot; & lt;/b & gt; - Richie Unterberger, allmusic.com & lt;br & gt; & lt;br & gt; Recorded August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Ann Peebles, vocals & lt;br & gt; James Mitchell, bass saxophone & lt;br & gt; Andrew Love, tenor saxophone, vocals & lt;br & gt; Ed Logan, tenor saxophone, vocals & lt;br & gt; Jack Hale, trombone & lt;br & gt; Wayne Jackson, trumpet & lt;br & gt; Teenie Hodges, guitar & lt;br & gt; Charles Hodges, organ, piano & lt;br & gt; Leroy Hodges, bass & lt;br & gt; Howard Grimes, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Slipped, Tripped and Fell In Love & lt;br & gt; 2. Trouble, Heartaches & amp; Sadness & lt;br & gt; 3. What You Laid On Me & lt;br & gt; 4. How Strong Is A Woman & lt;br & gt; 5. Somebody's On Your Case & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. I Feel Like Breaking Up Somebody's Home Tonight & lt;br & gt; 2. I've Been There Before & lt;br & gt; 3. I Pity The Fool & lt;br & gt; 4. 99 Pounds & lt;br & gt; 5. I Take What I Want

Rudolf Serkin Chamber Music From Marlboro 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The waltz was perhaps the most important thing that the rather level-headed and conservative Johannes Brahms from Hamburg brought back with him from his sojourn in Vienna. In addition to his purely instrumental waltzes for the piano, he also composed the & quot;Liebeslieder Waltzes & quot; – uniquely folk like and highly original vocal joyfulness in ¾ time. The lyrics are taken from real life and tell of love, longing, desire, and suffering but also of anger and derision. & lt;br & gt; & lt;br & gt; Just how ideally this music fits in with the workshop atmosphere of the Marlboro Summer Music Festival is fully evident here. The musicians gathered around Rudolf Serkin sing the very finest Brahms – joyous, inspired yet completely relaxed – and reflect light upon all aspects of earthly existence. An excellent choice to complement these emotions is Schubert’s penultimate composition & quot;The Shepherd On The Rock & quot; D 965. This great and far-too-seldom performed lied is based on three poems, which are performed impressively and with brilliant musicality by the soloist Benita Valente. And last but not least, the addition of the clarinet, which functions both as a soloist as well as imitating the voice, lends the work its particular charm. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Cut By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Rudolf Serkin, piano, director & lt;br & gt; Leon Fleisher, piano & lt;br & gt; Harold Wright, clarinet & lt;br & gt; Benita Valente, soprano & lt;br & gt; Marlena Kleinman, alto & lt;br & gt; Wayne Conner, tenor & lt;br & gt; Martial Singher, bass & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Johannes Brahms & lt;br & gt; Liebeslieder-Walzer, Op. 52 & lt;br & gt; & lt;br & gt; Franz Schubert & lt;br & gt; The Shepard On the Rock Op. 129 & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;br & gt; Recording: August 1960 at Marlboro School of Music, Vermont (USA), by Fred Plaut

Debussy Images Pour Orchestre 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Vinyl! & lt;br & gt; Previously Out of Print Once Again Available! & lt;br & gt; Get Your Copy Before It Goes Away Again! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;p & gt; & lt;strong & gt;TAS Super LP List! Special Merit: Classical & lt;/strong & gt; & lt;/p & gt; Vinyl lovers like those from Speakers Corner can lament about how difficult it can be to dig up audio treasures and enhance them to make them fresh and new. A good mastertape and precise cutting is of prime importance, of course. But a collector's heart will also miss a beat when taking a look at the original cover. Record dealers know this only too well and demand a high price for rare original recordings, as though they were dealing in gold. The rarer the recording, the more expensive it comes. In order to close the gap between the demand for coveted LPs and the potential for speculation with such productions, Speakers corner are re-releasing a number of first-class recordings by Mercury and Decca. All the titles appeared in their catalog but were sold out years ago. & lt;br & gt; & lt;br & gt; This set of pieces is called Images Pour Orchestre to differentiate it from two previous sets of Images each consisting of three pianoforte pieces. The orchestral Images were begun in 1906 and finished in 1912. In Gigues, the sound of an oboe d'amore is heard here. In this movement it is first used for the solo tune in slightly quicker time after the short introduction. Iberia contains three main parts: Par les rues et par les chemins; Les parfums de la nuit; and Le matin d'un jour de fete. The last movement, Rondes de Printemps, takes the music once more into the visionary domain of poetry. Debussy explains these Images: & quot;I am attempting something . . . that might be called reality, but what idiots call Impressionism, a term that is completely misapplied . . . & quot; Throughout the whole set of these orchestral Images Debussy's sensitive apprehension of qualities of tone is apparent. The ear of one of the most refined connoisseurs of sound in his generation is at work. The effect is wonderfully clear, stimulating and moving. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; L'Orchestre De La Suisse Romande & lt;br & gt; Ataulfo Argenta, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Claude Debussy (1862-1918) & lt;br & gt; Images Pour Orchestre & lt;/b & gt; & lt;br & gt; 1. Gigues & lt;br & gt; 2. Ibéria & lt;br & gt; & amp;nbsp; & amp;nbsp; & amp;nbsp; a. Par les rues et par les chemins & lt;br & gt; & amp;nbsp; & amp;nbsp; & amp;nbsp; b. Les parfums de la nuit & lt;br & gt; & amp;nbsp; & amp;nbsp; & amp;nbsp; c. Le matin d'un jour de fete & lt;br & gt; 3. Rondes de Printemps

Paul Desmond & Gerry Mulligan Two Of A Mind 180g LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g High Quality Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Although the beautiful sound, mutual understanding and harmonic balance mostly predominate, the music of alto saxophonist Paul Desmond performing together with baritone saxophonist Gerry Mulligan is far from what one calls 'easy listening'. For many, it is even difficult to identify the melody of evergreens such as & quot;Stardust & quot; and & quot;The Way You Look Tonight & quot;. (And what theme is tucked away in & quot;Two Of A Mind? & quot;) & lt;br & gt; & lt;br & gt; The recording in the RCA Victor Studio took place over several days in 1962, and this is why different bass players and percussionists are heard – Wendell Marshall, Joe Benjamin and John Beal each take their turn on the bass, while Connie Kay and Mel Lewis change places behind the drum set. These musicians form a brilliant team, and that there is no piano is both deliberate and inevitable for Gerry Mulligan recordings of the day. By the way, the second saxophonist in & quot;The Way You Look Tonight & quot; is Paul Desmond – by means of over-dubbing in the middle of the stereo recording! & lt;br & gt; The present LP could certainly take a rightful place in a 'Best Of' collection alongside the other recordings by Gerry Mulligan with Ben Webster and Stan Getz. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Altoist Paul Desmond and baritonist Gerry Mulligan always made for a perfect team during their infrequent collaborations. Both of the saxophonists had immediately distinctive light tones, strong wits, and the ability to improvise melodically...The interplay between Desmond and Mulligan is consistently delightful. Highly recommended. & quot; & lt;/b & gt; -Scott Yanow, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Gerry Mulligan, baritone sax & lt;br & gt; Paul Desmond, alto sax & lt;br & gt; Joe Benjamin, bass & lt;br & gt; John Beal, bass & lt;br & gt; Wendell Marshall, bass & lt;br & gt; Connie Kay, drums & lt;br & gt; Mel Lewis, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. All The Things You Are & lt;br & gt; 2. Stardust & lt;br & gt; 3. Two Of A Mind & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Blight Of the Fumble Bee & lt;br & gt; 2. The Way You Look Tonight & lt;br & gt; 3. Out Of Nowhere

The Blue Oyster Cult Tyranny And Mutation 180g LP (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! Audiophile Remastering! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Let's look back nostalgically to the day when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Oyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BOC's & quot;Secret Treaties & quot;, which is now followed by & quot;Tyranny And Mutation & quot; - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number & quot;?The Red & amp; The Black & quot; makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colorful sound ( & quot;O.D.'d On Life Itself & quot;), it is refreshingly naive, full of feisty complicated rock ( & quot;Baby Ice Dog & quot;), and soars to celestial heights in & quot;Wings Wetted Down & quot; with its polyphonic male voices. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue & lt;br & gt; • Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Donald & quot;Buck Dharma & quot; Roeser, vocals, guitar & lt;br & gt; Allen Lanier, keyboards, rhythm guitar & lt;br & gt; Eric Bloom, vocals, stun guitar, synthesizers & lt;br & gt; Joe Bouchard, bass guitar, keyboards, vocals & lt;br & gt; Albert Bouchard, drums, vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: (The Black) & lt;/b & gt; & lt;br & gt; 1. The Red & amp; The Black & lt;br & gt; 2. O.D.'d On Life Itself & lt;br & gt; 3. Hot Rails To Hell & lt;br & gt; 4. 7 Screaming Diz-Busters & lt;br & gt; & lt;b & gt;Side 2: (The Red) & lt;/b & gt; & lt;br & gt; 5. Baby Ice Dog & lt;br & gt; 6. Wings Wetted Down & lt;br & gt; 7. Teen Archer & lt;br & gt; 8. Mistress of the Salmon Salt (Quicklime Girl) & lt;br & gt; & lt;br & gt; Recorded 1972 at Columbia Studios, New York City

Albert King Born Under A Bad Sign 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;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The second studio album from Albert King, Born Under A Bad Sign was released in 1967. King's first album for Stax Records would change the face of American music with the modernization of the blues. & lt;br & gt; & lt;br & gt; It took more than four decades of patient hard work until a discriminating congregation could proclaim Albert King as one of the three kings of the electric blues, alongside B. B. King and Freddie King. Albert had a tough but highly motivated beginning, playing blues on a guitar he had made himself. Later he bought a really good instrument, then came a couple of promising songs, and a series of successful singles made under a contract with Stax Records in Memphis. Finally, late in life, King landed on the sunny side with & quot;Born Under A Bad Sign & quot;. The album became one of the most influential recordings in the history of the blues. King’s music was appreciated by white people too, which smoothed his path out of small clubs and on to big live events. & lt;br & gt; & lt;br & gt; Right from the title song, he travels along familiar tracks in the blues world, occasionally making a detour to hectic, soulful realms ( & quot;Crosscut Saw & quot;) and letting himself be carried away by strident winds ( & quot;Kansas City & quot;). Over and over again, the musicians surprise one with ever new sound colourings, as in the hum and buzz of & quot;Oh, Pretty Woman & quot;, the brusque admonitory & quot;Down Don’t Bother Me & quot;, or the swinging fiddling of & quot;The Hunter & quot;. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The Albert King recording of & quot;Born Under A Bad Sign & quot; with Booker T. and the MG's providing the accompaniment, remains one of the most smokingly intense blues recordings of the modern era... & quot; & lt;/b & gt; Soulsville U.S.A., The Story of Stax Records & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; • Faithful reproductions of original artwork and labels & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Born Under A Bad Sign & lt;br & gt; 2. Crosscut Saw & lt;br & gt; 3. Kansas City & lt;br & gt; 4. Oh, Pretty Woman & lt;br & gt; 5. Down Don't Bother Me & lt;br & gt; 6. The Hunter & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 1. I Almost Lost My Mind & lt;br & gt; 2. Personal Manager & lt;br & gt; 3. Laundromat Blues & lt;br & gt; 4. As The Years Go Passing By & lt;br & gt; 5. The Very Thought Of You & lt;br & gt; & lt;br & gt; Recorded March 1966 - June 1967 at Stax Studios, Memphis, TN.

Freddie Hubbard Backlash 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; After his great success as a new discovery through playing on tour and in the studio with Art Blakey’s creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction. & lt;br & gt; & lt;br & gt; It was no wonder then that a big record company made him a lucrative offer in autumn of 1966. All in all, Atlantic Records released six LPs and the very first, entitled & quot;Backlash & quot;, is still the best of the bunch. & lt;br & gt; & lt;br & gt; Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is & quot;Little Sunflower & quot;. The sound coloring of the flute harmonizes particularly well with Hubbard’s brass, and Ray Barretto’s contribution is more than mere decoration. You’re certainly on the right track with this LP, no matter whether it’s the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection. & lt;br & gt; & lt;br & gt; This Speakers Corner production was manufactured 100% analogously, with the use of the analogue mastertape and analogue mastering. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Gatefold & lt;br & gt; • AAA Recording & lt;br & gt; • Audiophile Mastering By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Freddie Hubbard, trumpet, fluegelhorn & lt;br & gt; James Spaulding, flute, alto sax & lt;br & gt; Albert Dailey, piano & lt;br & gt; Bob Cunningham, bass & lt;br & gt; Otis Ray Appleton, drums & lt;br & gt; Ray Barretto, percussion & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Backlash & lt;br & gt; 2. The Return Of The Prodigal Son & lt;br & gt; 3. Little Sunflower & lt;br & gt; 4. On The Que-Tee & lt;br & gt; 5. Up Jumped Spring & lt;br & gt; 6. Echoes Of Blue

Bill Withers Just As I Am 180g LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Songs of All Time - & quot;Ain't No Sunshine & quot; - Rated 285/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Just As I Am served as the launching pad for one of the most prolific songwriting careers of our time. & lt;br & gt; & lt;br & gt; Just As I Am catapulted Bill Withers into super-stardom in 1971. Featuring the worldwide mega-hit and Grammy Award-winning & quot;Ain't No Sunshine & quot;, Just As I Am, Withers' debut album, established him as one of the premier singer/songwriters of the era and brought the world a fresh look at Rhythm & amp; Blues. Equipped with an acoustic guitar and backed by three-quarters of Booker T. & amp; the MGs and Stephen Stills on guitar, Bill Withers recorded one of the biggest albums of the '70s, producing the timeless hit & quot;Ain't No Sunshine & quot; along with the other Withers essentials & quot;Harlem & quot;, & quot;Grandma's Hands & quot;, and & quot;I'm Her Daddy & quot;. As a testament to his talents, Bill Withers was inducted into the Songwriters Hall of Fame in 2005. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;When the 31-year-old Withers recorded 'Sunshine,' he was still working at a factory making toilet seats for 747s. He intended to write more lyrics for the part where he repeats the phrase 'I know' 26 times, but the other musicians told him to leave it. & quot; & lt;/b & gt; - Rolling Stone & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; • 180g Vinyl & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Al Jackson, drums & lt;br & gt; Jim Keitner, drums & lt;br & gt; Booker T. Jones, guitar, keyboards & lt;br & gt; Stephen Stills, guitar & lt;br & gt; Bill Withers, guitar & lt;br & gt; Bobbie Hall Porter, percussion & lt;br & gt; Donald & quot;Duck & quot; Dunn, bass & lt;br & gt; Chris Ethridge, bass & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Harlem & lt;br & gt; 2. Ain't No Sunshine & lt;br & gt; 3. Grandma's Hands & lt;br & gt; 4. Sweet Wanomi & lt;br & gt; 5. Everybody's Talkin' & lt;br & gt; 6. Do It Good & lt;br & gt; 7. Hope She'll Be Happier & lt;br & gt; 8. Let It Be & lt;br & gt; 9. I'm Her Daddy & lt;br & gt; 10. In My Heart & lt;br & gt; 11. Moanin' And Groanin' & lt;br & gt; 12. Better Off Dead

Herbie Hancock Crossings 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; In the 1970s, Herbie Hancock’s & quot;Crossings & quot; was to be found on every IKEA record shelf in the student pads of jazz-fusion fans. The cover, with its psychedelic touch, also contributed significantly to its popularity – although it was unclear where the crossing was going to take us… & lt;br & gt; & lt;br & gt; Nevertheless, the excellent trumpeter Eddie Henderson – often underestimated as an improviser and composer, and Benny Maupin – who like Hancock had grown up under Miles Davis’s wing, present a wide range of sound-generating instruments – as was all the rage in those days. Synthesizer and Mellotron (a polyphonic tape replay keyboard and as such practically the prototype of the sampler) were permanent members of the group – and even produce here melodic arches of sound! Whether Bennie Maupin’s & quot;Quasar & quot; launches the group and us into extraterrestrial territory (as stated in one review) is a moot point. & lt;br & gt; & lt;br & gt; This LP is a contemporary historical document, though it certainly doesn’t sound antiquated. That’s why younger listeners too will find pleasure in this experiment from the previous millennium. & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording • Gatefold jacket & lt;br & gt; • Audiophile Mastering By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Herbie Hancock, acoustic piano, electric piano, mellotron, percussion & lt;br & gt; Bennie Maupin, soprano saxophone, alto flute, bass clarinet, piccolo, percussion & lt;br & gt; Eddie Henderson, trumpet, flugelhorn, percussion & lt;br & gt; Julian Priester, bass, tenor and alto trombones, percussion & lt;br & gt; Patrick Gleeson, Moog synthesizer & lt;br & gt; Buster Williams, electric bass, string bass, percussion & lt;br & gt; Billy Hart, drums, percussion & lt;br & gt; Victor Pantoja, congas & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Sleeping Giant & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Quasar & lt;br & gt; 2. Water Torture

Herbie Hancock Flood 180g 2LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Double Vinyl LP! High Quality Pressing! & lt;br & gt; Pure Analogue Audiophile Mastering! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; For his 18th album, released in 1975, Hancock is joined by Bennie Maupin, Blackbird McKnight, Paul Jackson, Mike Clark, and Bill Summers. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;In the summer of 1975, the Herbie Hancock Sextet made a hugely successful tour of Japan, which made people aware of a 'new' Hancock. The last LP that the keyboard virtuoso had recorded, & quot;Thrust & quot;, was already one year old, and the film music for the Charles Bronson classic & quot;Death Wish & quot; was received negatively by his fans. At his concerts in Tokyo, Herbie Hancock reached back to his hits: & quot;Maiden Voyage & quot;, & quot;Chameleon & quot;, and the famous, soulful & quot;Watermelon Man & quot; made the fans at his concert hall and open-air appearances go wild with enthusiasm. Forty years later I have the courage to confess that I couldn’t have cared less about this music at the time; in Europe there was enough that was new and exciting to see and listen to. However, this re-release in its original format has given me the opportunity to check out whether this music has withstood the test of time. And I must say: it has passed the test! Just listen to Herbie at his best! & quot; & lt;/b & gt; - Dr. Michael Frohne & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • Double LP & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Herbie Hancock, keyboards & lt;br & gt; Bennie Maupin, saxophones, clarinet, flute, percussion & lt;br & gt; Dewayne & quot;Blackbird & quot; McKnight, guitar & lt;br & gt; Paul Jackson, bass & lt;br & gt; Mike Clark, drums & lt;br & gt; Bill Summers, percussion, congas & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP 1 & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Introduction / Maiden Voyage & lt;br & gt; 2. Actual Proof & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 3. Spank-A-Lee & lt;br & gt; 4. Watermelon Man & lt;br & gt; & lt;br & gt; & lt;b & gt;LP 2 & lt;br & gt; Side C: & lt;/b & gt; & lt;br & gt; 1. Butterfly & lt;br & gt; 2. Chameleon & lt;br & gt; & lt;b & gt;Side D: & lt;/b & gt; & lt;br & gt; 1. Hang Up Your Hang Ups & lt;br & gt; & amp;nbsp;

Sonny Stitt Stitt Plays Bird 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;br & gt; Audiophile Mastering By Kevin Gray From Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; It is widely known that Sonny Stitt didn’t want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumors pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him. & lt;br & gt; & lt;br & gt; For & quot;Stitt Plays Bird & quot; Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true. & lt;br & gt; & lt;br & gt; One half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It’s hard to recommend a special track, but & quot;Scrapple From The Apple & quot; is just awesome! All the numbers are based on standards – just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. & lt;br & gt; & lt;br & gt; With this all analogue pressing, at last one can enjoy all nine titles in all their sonic glory. & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • 100% Analogue & lt;br & gt; • AAA Recording & lt;br & gt; • Audiophile Mastering By Kevin Gray From Original Master Tapes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Sonny Stitt, alto saxophone & lt;br & gt; John Lewis, piano & lt;br & gt; Jim Hall, guitar & lt;br & gt; Richard Davis, bass & lt;br & gt; Connie Kay, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Ornithology & lt;br & gt; 2. Scrapple From The Apple & lt;br & gt; 3. My Little Suede Shoes & lt;br & gt; 4. Parker's Mood & lt;br & gt; 5. Au Privave & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Ko-Ko & lt;br & gt; 2. Confirmation & lt;br & gt; 3. Hootie Blues & lt;br & gt; 4. Constellation & lt;br & gt; & lt;br & gt; Recorded January 1963 at Atlantic Studios, New York City.

Bizet Carmen & L'Arlesienne 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Virgin Vinyl! High Quality Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The 19th century suites with their collection of favorite songs and instrumental excerpts from operas are the clear forerunners of today's & quot;Best Of & quot; culture. The Carmen Suite was assembled after Bizet's death and brought the operatic masterpiece into the concert hall. The overture is fresh and rousing, the toreador theme marches in proudly and purposefully, followed by the destiny motif in the minor key which burns itself into ones ear and mind. With every bar it becomes obvious that this suite is not so much a series of excerpts but rather the true substance of its creator's musical ideas. & lt;br & gt; & lt;br & gt; All that remained of the five-act play L'Arlesienne after its unsuccessful premiere was Bizet's incidental music, which he himself orchestrated lavishly and premiered with success. Similar to Carmen, popular melodies are treated with the composer's own unique style to make them ageless, and Ernest Ansermet and his orchestra stages them delightfully for all eternity. & lt;br & gt; & lt;br & gt; Ernest Ansermet is the most famous of Switzerland's conductors. For some years Professor of Mathematics at Lausanne University, he left this post to devote himself to music, studying composition under Ernest Bloch. He eventually concentrated on conducting and from 1915 - when he was already a personal friend of Stravinsky - was intermittently engaged with the Diaghilev Ballet. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Orchestra de la Suisse Romande & lt;br & gt; Ernest Ansermet, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Georges Bizet (1838 - 1875) & lt;br & gt; Carmen Suite & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Prelude, Act 1 & lt;br & gt; 2. Prelude, Act 4 (Aragonaise) & lt;br & gt; 3. Prelude, Act 3 (Intermezzo) & lt;br & gt; 4. Prelude, Act 2 (Les Dragons d'Alcala) & lt;br & gt; 5. Scene des Contrebandiers, Act 3 & lt;br & gt; 6. Habenera, Act 1 & lt;br & gt; 7. La Garde Montante, Act 1 & lt;br & gt; 8. Danse Boheme, Act 2 & lt;br & gt; & lt;b & gt;L'Arlessienne Suite & lt;br & gt; Side Two: & lt;/b & gt; & lt;br & gt; 1. Prelude & lt;br & gt; 2. Minuetto & lt;br & gt; 3. Adagietto & lt;br & gt; 4. Carillon & lt;br & gt; 5. Menuet & lt;br & gt; 6. Farandole

Glenn Gould Brahms: 10 Intermezzi For Piano 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;br & gt; AAA Recording! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; If you mainly connect the name Brahms with opulent symphonies, passionate concertos and weighty piano music, you will be in for a big surprise when you listen to the Intermezzi op. 117. The music critic Eduard Hanslick talks of a more restrained, detached style and clearly means the calm, simple and immensely expressive flowing melodies, which characterize the late piano music of this Romantic composer. Just how sensitively the performer must tackle these precious miniatures is described by Clara Schumann with the words & quot;… the intellectual technique in them demands a fine comprehension and one must be very familiar with Brahms to play them as Brahms had imagined them & quot;. & lt;br & gt; & lt;br & gt; When it comes to Brahms, Glenn Gould – famous for his analytically strict and emphatic interpretation of Bach’s keyboard works – proves himself to be a true poet and thinker at the keyboard. Driven by the melancholy force, his thoughts find their way, sometimes hesitantly, then moving on with a deep breath, as it were, to the next deceleration. & lt;br & gt; & lt;br & gt; In Op. 118 No. 1 the Canadian pianist begins with a passion that wrests expansive cascades of sound from the keyboard, then finds his way back to introvert mellifluous tones (Op. 118 No. 2) and increases the drama in the will-o’-the-wispish and futile attempts to come to a redemptory final cadence (Op. 118 No. 6). It would be hard to find a more closely-knit and intense rendering than on the present recording. & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Glenn Gould, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Johannes Brahms (1833-1897) & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. Intermezzo in E-flat Major, Op. 117, No. 1 & lt;br & gt; 2. Intermezzo in B-flat minor, Op. 117, No. 2 & lt;br & gt; 3. Intermezzo in C-sharp minor, Op. 117, No. 3 & lt;br & gt; 4. Intermezzo in E-flat minor, Op. 118, No. 6 & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. Intermezzo in E Major, Op. 116, No. 4 & lt;br & gt; 2. Intermezzo in A minor, Op. 76, No. 7 & lt;br & gt; 3. Intermezzo in A Major, Op. 76, No. 6 & lt;br & gt; 4. Intermezzo in B minor, Op. 119, No. 1 & lt;br & gt; 5. Intermezzo in A minor, Op. 118, No. 1 & lt;br & gt; 6. Intermezzo in A Major, Op. 118, No. 2 & lt;br & gt; & lt;br & gt; Recorded September and November 1960 at Columbia Studio, New York.

Baden Powell Solitude On Guitar 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! Pure Analogue Audiophile Mastering! & lt;br & gt;Twelve Tracks Display The Richness of Baden Powell's Unaccompanied Guitar! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The acoustic guitar shares the same destiny as so many music companies: almost all of them dabble with the six strings at some point, many attempt to play entertaining harmonic roulette with it, but only a few really make the grade. Baden Powell belongs to the small circle of guitarists whose early virtuosity is perfectly combined with a keen sense of harmony. Powell demonstrates this special talent in his slow numbers in particular, in which broken chords are developed like a bud opening out to a blossom. He guides the listener cautiously through his melodies in that he makes a tiny pause before a harmonic change. Full timbre and lightness are not a question of what is written down on the manuscript but result from a powerful performance, as is shown by the totally un-Brazilian, gentle major-minor key version of the children’s song & quot;Kommt Ein Vogel Geflogen & quot;. & lt;br & gt; & lt;br & gt; Naturally, the wonderfully crafted, animated and bouncy bossas flow along easily. As befits the album’s title, the guitar is in the limelight here, driven on, held back, and then propelled forward by the rhythm group. The ballad & quot;Se Todos Fossem Iguais A Voce & quot; is strongly recommended to whet your appetite for the bossa & quot;Na Gafieira Do Vidigal & quot;. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Around the time he was recording this LP, Baden married for the fourth time. He'd just finished a long and strenuous European tour and he'd spent a good part of his bread for daily, often hour-long telephone calls to Rio - calls to Marcia. Finally, two days after this record was in the can, the 17-year old Marcia's plane came in for a landing at Paris' Orly Field on a rainy, foggy December day. At the last minute the plane revved its motors and kept going - diverted to London because of weather. Baden stood at the airport, tears running down his face, fifty red roses in his hand, and said & quot;This is the saddest hour of my life. & quot; That evening he was in no condition to play his scheduled concert, even though he knew Marcia would be arriving the next day from London by train...We now have 26 albums by Baden, but on none of them is he so & quot;alone & quot; in the literal and figurative sense of this word. & amp;nbsp; This record is loneliness, it's solitude that is the mood. & amp;nbsp; And it shows the richness of his unaccompanied guitar, which rightfully can be compared - as Don DeMichael has done - with that of a full orchestra. & quot; - & lt;/b & gt;from liner notes by Joachim E. Berendt & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Baden Powell, arranger, guitar, vocals & lt;br & gt; Joaquim Paes Henriques, drums (2,5,7) & lt;br & gt; Eberhard Weber, bass (4,10) & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1 & lt;/b & gt; & lt;br & gt; 1. Introduçao ao poema dos olhos da amada (A Poem on the Eyes of Lovers) & lt;br & gt; 2. Chará & lt;br & gt; 3. Se todos fossem iguais a você (If Everyone Were Like You) & lt;br & gt; 4. Marcia, eu te amo (Marcia, I Love You) & lt;br & gt; 5. Na gafieira do vidigal (The Dancehall of Vidigal) & lt;br & gt; 6. Komnt ein vogel geflogen (A Bird Comes Flying) & lt;br & gt; & lt;b & gt;Side 2 & lt;/b & gt; & lt;br & gt; 7. Fim da linha (End of the line) & lt;br & gt; 8. The shadow of your smile (from the Sandpiper) & lt;br & gt; 9. Brasiliana & lt;br & gt; 10. Bassamba & lt;br & gt; 11. Por causa de voce (Because of You) & lt;br & gt; 12. Solitário (The Lonely One) & lt;br & gt; & lt;br & gt; Recording: December 1971 by Torsten Wintermeir at Studio Walldorf, Germany & lt;br & gt; Production: Joachim Ernst Berendt

Oregon Roots In the Sky 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Vinyl LP! & lt;br & gt; AAA Recording! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; If there was ever a group that successfully amalgamated Asian and African music with jazz and classic, then it was surely Oregon. With a wide range of instruments and the musicians’ unusually receptive ears for everything here, there and everywhere, Oregon certainly enjoyed the optimal prerequisites. John Towner, Paul McCandless, Glen Moore and in particular Colin Walcott laid the foundations for their music in the musical heaven of their time. Oboe, cor anglais, bass clarinet, six- and twelve-string guitars, piano, flugelhorn, percussion, bass, sitar, tabla – such a versatile range of instruments – lent the nine numbers their, until then, rarely heard sound colouring and mark the transition from the band’s more hippy-like, country sound when they recorded for the Vanguard label to their later classic sound when signed to ECM. In this respect, & quot;Roots In The Sky & quot; is an important contemporary document in the world of music between 1970 and 1980. A rare black disc on which there is much to discover! & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g High Quality Vinyl & lt;br & gt; • Pure Analogue & lt;br & gt; • AAA Recording & lt;br & gt; & amp;bull; Made from the original, analogue mastertapes & lt;br & gt; & amp;bull; Pressed at Pallas in Germany & lt;br & gt; & amp;bull; Faithful reproduction of original artwork and labels & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Paul McCandless, clarinet, horn, oboe & lt;br & gt; Ralph Towner, flugelhorn, guitar, piano, percussion & lt;br & gt; Collin Walcott, guitar, percussion & lt;br & gt; Glen Moore, bass & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. June Bug & lt;br & gt; 2. Vessel & lt;br & gt; 3. Sierra Leone & lt;br & gt; 4. Ogden Road & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 1. House Of Wax & lt;br & gt; 2. Hungry Heart & lt;br & gt; 3. Orrington's Escape & lt;br & gt; 4. Roots In The Sky & lt;br & gt; 5. Longing, So Long & lt;br & gt; & lt;br & gt; Recorded December 1978 at Longview Farms, North Brookfield, MA and April 1979 at Columbia Recording Studios, New York

The Mahavishnu Orchestra Birds of Fire 180g LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;TAS Rated 5/5 Music, 4/5 Sonics in the September 2019 Issue of The Absolute Sound! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;High Quality Pure Analogue 180g Virgin Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Of the three 'incarnations' by the spiritually inspired Mahavishnu Orchestra, the first is the most full-bodied. The enlightened John McLaughlin and his musicians were immortalized through their début album & quot;The Inner Mounting Flame & quot;, which was included in the list of the 100 Best Jazz Albums; a short time later they recorded their highly concentrated studio compilation & quot;Birds Of Fire & quot;. Long before today’s saleably labeled World Music, the quintet set the standards for a meaningful amalgamation of dynamic rock with complex Indian rhythms and occidental conventions. Already in the title piece, the musicians combine a sharpened Hendrix style with expansive melodies, and with smacking grooves and fine riffs draw all that is grand in jazz ( & quot;Miles Beyond & quot;) into the musical center. With almost chamber-music-like density, & quot;Thousand Island Park & quot; blossoms out in soft colors, whilst as a contrast unremittingly flowing cascades in & quot;Hope & quot; search desperately for their destination. & lt;br & gt; & lt;br & gt; It is thrilling how finely weighed patterns ( & quot;One Word & quot;) escalate to techno-like violin playing and how the listener is invited to take part in an inner procession in the following & quot;Sanctuary & quot;. After such soaring heights, we are brought back to earth with a familiar funky sound in a popular, pastoral vein ( & quot;Open Country Joy & quot;) before taking off abruptly once again: in the final piece, & quot;Resolution & quot; with its slowly rising carpets of sound, all that is sublime in New Music conquers over world cultures. & lt;br & gt; & lt;br & gt; This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; 180g High Quality Vinyl & lt;br & gt; & amp;bull; Pure Analogue & lt;br & gt; & amp;bull; Made from the original, analogue mastertapes & lt;br & gt; & amp;bull; Pressed at Pallas in Germany & lt;br & gt; & amp;bull; Faithful reproduction of original artwork and label & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; John McLaughlin, guitar & lt;br & gt; Rick Laird, bass & lt;br & gt; Billy Cobham, percussion & lt;br & gt; Jerry Goodman, violin & lt;br & gt; Jan Hammer, keyboards, Moog & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Birds Of Fire & lt;br & gt; 2. Miles Beyond & lt;br & gt; 3. Celestial Terrestrial Commuters & lt;br & gt; 4. Sapphire Bullets Of Pure Love & lt;br & gt; 5. Thousand Island Park & lt;br & gt; 6. Hope & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 1. One Word & lt;br & gt; 2. Sanctuary & lt;br & gt; 3. Open Country Joy & lt;br & gt; 4. Resolution & lt;br & gt; & lt;br & gt; Recorded August 1972 at Trident Studios, London

Janis Joplin I Got Dem Ol' Kozmic Blues Again Mama! 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Audiophile Vinyl! Pressed at Pallas in Germany! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; When Janis Joplin died in October 1970 at t he early age of 27, thus involuntarily confirming the beatnik adage & quot;live fast, love hard, die young, & quot; it was only a matter of time before she was crowned the & quot;Queen of Rock. & quot; Of greater importance than this posthumous entry into rock 'n' roll's hall of fame is the recognition during her lifetime of her explosive vocal style, which – so Vogue – & quot;turned the whole history of singing upside down. & quot; Joplin's discography is just as short and changeable as her life. After two LP releases with the standard & quot;cast & quot; of rock musicians in the band Big Brother And The Holding Company, with whose excellent musical support she obtained her first recording contract with Columbia Records in 1968, the company provided her with a group augmented with organ and winds. For those Woodstock fans whose ears are still ringing with the band's full, meaty wind sound and Janis' bluesy soul singing, this album is an absolute must. & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; • 180g Vinyl & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Try (Just A Little Bit Harder) & lt;br & gt; 2. Maybe & lt;br & gt; 3. One Good Man & lt;br & gt; 4. As Good As You've Been To This World & lt;br & gt; 5. To Love Somebody & lt;br & gt; 6. Kozmic Blues & lt;br & gt; 7. Little Girl Blue & lt;br & gt; 8. Work Me, Lord

Carlos Santana & Buddy Miles Carlos Santana & Buddy Miles Live! 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Virgin Vinyl! Guitar Virtuoso + Former Jimi Hendrix Band Of Gypsys Member Perform Live from Hawaii! Includes & quot;Them Changes & quot; & amp; & quot;Evil Ways & quot;! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Delivered with a level of passion and soul equal to the legendary sonic charge of his guitar, the sound of Carlos Santana is one of the world's best-known musical signatures. For more than four decades—from Santana's earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San Francisco—Carlos has been the visionary force behind artistry that transcends musical genres and generational, cultural and geographical boundaries. & lt;br & gt; & lt;br & gt; Best known as the drummer in Jimi Hendrix’s Band of Gypsys, Buddy Miles also had a lengthy solo career that drew from rock, blues, soul, and funk in varying combinations. & lt;br & gt; & lt;br & gt; After backing John McLaughlin on 1970’s Devotion, Miles returned to the role of bandleader and recorded his most popular album, Them Changes, in 1971; it stayed on the charts for more than a year, and the title cut became Miles’ signature song. From December 1971 to April 1972, Miles toured with Carlos Santana, which produced the CBS-released concert document Carlos Santana & amp; Buddy Miles! Live!; recorded inside an inactive volcano in Hawaii, the album sold very well, climbing into the Top Ten. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ('Evil Ways') and Buddy Miles hits ('Changes'), plus a 25-minute, side-long jam... The album went into the Top Ten and sold a million copies. & quot; & lt;/b & gt; - William Ruhlmann, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt;• 180 Gram Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Gatefold Jacket & lt;br & gt; • Live Album & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;br & gt; & lt;/b & gt;Carlos Santana, guitar, vocals & lt;br & gt; Buddy Miles, drums, percussion, congas, vocals & lt;br & gt; Neal Schon, guitar & lt;br & gt; Ron Johnson, bass guitar & lt;br & gt; Bob Hogins, organ, electric piano & lt;br & gt; Hadley Caliman, flute, saxophone & lt;br & gt; Luis Gasca, trumpet & lt;br & gt; Greg Errico, drums & lt;br & gt; Richard Clark, drums, percussion, congas & lt;br & gt; Coke Escovedo, drums, percussion, timbales & lt;br & gt; Mingo Lewis, percussion & lt;br & gt; Victor Pantoja, percussion, congas & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; & lt;/b & gt;1. Marbles & lt;br & gt; 2. Lava & lt;br & gt; 3. Evil Ways & lt;br & gt; 4. Faith Interlude & lt;br & gt; 5. Them Changes & lt;br & gt; 6. Free Form Funkafide Filth

Blood, Sweat & Tears Child Is Father To The Man 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 266/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Featured in Michael Fremer's Heavy Rotation in the January 2008 Issue of Stereophile! Pressed at Pallas in Germany! & lt;/font & gt; & lt;br & gt; & lt;br & gt; BS & amp;T began as an Al Kooper project in 1968, as a part of a move toward & quot;bigger & quot; rock sounds. Child, the only album made under Kooper's direction, is important not only because its jazz and art-song aspects expanded the scope of the rock for both audience and musicians, but also because it was one of the most perfectly listenable pop albums of its era. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Blood, Sweat and Tears are usually remembered as middle-of-the-road oldies-radio faves. But this album shows the original outfit, headed by organist Al Kooper, to be an eclectic blues-rock collective that recorded hard-bitten gems such as & quot;I Can't Quit Her. & quot; & lt;/b & gt; - www.rollingstone.com & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; • 180g Vinyl & lt;br & gt; • Pressed at Pallas in Germany & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Overture & lt;br & gt; 2. I Love You More Than You'll Ever Know & lt;br & gt; 3. Morning Glory & lt;br & gt; 4. My Days Are Numbered & lt;br & gt; 5. Without Her & lt;br & gt; 6. Just One Smile & lt;br & gt; 7. I Can't Quit Her & lt;br & gt; 8. Megan's Gypsy Eyes & lt;br & gt; 9. Somethin' Goin On & lt;br & gt; 10. House In the Country & lt;br & gt; 11. The Modern Adventures of Plato, Diogenes and Freud & lt;br & gt; 12. So Much Love/Underture

The Dave Brubeck Quartet At Carnegie Hall 180g 2LP (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Michael Fremer Rated 8/10 Music, 8/10 Sonics in his July 2013 reviews on www.analogplanet.com! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Double Virgin Vinyl! Superb Melodic Improvisation! Truly Majestic! One of the All Time Great Live Jazz Performances! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Dave Brubeck, designated a & quot;Living Legend & quot; by the Library of Congress, is one of the most popular musicians in both the jazz and classical worlds. With a career that spans over six decades, his experiments in odd time signatures, improvised counterpoint, polyrhythm and polytonality remain hallmarks of innovation. & lt;br & gt; & lt;br & gt; After suffering a near fatal diving accident in 1951, Dave formed the Dave Brubeck Quartet with alto saxophonist Paul Desmond. The legendary Brubeck-Desmond collaboration lasted seventeen years and beyond. The Dave Brubeck quartet's recordings and concert appearances on college campuses in the '50s and early '60s introduced jazz to thousands of young people. The quartet's audiences were not limited to students, however. The group played in jazz clubs in every major city. They repeatedly won top honors in trade magazines and critic's and reader's polls. & lt;br & gt; & lt;br & gt; At Carnegie Hall was recorded at the famed Carnegie Hall in New York City on February 21, 1963. It was described by critic Richard Palmer as & lt;b & gt; & quot;arguably Dave Brubeck's greatest concert & quot; & lt;/b & gt;and a & lt;b & gt; & quot;truly majestic record that should be in every serious collection & quot; & lt;/b & gt;; for Don Mather it is & lt;b & gt; & quot;one of the all time great live jazz performances. & quot; & lt;/b & gt;Ironically, original expectations for the concert were low. Not only was drummer Joe Morello recovering from a case of the flu at the time, but New York had been suffering from a newspaper strike, and the group was worried that the attendance would be sparse. & lt;br & gt; & lt;br & gt; The worries were groundless: the hall was full; the group, whose long history together (the newest member, bassist Wright, had joined four years earlier) had by then made them extraordinarily close-knit, turned in an exciting, sparkling performance. It featured a remarkable level of co-ordination among the members of the group, at the same time as they display a relaxed yet powerful virtuosity. The latter was especially displayed in their numerous extended, yet still melodious, solo improvisations. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The band moves through all their hits and their new instincts gained from traveling abroad for the better part of six years. With cuts like 'Bossa Nova U.S.A' and 'Blue Rondo a la Turk,' the quartet breathed new fire both melodically and tonally into their won material, while other standards such as 'Pennies From Heaven,' were literally harmonically reinvented by the intense counterpoint, double and even triple that went on between Desmond and Brubeck. And that's what this set is a reflection of: the Brubeck band would have loved to be recorded live every night they played. They hated the studio because there was nothing to compete against and no energy but their own to glean from... While Take Five is rightfully a classic in that it changed everything, At Carnegie Hall reveals the band at the epitome of its musical -- harmonic, rhythmic, melodic, improvisational -- strength with near telepathic communication. It swings like a mother and offers an entirely new dimension to the definition of 'melodic improvisation.' & quot; & lt;/b & gt;- Thom Jurek, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The solos by Morello, Desmond and Wright and more importantly the overall quartet flow make this live set a breezy, musical pleasure... [T]he instruments themselves are reasonably well recorded and placed within a suitably reverberant Carnegie Hall environment... Brubeck's piano is very well-recorded... and free of major boxy colorations... [O]f course the Pallas pressing quality is superb. & quot; & lt;/b & gt; - Michael Fremer, analogplanet.com, Music 8/10, Sound 8/10 & lt;br & gt; & lt;br & gt; Recording: February 1963 Carnegie Hall, New York. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt;• 180g Double VIrgin Vinyl & lt;br & gt; • Gatefold Jacket & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Pressed at Pallas & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;br & gt; & lt;/b & gt;Dave Brubeck, piano & lt;br & gt; Paul Desmond, alto saxophone & lt;br & gt; Eugene Wright, bass & lt;br & gt; Joe Morello, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; LP1 - Side 1: & lt;br & gt; & lt;/b & gt;1. St. Louis Blues & lt;br & gt; 2. Bossa Nova U.S.A. & lt;br & gt; 3. For All We Know & lt;br & gt; & lt;b & gt;LP1 - Side 2: & lt;br & gt; & lt;/b & gt;1. Pennies From Heaven & lt;br & gt; 2. Southern Scene (Briar Bush) & lt;br & gt; 3. Three To Get Ready & lt;br & gt; & lt;b & gt;LP2 - Side 3: & lt;br & gt; & lt;/b & gt;1. Eleven-Four & lt;br & gt; 2. King For A Day & lt;br & gt; 3. Castilian Drums & lt;br & gt; & lt;b & gt;LP2 - Side 4: & lt;br & gt; & lt;/b & gt;1. It's A Raggy Waltz & lt;br & gt; 2. Blue Rondo A La Turk & lt;br & gt; 3. Take Five

Charles Mingus Tijuana Moods 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The album Charlie Mingus feels is his best work, in which he and his men re-create an exciting stay in Mexico's wild and controversial border town. & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; When this LP was released in 1962, it was honored with the maximum number of stars that Downbeat, the most famous of all jazz magazines, could award. And keep in mind the recordings were already five years old! Is there any better proof that the composer and arranger Charlie Mingus was ahead of his time? As a double bassist he was rather less virtuosic than his fellow musicians – and not just on these recordings. However, these five numbers earned every single star of the five they were awarded. They illustrate his masterly handling of Mexican folk music and his skill in integrating it into his jazz. The small ensemble of Clarence Shaw, whom Mingus described as a super-improviser on the trumpet, Jimmy Knepper, a technical ace on the trombone, the legendary tenor saxophone player Shafi Hadi, and his longstanding friend Dannie Richmond on the drums all earn the very highest recognition, even though the sextet of 1963/64 once more enhanced their creativity in later years. & lt;br & gt; & lt;br & gt; No record collection is complete without the present highlight. Grab this opportunity to close the gap on your shelf, especially since these recorded jewels have an unusually good sound. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Charlie Mingus, bass & lt;br & gt; Curtis Porter, alto saxophone & lt;br & gt; Jimmy Knepper, trombone & lt;br & gt; Clarence Shaw, trumpet & lt;br & gt; Bill Triglia, piano & lt;br & gt; Danny Richmond, drums & lt;br & gt; Frankie Dunlop, percussion & lt;br & gt; Ysabel Morel, castinets & lt;br & gt; Lonnie Elder, vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Dizzy Moods & lt;br & gt; 2. Ysabel's Table Dance & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Tijuana Gift Shop & lt;br & gt; 2. Los Mariachis (The Street Musicians) & lt;br & gt; 3. Flamingo & lt;br & gt; & lt;br & gt; Recording: July and August 1957 in RCA Victor's Studio A, New York City, by Bob Simpson

Santana Amigos 180g LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Vinyl! Includes & quot;Let It Shine & quot;! Strains of R & amp;B, Funk & amp; Mexican Folk Music! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Delivered with a level of passion and soul equal to the legendary sonic charge of his guitar, the sound of Carlos Santana is one of the world's best-known musical signatures. For more than four decades—from Santana's earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San Francisco—Carlos has been the visionary force behind artistry that transcends musical genres and generational, cultural and geographical boundaries. & lt;br & gt; & lt;br & gt; Long before the category now known as “world music” was named, Santana's ever-evolving sound was always ahead of its time in its universal appeal, and today registers as ideally in sync with the 21st century’s pan-cultural landscape. And, with a dedication to humanitarian outreach and social activism that parallels his lifelong relationship with music, Carlos Santana is as much an exemplary world citizen as a global music icon. & lt;br & gt; & lt;br & gt; Santana's star arrived in the era-defining late 1960s San Francisco Bay Area music scene with historic shows at the Fillmore and other storied venues. The group emerged onto the global stage with an epic set at the Woodstock festival in 1969, the same year that its self-titled debut LP Santana came out. Introducing Santana's first Top 10 hit, “Evil Ways,” the disc stayed on Billboard’s album chart for two years and was soon followed by two more classics — and Billboard #1 albums — Abraxas and Santana III. & lt;br & gt; & lt;br & gt; Ever since, for more than forty years and almost as many albums later, Santana has sold more than 100 million records and reached more than 100 million fans at concerts worldwide. To date, Santana has won 10 GRAMMY Awards, including a record-tying nine for a single project, 1999’s Supernatural (including Album of the Year and Record of the Year for “Smooth”). In 1998, the group was ushered into the Rock and Roll Hall of Fame, whose website notes, “Guitarist Carlos Santana is one of rock’s true virtuosos and guiding lights.” & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R & amp;B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. 'Let It Shine' (number 77), an R & amp;B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status. & quot; & lt;/b & gt; - William Ruhlmann, allmusic.com, Rated 4/5 Stars & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180 Gram Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Carlos Santana, vocals, guitar, percussion & lt;br & gt; David Brown, bass guitar & lt;br & gt; Tom Coster, keyboards, vocals & lt;br & gt; Leon & quot;Ndugu & quot; Chancler, drums, percussion & lt;br & gt; Armando Peraza, percussion, vocals & lt;br & gt; Greg Walker, vocals & lt;br & gt; Ivory Stone, vocals & lt;br & gt; Julia Tillman Waters, vocals & lt;br & gt; Maxine Willard Waters, vocals & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Dance Sister Dance (Baila Mi Hermana) & lt;br & gt; 2. Take Me With You & lt;br & gt; 3. Let Me & lt;br & gt; 4. Gitano & lt;br & gt; 5. Tell Me, Are You Tired & lt;br & gt; 6. Europa (Earth's cry Heavens smile) & lt;br & gt; 7. Let It Shine

Rachmaninoff Piano Concerto No. 3 180g LP Speakers Corner (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;TAS Super LP List! Best Of The Bunch: Classical & lt;br & gt; & lt;br & gt;TAS Recommended! Rated a 'Best Audiophile Label Recording' in the November 2009 issue of The Absolute Sound! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;img src= & quot;/content/images/tasbuyersguide50greatest.jpg & quot;hspace= & quot;5 & quot; & gt; & lt;br & gt; & lt;br & gt; Rachmaninov’s Third Piano Concerto, fondly referred to as “Rach 3” or even “Rachi 3” in dealer circles, has enjoyed a constantly growing popularity over the last few years. One reason may well be that the market has been flooded with recordings of the work, many of which attempt to outshine their rivals with massive sound effects instead of winning over the listener with musical transparency. Well, as everyone knows all too well, a first-class recording not only demands a world-class soloist but also a top-notch orchestra and conductor. This early stereo LP with the pianist Byron Janis and conductor Antal Dorati was and still is an enormous success, as is proved by the fact that it is regarded as a work of reference even in this age of the silver disc. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Speakers Corner has given these recordings the respect they deserve. The packaging is gorgeous: a black album titled & quot;The Living Presence of 20th Century Music & quot; and displaying the Mercury logo holds the three records with their original covers and liner notes. In addition, there are informative annotations on the music and Dorati, and a history of Mercury Living Presence...They sound at least as good and in some ways better than the originals...There are no negatives and not enough superlatives to describe these magnificent reissues. It's rare that performance, sound, and musical value combine at this level in a recording. & quot; & lt;/b & gt; - Arthur B. Lintgen, & lt;i & gt;The Absolute Sound & lt;/i & gt;, February/March 2004 & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; London Symphony & lt;br & gt; Antal Dorati, conductor & lt;br & gt; Byron Janis, pianist & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Rachmaninoff & lt;/b & gt; & lt;br & gt; Piano Concerto No. 3 in D Minor, Op.30

Boz Scaggs Boz Scaggs 180g Speakers Corner LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;High Quality Pure Analogue 180g Vinyl LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & quot;Boz Scaggs & quot; - not to be confused with the early Polydor recording entitled & quot;Boz & quot; from 1965 - is the first album in which the producers did everything right. Perhaps the most important participant of all is the legendary guitarist Duane Allman, who paved the way for the highly talented Scaggs to enter the Muscle Shoals Sound Studios in Alabama. Top-class soul musicians were lined up for him who had performed as the house band for Aretha Franklin and Wilson Pickett. The elite combo picked up their instruments immediately and offered a rich background sound in the bluesy & quot;I'm Easy & quot;, with powerful rapid scale passages in the bass and fired-up winds. Inspired by the timbre of the blues, Scaggs sings a series of lyrical songs, sometimes backed by a small group of instruments - yet always well dosed and finely balanced. At times the organ whispers to the singer ( & quot;I'll Be Long Gone & quot;), elsewhere finely tuned voices pipe up in the background ( & quot;Another Day & quot;). And then there are down-to-earth waves of warm sound from the slide guitar and cheerful sounds of the fiddle in the strophic country song & quot;Now You're Gone & quot;. & lt;/p & gt; & lt;p & gt;Highlights of the album are the yodelling hobo song & quot;Waiting For A Train & quot; and the blues number & quot;Loan Me A Dime & quot;, a show of strength if ever there was one. Before the magazine Rolling Stone could rank the well-selling LP among the 500 Greatest Albums Of All Time, it had to be given a makeover and so a new sizzling mix was made in 1978. Scaggs had demanded the remix to enhance the quality of the recording. After this came nothing for a long, long time. Now this album is available for the first time after 1978 in freshly pressed vinyl! & lt;/p & gt; & lt;p & gt;This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. & lt;/p & gt; & lt;p & gt;Recording: 1969 at Muscle Shoals Sound Recorders, Muscle Shoals, AL & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g High Quality Vinyl & lt;li & gt;Pure Analogue & lt;/li & gt; & lt;li & gt;Made from the original, analogue mastertapes & lt;/li & gt; & lt;li & gt;Pressed at Pallas in Germany & lt;/li & gt; & lt;Gatefold jacket & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;I'm Easy & lt;/li & gt; & lt;li & gt;I'll Be Long Gone & lt;/li & gt; & lt;li & gt;Another Day (Another Letter) & lt;/li & gt; & lt;li & gt;No You're Gone & lt;/li & gt; & lt;li & gt;Finding Her & lt;/li & gt; & lt;li & gt;Look What I Got & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Waiting For A Train & lt;/li & gt; & lt;li & gt;Loan Me A Dime & lt;/li & gt; & lt;li & gt;Sweet Release & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Earth, Wind & Fire That's The Way Of The World 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;2014 Stereophile Magazine Record to Die For! & 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 486/500! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Virgin Vinyl! One of the Strongest Albums of the 1970s! EWF's Crowning Achievement! Includes & quot;Shining Star & quot;, & quot;Yearnin' Learnin', & quot; & quot;Reasons, & quot; & quot;Happy Feelin', & quot; & quot;See The Light & quot; & amp; More! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; During the 1970s, a new brand of pop music was born – one that was steeped in African and African-American styles – particularly jazz and R & amp;B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & amp; Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and ’70s multicultural spiritualism. & lt;b & gt;“I wanted to do something that hadn’t been done before,” & lt;/b & gt; Maurice explains. & lt;b & gt;“Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music…which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners’ spiritual content.” & lt;/b & gt; & lt;br & gt; & lt;br & gt; The inspiration for “Shining Star” (one of EW & amp;F’s most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the ’70s. The track was originally included in the ‘That’s The Way Of The World’ movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). “Shining Star” glittered at number one R & amp;B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That’s The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R & amp;B in the summer of 1975. It also yielded the classic ballad “Reasons,” an extremely popular radio-aired album track. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;...[I]t was World that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of 'Shining Star' and 'Yearnin' Learnin'' to the gorgeous ballad 'Reasons' and the unforgettable title song, EWF's sixth album sold at least five million units. And some of the tracks that weren't major hits, such as the exuberant 'Happy Feelin'' and the gospel-influenced 'See the Light,' are equally powerful. There are no dull moments on World, one of the strongest albums of the 1970s and EWF's crowning achievement. & quot; & lt;/b & gt;- Alex Henderson, allmusic.com & lt;br & gt; & lt;br & gt; Recording: 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Wittig. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt;• 180 Gram Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; • Gatefold Jacket & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; & lt;/b & gt;1. Shining Star & lt;br & gt; 2. That's The Way Of The World & lt;br & gt; 3. Happy Feelin' & lt;br & gt; 4. All About Love & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; & lt;/b & gt;1. Yearnin', Learnin' & lt;br & gt; 2. Reasons & lt;br & gt; 3. Africano & lt;br & gt; 4. See The Light

Glenn Gould The Complete Glenn Gould Bach Keyboard Concertos Nos. 1-5 & 7 180g 3LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Virgin Vinyl High Quality 3LP Pressing! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The attempts that have been made to describe Glenn Gould’s complex personality are endless in number, as are his surprising and often eccentric interpretations. Whether he is considered to be a sensitive maniac, neurotic individualist or uncompromising genius – Gould polarizes, provokes and fascinates us long after his death in 1982. As early as 1964 the Canadian pianist ceased to give concerts, since he found appearing before an audience completely unacceptable and preferred to concentrate on studio recordings. & lt;br & gt; & lt;br & gt; Way in front of composers of the Viennese Classical era, which he did not take particularly seriously – although his performances keenly reflect Beethoven’s rhythmicity – comes his personal deity: Bach. Gould’s notorious strictness gives form to the minutest of figure in the score. He weaves his way through Bach’s music and thereby articulates its tightly knit and multi-facetted depths. No lecturing keyboard proponent this, but a creative co-composer who imbues the spirit of the music with life and sonority. Upon the release in 1980 of the 80th Birthday Edition with its wealth of visual and tonal material, the music journalist Werner Theurich wrote that & lt;b & gt; & quot;no one had ever played more raptly, or more intensively. That Gould’s performances are nothing but heavenly can be seen and felt. The rest is pure music. & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 3LP & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • High Quality Pressing & lt;br & gt; • Pure Analogue Audiophile Mastering & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Glenn Gould, piano & lt;br & gt; Columbia Symphony Orchestra & lt;br & gt; Vladimir Golschmann, conductor & lt;br & gt; Leonard Bernstein, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Johann Sebastian Bach (1685-1750) & lt;/b & gt; & lt;br & gt; 1. Keyboard Concerto No. 1 in D minor, BWV 1052 (mono) & lt;br & gt; 2. Keyboard Concerto No. 2 in E major, BWV 1053 & lt;br & gt; 3. Keyboard Concerto No. 3 in D major, BWV 1054 & lt;br & gt; 4. Keyboard Concerto No. 4 in A major, BWV 1055 & lt;br & gt; 5. Keyboard Concerto No. 5 in F minor, BWV 1056 & lt;br & gt; 6. Keyboard Concerto No. 7 in G minor, BWV 1058 & lt;br & gt; & lt;br & gt; & lt;b & gt;Ludwig van Beethoven (1770-1827) & lt;/b & gt; & lt;br & gt; 7. Concerto No. 1 for Piano and Orchestra in C major, op. 15 & lt;br & gt; & lt;br & gt; Recording: April 1957, May 1967 and February 1969 at Columbia 30th Street Studio, New York City, by Fred Plaut