Showing 1–25 of 343 results
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Klaudio – Vinyl LP Record Ultrasonic Cleaner with Dryer (External Reservoir) (KD-CLN-LP200T)
7.699,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe very best record cleaning machine on the market! Totally safe. Totally effective. Totally automated. "The sonic effects it has on an LP are equivalent to a turntable upgrade." — Jacob Heilbrunn, The Absolute Sound. Read the entire review here. Introducing the brand-new, fully automated, totally badass version of Klaudio's ultrasonic cleaner. Featuring the absolute highest quality fit and finish and completely unmatched performance. Enjoy your vinyl records as if they were new again. The new KD-CLN-LP200T brings 200 Watts of ultrasonic cleaning power to your LP collection. Using patent-pending technology, the toughest grime and dust is easily removed without the risk of physical scrubbers or the need for detergent. Drying is also handled safely with blowers. Simply connect an external water source and insert your phonograph record, and the rest is automated. This machine draws water from an external reservoir. The included container should be filled with distilled water and located on the floor beneath the cleaner. Alternatively, this model supports a direct plumbing connection with Klaudio's tap water kit (sold seperately), which is especially suited for high-volume vinyl cleaning. Ultrasonic transducers are placed perpendicular to both sides of the disc for maximum cleaning effect. Klaudio's technology allows powerful waves to remove debris without damaging the disc. And special dampening minimizes vibration and noise. The entire washing and drying process can be adjusted from two to 10 minutes. Cleaning status is conveniently displayed through an LED progress bar. (See this page for before and after microscope images of an LP record disc!) Those who know of Klaudio's reputation and who have seen the past results are going to be beyond thrilled to see this incredible product back on the market and now better than ever. If you treasure your record collection, there really is no other way to care for it.
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Klaudio – Automatic Disc Loader (KD-ATL-RCM05)
3.650,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart(Record cleaning machine is not included.) Klaudio's disc loader queues up to five records for automatic cleaning and drying. Each LP is lowered and raised with a motorized arm, and its status is displayed by an LED (red=dirty, green=clean). Records can be exchanged continuously, so there's no need to wait for all five discs to finish. The auto-loader will track the cleaning status and location of newly added discs. The automatic loader installs easily onto Klaudio's KD-CLN-LP200, KD-CLN-LP200S & brand new KD-CLN-LP200T ultrasonic cleaners using the included thumb screw and auxiliary power cable.
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Klaudio – Silencer Acoustic Dampening Case for KL Audio w/ External Reservoir and Auto Loader (KD-SIL-S2ATL)
2.790,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart- Note: This dampening case is for the Klaudio record cleaning machine plus automatic disc loader.
- There is different case for the record cleaning machine without the automatic disc loader.
- Record cleaning machine and automatic disc loader are not included
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Klaudio – Silencer Acoustic Dampening Case for KL Audio w/ External Reservoir
1.990,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart- Not for use with auto-loader arm
- Record cleaning machine is not included
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Bill Evans – Riverside Recordings
1.150,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item"these are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 Of everything Analogue Productions has reissued, nothing has come close in sales or accolades to the 45-RPM versions of Bill Evans titles from his Riverside catalog. And now we've compiled all of them into one irresistible box set package. Includes facsimiles of each original jacket along with an 18-page booklet detailing Evans' career and Riverside era. Titles Included: New Jazz Conceptions, Everybody Digs Bill Evans, Portrait In Jazz, Explorations, Sunday At The Village Vanguard, Waltz For Debby, Moonbeams, Know What I Mean?, Interplay, How My Heart Sings! and At Shelly's Manne-Hole.
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Klaudio – Tap Water Delivery and Filtering Kit for KL Audio w/ External Reservoir (KD-FLT-TAP02)
630,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThis kit allows the KD-CLN-LP200S and KD-CLN-LP200T LP vinyl ultrasonic cleaners to use plumbed building water for their source during washing cycles. Electronic solenoid valves automatically control water filling and draining at the appropriate times. A filter removes minerals from the tap water, and an extra replacement filter core is included. No external reservoir is required when using this product with the KD-CLN-LP200S or KD-CLN-LP200T cleaners. Instead, fresh tap water (approximately 34 fl.oz., 1 liter) enters the cleaner during each wash cycle. The record cleaner should be located at least 6.5 ft (2m) from a water source and drain in order to use this product. NOTE: Klaudio’s tap water kit includes a splitter to connect with 1/4-inch or 3/8-inch NPT (FIP) threaded plumbing fixtures, such as a faucet or toilet shutoff valve. Countries other than the U.S. may require the purchase of compatible thread adapters or a separate splitter with ball valve. If inexperienced in working with water supply lines, it is recommended to have a plumbing professional install this device. Improper installation or sealing could result in leaks and water damage.
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Blood, Sweat & Tears – Bloodlines (+ Booklet) 45
335,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item"There you have it! The first four BS&T records cut by Ryan K. Smith at Sterling Sound from the master tapes and pressed on 200g vinyl at QRP. I thought a 1A pressing of the first album couldn't be bettered but that was wrong. This one does. ... I did compare the second album here to the double 45 from ORG cut by Bernie Grundman from a copy of the master and it's somewhat warmer and softer, particularly in the mid-bass but I prefered this newest version. The other two (albums) are equally good compared to nothing because I don't have originals. ... That said, this boxed set gives you the first four albums packaged better than ever with gatefold jackets containing great photographs and as best as I can tell, also sounding better than ever as best as I can tell. Ryan K. Smith did a great job here for sure." Music = 8/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com. Read the whole review here. David Clayton-Thomas landed in New York City in 1966, drawn from his native Canada to appear on the NBC network TV show "Hullabaloo" as a guest of fellow Canadian Paul Anka. Anka wanted a Canadian band to feature on the show and Clayton-Thomas fronted a jazz/rock band called The Bossmen — "we had the number one record in Canada at the time." Clayton-Thomas returned to Toronto after the show but the creative scene in the Big Apple beckoned. He got a NYC gig playing guitar for John Lee Hooker — and in the funky clubs of Greenwich Village he met several founding members of what was to become a chart-dominating jazz fusion band with an utterly distinctive sound — Blood, Sweat & Tears. For a brief period at the end of the 1960s and the start of the 1970s, Blood, Sweat & Tears, which fused a rock 'n' roll rhythm section to a horn section, stormed the pop charts. Clayton-Thomas joined this stellar group of musicians in 1969, bringing a handful of new songs as they delivered the monumental Grammy Album of the Year Blood, Sweat & Tears. Now hear the music and read the complete story about how this legendary band succeeded, from the ultimate BS&T insider — David Clayton-Thomas himself! Bloodlines, from Analogue Productions captures the BS&T sound as never before, on four remastered LPs — Child Is Father To The Man, Blood, Sweat & Tears, Blood, Sweat & Tears 3 and Blood, Sweat & Tears 4. Each album was remastered from the original master tapes by Ryan K. Smith at Sterling Sound in New York, and each was plated and pressed on deluxe 200-gram heavyweight vinyl at our own Quality Record Pressings, maker of the world's finest-sounding LPs. The jackets - from Stoughton Printing - are top-of-the-line, old-style tip-on showcasing immaculately reproduced artwork. The whole set comes in a custom-designed deluxe slipcase. For this special box set, David Clayton-Thomas was gracious enough to contribute a wonderfully-written essay telling the whole history of the band and its origins. The eight-piece band signed to Columbia Records and recorded Blood, Sweat & Tears' debut album, Child Is Father to the Man, which was released in February 1968. Cofounder Al Kooper then departed, and the group was reorganized. Singer David Clayton-Thomas was added, trombonist Dick Halligan moved to the keyboards, and trumpeters Chuck Winfield and Lew Soloff replaced Randy Brecker and Jerry Weiss, with Jerry Hyman being added on trombone. This nine-piece unit, working with producer James William Guercio, made Blood, Sweat & Tears' self-titled second album, released in January 1969. Blood, Sweat & Tears was a runaway hit, spawning three gold-selling Top 10 singles, "You've Made Me So Very Happy," "Spinning Wheel," and "And When I Die," selling 3 million copies and winning the Grammy Award for Album of the Year. Guercio left afterward to work on a similar musical concept with Chicago Transit Authority, and Blood, Sweat & Tears increasingly became a backup group for Clayton-Thomas. Nevertheless, the third album, Blood, Sweat & Tears 3 (1970), and the fourth, Blood, Sweat & Tears 4 (1971), were substantial hits. This is a momentous box set presenting a historically-significant band in the deluxe fashion that it deserves. Like all of our Analogue Productions reissues, we've painstakingly sweated the details to bring you the utmost listening experience. Now you can listen to these cherished album favorites in the highest quality, as you gain insights into the band and its recordings from Clayton-Thomas' informative account of the band's history.
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Thelonious Monk – The Riverside Tenor Sessions
288,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item180-gram vinyl 7LP box set Mastered AAA by Kevin Gray from the original analog master tapes Pressed at Quality Record Pressings Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk — The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, these albums provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two at the Blackhawk. Like the Miles Davis quintet records contained in Analogue Productions' Miles Davis Quintet: The Prestige Recordings, these Monk albums are among the pinnacle of the LP art — now pressed by Quality Record Pressings, and they have never sounded better.
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Blood, Sweat & Tears – Bloodlines (+ Booklet)
248,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item"There you have it! The first four BS&T records cut by Ryan K. Smith at Sterling Sound from the master tapes and pressed on 200g vinyl at QRP. I thought a 1A pressing of the first album couldn't be bettered but that was wrong. This one does. ... I did compare the second album here to the double 45 from ORG cut by Bernie Grundman from a copy of the master and it's somewhat warmer and softer, particularly in the mid-bass but I prefered this newest version. The other two (albums) are equally good compared to nothing because I don't have originals. ... That said, this boxed set gives you the first four albums packaged better than ever with gatefold jackets containing great photographs and as best as I can tell, also sounding better than ever as best as I can tell. Ryan K. Smith did a great job here for sure." Music = 8/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com. Read the whole review here. David Clayton-Thomas landed in New York City in 1966, drawn from his native Canada to appear on the NBC network TV show "Hullabaloo" as a guest of fellow Canadian Paul Anka. Anka wanted a Canadian band to feature on the show and Clayton-Thomas fronted a jazz/rock band called The Bossmen — "we had the number one record in Canada at the time." Clayton-Thomas returned to Toronto after the show but the creative scene in the Big Apple beckoned. He got a NYC gig playing guitar for John Lee Hooker — and in the funky clubs of Greenwich Village he met several founding members of what was to become a chart-dominating jazz fusion band with an utterly distinctive sound — Blood, Sweat & Tears. For a brief period at the end of the 1960s and the start of the 1970s, Blood, Sweat & Tears, which fused a rock 'n' roll rhythm section to a horn section, stormed the pop charts. Clayton-Thomas joined this stellar group of musicians in 1969, bringing a handful of new songs as they delivered the monumental Grammy Album of the Year Blood, Sweat & Tears. Now hear the music and read the complete story about how this legendary band succeeded, from the ultimate BS&T insider — David Clayton-Thomas himself! Bloodlines, from Analogue Productions captures the BS&T sound as never before, on four remastered LPs — Child Is Father To The Man, Blood, Sweat & Tears, Blood, Sweat & Tears 3 and B, S & T 4. Each album was remastered from the original master tapes by Ryan K. Smith at Sterling Sound in New York, and each was plated and pressed on deluxe 200-gram heavyweight vinyl at our own Quality Record Pressings, maker of the world's finest-sounding LPs. The jackets — from Stoughton Printing — are top-of-the-line, old-style tip-on showcasing immaculately reproduced artwork. The whole set comes in a custom-designed deluxe hinged box. For this special box set, David Clayton-Thomas was gracious enough to contribute a wonderfully-written essay telling the whole history of the band and its origins. The eight-piece band signed to Columbia Records and recorded Blood, Sweat &Tears' debut album, Child Is Father to the Man, which was released in February 1968. Cofounder Al Kooper then departed, and the group was reorganized. Singer David Clayton-Thomas was added, trombonist Dick Halligan moved to the keyboards, and trumpeters Chuck Winfield and Lew Soloff replaced Randy Brecker and Jerry Weiss, with Jerry Hyman being added on trombone. This nine-piece unit, working with producer James William Guercio, made Blood, Sweat & Tears' self-titled second album, released in January 1969. Blood, Sweat & Tears was a runaway hit, spawning three gold-selling Top 10 singles, "You've Made Me So Very Happy," "Spinning Wheel," and "And When I Die," selling three million copies and winning the Grammy Award for Album of the Year. Guercio left afterward to work on a similar musical concept with Chicago Transit Authority, and Blood, Sweat & Tears increasingly became a backup group for Clayton-Thomas. Nevertheless, the third album, Blood, Sweat & Tears 3 (1970), and the fourth, B, S & T 4 (1971), were substantial hits. This is a momentous box set presenting a historically-significant band in the deluxe fashion that it deserves. Like all of our Analogue Productions reissues, we've painstakingly sweated the details to bring you the utmost listening experience. Now you can listen to these cherished album favorites in the highest quality, as you gain insights into the band and its recordings from Clayton-Thomas' informative account of the band's history.
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Janos Starker – Bach: Suites For Unaccompanied Cello Complete (45 RPM 180 Gram 6 LP Box Set)
235,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemCut directly from the original 3-track, first-generation master tapes at 45 RPM by Ryan K. Smith at Sterling Sound using an AMPEX ATR-100 tape machine customized with 3-track flux magnetic heads! "What better time than during a period of self-isolation and social distancing could there be to explore Bach’s 'Suites For Unaccompanied Cello'? Arguably, there’s no finer recorded performances than the ones Janos Starker performed for Mercury Records April 15 and 17, 1963, September 7-8, 1965 and December 21-22, 1965. ... The finest version of these historic recordings, is without a doubt, this latest one from Analogue Productions and the sound is unassailable." — Music = 11/11; Sound 11/11 — Michael Fremer, AnalogPlanet.com, July 3, 2020. Read the whole review here. "The original LP has now been reissued by Analogue Productions on 200gm vinyl, mastered at Sterling Sound by Ryan K. Smith and stamped at Quality Record Pressings. I compared my review copy of the AS release to my IS/IS original and found the two to be very, very close; if anything, I believe most listeners would prefer the AS reissue for its very slightly more rounded-off sound, which sacrifices nothing of the original's presence yet pulls the dry sound back an inch or two from the brink of brightness. Also, the reissue has a somewhat wider dynamic range: After matching its volume to the original during a quiet passage, forte passages on the reissue seemed to go louder than on the original. All around, a well-done reissue of a recording that deserves your love." — Revinylization by Art Dudley, Stereophile.com, June 2020 "After receiving the final package, I am so proud of this product! I knew we hit a home run sound-wise when I heard the test pressings, but this packaging is super-deluxe and well manufactured, a whole other level. The production pressings are as good as the test pressings. This is just what you want in an all-analog vinyl reissue: superb sound and a collector-grade physical artifact. Great craftsmanship all around!" — Thomas Fine, remastering supervisor These newly remastered Mercury Living Presence reissue LPs represent the state of the art of all-analog technology and production. Led by remastering supervisor Thomas Fine, son of high-fidelity recording pioneers C. Robert Fine and Wilma Cozart Fine of Fine Recording Inc. in New York City, these reissues were cut at 45 RPM directly from first-generation 3-track master tapes. A 3-2 channel mix was made directly to the cutting lathe, no "cutting master" tape stage, digital source or digital delay was used. Thomas Fine made the 3-2 mixes with mastering engineer Ryan K. Smith at Sterling Sound's new facility in Nashville, Tennesee. Smith manually controlled groove margin and depth on his Neumann VMS-80 lathe, working with no preview signal and bypassing the lathe's margin-control computer. In doing so, he cut these sides the same way the original LP was cut by George Piros, who was Fine Recording Inc's VP and head of mastering. As with the original LP, no "sweetening" equalization or dynamic range control was used. The definitive recording and perrformance of these works by JS Bach was originally released as a 3LP Mercury Living Presence Stereo SR3-9016, original mint copies of which command hundreds of dollars on the preowned LP market. Hungarian-American cellist János Starker epitomized refined elegance and superbly subtle bow work. Starker, who died in April 2013, was one of the 20th century's most renowned cellists. Starker's recording of the Suites from 1965 makes a lasting impression on the listener, and even record producers who are well used to recorded excellence have been highly impressed. Starker's full-bodied sound and technical brilliance are complemented by his finely chiseled interpretation that lends immense expression to Bach's thrilling harmony and verve to the strict rhythmic construction of the movements. This 6LP set, cut at 45 RPM, allows for the full dynamics present on the master tapes to shine through masterfully, as the wider-spaced grooves across the six sides, instead of three, let your stereo cartridge track more accurately. Housed in a glossy lid-style box reproducing the original artwork. Plated and pressed at Quality Record Pressings, makers of the world's finest-sounding LPs.
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Ernest Ansermet – The Royal Ballet Gala Performances (45 RPM 200 Gram 5 LP Box Set)
215,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemn the hearts of thousands, No. 1 on the Top RCA list. While the bulk of Ernest Ansermet's recordings were made with L'Orchestre de la Susise Romande, there were a few with the Paris Conservatoire Orchestra and the very occasional foray into recordings with London orchestras, one of these being with the Orchestra of the Royal Opera House, Covent Garden, in 1959. Analogue Productions is proud and excited to be bringing back such a classic. Not just for the music, which is superb, but also for the detailed packaging, which in this case takes the form of a 22-page lavishly illustrated book that's integrated into the tip-on gatefold jacket for two of the LPs in this new 5LP 45 RPM box set edition. A word about 45 RPM: The dead-quiet LPs, with the music spread over nine sides of vinyl (the 10th side repeats side 1), reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. But it's more than just the vinyl that makes this release so special. If you're new to ballet, this pictorial history will introduce you to some of its most famous productions — old favorites such as The Nutcracker, Swan Lake and The Sleeping Beauty, for example — but also less familiar tales such as Carnaval, Les Sylphides and Coppélia. You'll also make the aquaintance of famous ballerinas of the Royal company, such as Margot Fonteyn, Nadia Nerina and Beryl Grey. as well as choreographers such as Jules Perrot and male dancers Alexis Rassine and Michael Somes. Musically you can't get better than the 200-gram dead-silent platters pressed by RTI. Of course the best vinyl reflects the best mastering, and that's accomplished here by Bernie Grundman working from the original analog tape. Stoughton Printing expertly handled the intricate gatefold tip-on package. Audiophilia Online Magazine wrote: "This is the stuff of which dreams are made. The Royal Ballet Gala is one of the finest RCAs recorded in London's Kingsway Hall. The chunks of great ballet music are well served by orchestra, conductor and engineer. Performances are executed to a very high standard - the Royal Opera House Orchestra, both then and now, rank as one of the finest of opera orchestras. "Conductor Ansermet keeps the pace moving, giving the listener the impression of a dance event rather than a dramatic concert hall reading. With the exception of some of the Tchaikovsky scenes, the music is light and remains so under Ansermet's gentle touch. Each ballet is given full attention by the players, something not always attained at Covent Garden during long ballet nights! The threat of eternity does have it's merits. The recorded sound is simply amazing! Lustrous is one word that comes to mind, accurate is another. "Tonally, Messrs. Williamson and Wilkinson have used their considerable talents to capture the orchestra superbly. Woodwind and strings glow and resonate, transporting this listener to a time when simpler recording was better. Brass ring out thrillingly and percussion effects are very musical. Be it a bang, swish, rattle, crack or snap, each percussionist is situated perfectly within the beautiful Kingsway soundstage. Even the difficult-to-record sound of the celeste is captured in it's purely mechanical form. It's delicate sound is heard to great effect during the Nutcracker - originating stage left, the sound decays across the stage of Kingsway with sparkling beauty. Wonderful."
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Harry Belafonte – Belafonte At Carnegie Hall (45 RPM 180 Gram 5 LP Box Set)
208,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemDescribed by reviewers as "the quintessential Belafonte package," Belafonte at Carnegie Hall captures the excitement of a Harry Belafonte concert at the height of his popularity. What Analogue Productions has done with this 5LP 45 RPM box set release exceeds other vinyl versions. We've included the entire concert. The fifth disc in this premium set includes tracks heretofore missing from prior editions due to space limitations. They include Belafonte's spoken introduction before launching into the touching and tender "Scarlet Ribbons," followed by the orchestral overture. What AllMusic.com describes as "The grandaddy of all live albums," was an anomaly at a time when only comedy albums were recorded outside of the studio environment. A major financial and artistic success, the live performance stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs. The concert is divided in three sections: "Moods of the American Negro," "In the Caribbean," and "Around the World." All the hits are here: "Day O," "Jamaica Farewell," "Mama Look a Boo Boo," and others, plus calypso, folk songs, chain gang songs, spirituals, and songs from other lands, representing a veritable best-of package of Belafonte's first decade with RCA Victor. Wait no more if you haven't heard this marvelous record. We've gone all out for this deluxe reissue. Starting with premier mastering by Ryan K. Smith at Sterling Sound from the original analog tapes. Spread over 5 LPs, the wider-spaced grooves reduce distortion and high frequency loss and let your stereo cartridge track more accurately. Plating is by Gary Salstrom and pressing is by Quality Record Pressings and RTI. But the deluxe treatment doesn't stop there: We've enhanced the original studio photography and housed the collection in a custom-designed slipcase box. Belafonte's mastery in front of an audience was never better displayed than here, a mastery that resulted in him becoming one of the most popular concert draws in history. From the opening trumpet fanfare to the epic 12-minute version of "Matilda" (which set a standard for audience participation), the album never lets up!
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Bill Evans Trio’s Waltz For Debby UHQR
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartBill Evans Trio's Waltz For Debby on Analogue Productions' UHQR, the pinnacle of high-quality vinyl! Definitive handmade limited run reissue Ultra High Quality Record! 200-gram 45 RPM 2LP release limited to 5,000 copies Mastered by Kevin Gray at Cohearent Audio from the original analog tapes Set includes 8-page booklet with liner notes by Bob Blumenthal Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging! The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality. The title track, "Waltz for Debby," serves as the centerpiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing. Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection. The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album. Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue. Four glorious sides of 200-gram Clarity vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions feature ultra-quiet pressing, with great care taken to eliminate any surface noise or imperfections from the manufacturing process. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. The proprietary compound further enhances the overall sound quality, offering improved dynamics, detail, and tonal accuracy. Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records. Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.
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In stock
Bill Evans Trio’s Sunday At The Village Vanguard UHQR
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartBill Evans Trio's Sunday At The Village Vanguard on Analogue Productions' UHQR, the pinnacle of high-quality vinyl! Definitive handmade limited run reissue Ultra High Quality Record! 200-gram 45 RPM 2LP release limited to 5000 copies Mastered by Kevin Gray at Cohearent Audio from the original analog tapes Set includes 8-page booklet with liner notes by Bob Blumenthal Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press Purest possible pressing and most visually stunning presentation and packaging! Widely regarded as one of the greatest live jazz recordings of all time, Sunday At The Village Vanguard from the Bill Evans Trio, captures a remarkable performance by pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian at the Village Vanguard jazz club in New York City on June 25, 1961. The album features a selection of jazz standards and original compositions, showcasing the exceptional musicianship and improvisational prowess of the trio. The interplay between Evans, LaFaro, and Motian is extraordinary, with each musician seamlessly complementing and responding to one another. The album also showed how Evans had refined an approach to solo improvisation in which the pulse was not as obvious as it had been in swing and bop approaches. And his extraordinarily-high standards required that each improvised melodic idea be extensively developed, resulting in more continuity and pacing than was common to any previous modern style. The influence of what LaFaro and Evans laid out here was still being felt in the 1990s. Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Sunday At The Village Vanguard where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue. Four glorious sides of 200-gram Clarity vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions feature ultra-quiet pressing, with great care taken to eliminate any surface noise or imperfections from the manufacturing process. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. The proprietary compound further enhances the overall sound quality, offering improved dynamics, detail, and tonal accuracy. Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records. One of the standout tracks on this album is the rendition of the jazz standard "Gloria's Step." Evans' delicate touch and lyrical piano playing shine through, while LaFaro's inventive and melodic bass lines add depth and richness to the sound. The trio's chemistry is evident as they navigate through intricate musical passages and engage in spontaneous musical conversations. Another notable track is "Alice in Wonderland," an original composition by Evans. It highlights his unique approach to harmony and melody, characterized by introspection, elegance, and a delicate touch. The trio's interpretation of this piece is enchanting and showcases their ability to create a magical atmosphere through their collective musical expression. Sunday at the Village Vanguard is celebrated not only for its exceptional music but also for its exceptional sound quality. The recording captures the intimate ambiance of the Vanguard, allowing listeners to experience the energy and intimacy of a live jazz performance. Overall, Sunday at the Village Vanguard is a timeless masterpiece that exemplifies the artistry and innovation of the Bill Evans Trio. It remains a significant and influential album in the history of jazz.
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In stock
Steely Dan – Gaucho (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartGaucho — Steely Dan's Grammy-winning seventh studio album now on UHQR! Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl! 45 RPM LP release limited to 20,000 numbered copies Mastered by Bernie Grundman from an analog tape copy originally EQ'd by Bob Ludwig Pressed at Quality Record Pressings using 200-gram Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging! Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing "The original didn't have powerful bass and neither does the UHQR. It would have been easy to screw this up by boosting the bass but that wasn't done here. Instead, bass attack has been clarified and 'tightened' but at the same time cutting at 45 seems to have added suppleness. On 'Goucho' listen to the 'stop and start' clarity of Becker's bass lines produced by the quiet vinyl and 45rpm cut. There are percussive elements and accents in the left channel I've never heard so clearly." — Conclusion? "This is the definitive version of this record. If your analog front end is up to delivering it, I think you'll agree." — Music = 10/11; Sound = 11/11 — Michael Fremer, TrackingAngle.com. To read Fremer's full review, click here. "...there are things I heard on the original that were always there but I didn't fully pick up on them until I heard the UHQR ... like some very subtle cymbal taps between the 2 minute 9 second and 2 minute 15 second mark in 'Babylon Sisters' - you see it's just these type of details that come out at you in this UHQR that seem a bit more recessed in the original. ... Sonics in the base and the mid and the trebles were all 10s and the imaging and openness and airiness is a 10-plus ... at the end of the day we end up with this 9.9 rating for the new UHQR out of 10 so what else can you say, it doesn't get much better than that." — David Bianco, Safe & Sound Texas Audio Excursion, YouTube video. In their review of Gaucho, Rolling Stone proclaims, "Steely Dan have perfected the aesthetic of the tease. Their sound is as slippery as their (lyrical) irony." Gaucho — the iconic seventh studio album by Steely Dan, released in November 1980 — and Grammy-winner for Best Engineered Non-Classical Recording, was also Grammy-nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. The album represents the band's musical evolution towards a more polished and sleek sound, featuring a collection of meticulously crafted songs that blend jazz, rock, and pop music, while exploring themes of decadence, longing, and disillusionment. Gaucho's title track is a jazzy instrumental piece. The standout tracks on the album include "Hey Nineteen," a catchy and upbeat tune that features a memorable saxophone riff and lyrics about an older man's attraction to a young woman, and "Babylon Sisters," a funky and groovy track that showcases the band's impeccable sense of rhythm and melody. The sessions for Gaucho represented the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent more than a year in the studio, and far exceeded the original monetary advance given by the record label. Still, the album features multiple layers of instrumentation, carefully crafted arrangements, and the use of top-notch session musicians to create a lush and sophisticated sound that is uniquely Steely Dan. Despite its critical and commercial success, Gaucho was a challenging album to make. During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems. MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett was given a co-writing credit on the title track after threatening legal action over plagiarism of Jarrett's song "'Long As You Know You're Living Yours." Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession." Gaucho proved to be Steely Dan's final studio album that Donald Fagen and Walter Becker would make together until the year 2000. Gaucho reached No. 9 on the U.S. album chart and was certified platinum-selling. "Hey Nineteen" reached No. 10 on the U.S. Singles Chart and went to No. 1 in Canada. Pitchfork, in its review, describes the almost "pathologically overdetermined production" as elegant, arid and a little forbidding. "Every last tinkling chime sounds like it took 12 days to mix, because chances are, it did." The New York Times deemed Gaucho the best album of 1980, beating out Talking Heads' Remain in Light and Joy Division's Closer. Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations. After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine. Gaucho remains a testament to Steely Dan's enduring musical legacy and their ability to create timeless music that transcends genre and style.
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In stock
John Coltrane – Ballads UHQR
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartAudiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable. You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall. The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety." While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s. Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios. "It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record
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Low stock
The White Stripes’ – Elephant
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe fourth studio album by the American rock duo the White Stripes was an extraordinary success. It peaked at No. 6 on the Billboard charts and topped the U.K. Albums Charts. To date it's sold 4 million copies worldwide, achieving platinum-sales certification from the Recording Industry Association of America and 3x platinum from the British Phonographic Industry. It spawned the hit single "Seven Nation Army," the band's signature track that's become a sports anthem, plus the hits "I Just Don't Know What to Do with Myself," "The Hardest Button to Button" and "There's No Home for You Here." Elephant has received critical acclaim and it's often cited as the White Stripe's best work, including receiving a nomination for Album of the Year and a win for Best Alternative Music Album at the 46th Grammy Awards in 2004. Rolling Stone ranked the album No. 449 on its 2020 list of the 500 Best Albums of All Time. The Stripes, it said, exploded out of Detroit with a minimalist garage-blues attack: just Jack White on guitar and Meg White on drums, taking on the world. To give Elephant the sonic perfection and signature packaging it deserves, Analogue Productions and Third Man Records have teamed up for the ultimate reissue edition. We present in UHQR format on Clarity Vinyl this rock masterpiece, limited to 10,000 copies. It comes with gold foil numbered jackets, housed in a premium slipcase with a wooden dowel spine. Jack and Meg insisted they were a brother and sister, even after people learned they were secretly a divorced couple. But against all odds, the low-budget duo became a global sensation for their sheer rock power. Rolling Stone says Elephant "seethes with raw desperation and lust" in "Seven Nation Army," "Hypnotize," and "The Hardest Button to Button." Jack plays guitar hero in the seven-minute jam "Ball and Biscuit." More About Clarity Vinyl The off-white color of the record you are receiving is the color of raw vinyl in its purest form (un-tinted vinyl). To make the ultimate record, we decided to enhance sound quality by removing potential sources of noise contamination or sonic interference. By not adding traditional carbon black colorant, we eliminate that potential due to carbon black particles, instead allowing your stylus to effortlessly slide down a silky smooth groove wall.
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In stock
John Coltrane – A Love Supreme (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartAudiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. You're about to experience A Love Supreme at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. For this 45 RPM 2LP edition you'll also receive a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home. The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original. A Love Supreme was Coltrane's pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship. The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.
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In stock
Steely Dan – Aja (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartIf you were an audiophile in the late 1970s, you owned Aja. Rolling Stone, which ranks 1977's Aja at No. 63 on its latest 500 Greatest Albums of All Time list, says "this was Walter Becker and Donald Fagen's no-holds barred stab at becoming a huge mainstream jazz-pop success. "And sure enough, thanks to sweet, slippery tracks like 'Deacon Blues,' and 'Peg,' this collegiate band with a name plucked from a William Burroughs novel and a songbook full of smart, cynical lyrics became bona fide superstars, shooting to the Top Five and selling platinum. And yes, Aja even won a Grammy for Best Engineeed Album." Fagan and Becker would assemble a revolving cast of almost 40 session musicians to play on the album, consisting of some of the all-time greats, including Joe Sample, Larry Carlton, Wayne Shorter, Steve Gadd, Lee Ritenour, Timothy B. Schmidt — it's a long list. It's a Who's Who of session superstars. The album name and its title track were inspired by a South Korean woman whom a high school friend's brother had married after serving in the army in her country. The chord progressions and melodies are so unique and so typically Steely Dan. The drum solo at the end of the title track by Steve Gadd is also astounding. Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations. After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 30,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
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Steely Dan – The Royal Scam (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartSteely Dan's gold-selling fifth studio album The Royal Scam, was produced by Gary Katz and was originally released by ABC Records in 1976. The Royal Scam features more prominent guitar work than the prior Steely Dan album, Katy Lied, which had been the first without founding guitarist Jeff Baxter. Guitarists on the recording include Walter Becker, Denny Dias, Larry Carlton, Elliott Randall and Dean Parks. The album was certified gold-selling and peaked at No. 15 on the Billboard 200. In common with other Steely Dan albums, The Royal Scam is littered with cryptic allusions to people and events both real and fictional. In a BBC interview in 2000, Becker and Fagen revealed that "Kid Charlemagne" is loosely based on Owsley Stanley, the notorious drug "chef" who was famous for manufacturing hallucinogenic compounds, and that "Caves of Altamira," based on a book by Hans Baumann, is about the loss of innocence, the narrative about a visitor to the Cave of Altamira who registers his astonishment at the prehistoric drawings. Rolling Stone, in its review of the album, described The Royal Scam, as Steely Dan's "mostatypical record, possessing neither obvious AM material nor seductive lyrical mysteriousness. It also contains some of their most accomplished and enjoyable music. "... the overall feeling of Scam is one of just that: tension. There is little of the self-confident gentleness that dotted Pretzel Logic, less still of the omniscience that suffused Katy Lied. The Royal Scam is a transitional album for Steely Dan; melody dominates lyric in the sense that the former pushes into new rhythmic areas for the group (more "pure" jazz, semireggae and substantially more orchestration than before) while the verbal content is clearer, even mundane, by previous Dan standards," said the Rolling Stone review. Nearly every song on Scam concerns a narrator's escape from a crime or sing recently committed, the review continued. "Becker and Fagen have really written the ultimate 'outlaw' album here, something that eludes myriad Southern bands because their concept of the outlaw is so limited. Rather than just, say, robbing banks ('Don't Take Me Alive,' in which the robber is a 'bookkeeper's son'), Becker and Fagen's various protagonists are also solipsistic jewel thieves ('Green Earrings'), spendthrift divorcées ('Haitian Divorce') and murderously jealous lovers ('Everything You Did')." AllMusic gives the album 4.5 stars, saying the best songs on The Royal Scam, "Kid Charlemagne" and "Sign in Stranger" "rank as genuine Steely Dan classics." The album cover shows a man in a suit, sleeping on a radiator, and apparently dreaming of skyscraper-beast hybrids. The cover was created from a painting by Zox and a photograph by Charlie Ganse, and was originally created for Van Morrison's unreleased 1975 album, Mechanical Bliss, the concept being a satire of the American Dream. In the liner notes for the 1999 remaster of the album, Fagen and Becker claim it to be "the most hideous album cover of the seventies, bar none (excepting perhaps Can't Buy a Thrill)." After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
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Steely Dan – Katy Lied (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartKaty Lied, Steely Dan's fourth studio album, originally released in 1975 by ABC Records, was certified gold-selling and peaked at No. 13 on the U.S. charts. The single "Black Friday" also charted at No. 37. Pitchfork noted: "(Katy Lied) captures Steely Dan in the thick of it all, still hungry and energized by their early burst of creativity but not taking anything for granted. Before Katy Lied, Steely Dan was a rock band, but this is the record where they became something else." Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations. Katy Lied marks the first appearance of singer Michael McDonald on a Steely Dan album. Best known for his soulful voice as a member of the Doobie Brothers, McDonald is a five-time Grammy winner and was inducted into the Rock and Roll Hall of Fame as a member of the Doobie Brothers in 2020. The album cover features a picture of a katydid, a "singing" (stridulating) insect related to crickets and grasshoppers. This is most likely a pun on the album's title; the "singing" of a katydid sounds as though they're saying "Katy did, Katy didn't." Lyrics in the song "Doctor Wu" include "Katy tried, I was halfway crucified" and "Katy lies, you can see it in her eyes." The premise of the theme of Katy "lying" is based on a quote from Denny Dias when he came to the studio to play on "Your Gold Teeth II." Jeff Porcaro, then only 21 years old, played drums on all the songs except "Any World (That I'm Welcome To)," which features legendary session drummer Hal Blaine. After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
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Low stock
Miles Davis – Kind of Blue (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart“Kassem’s new edition-also stamped in an edition of 25,000 — is from the same master, pressed on the same type of vinyl (but not “hand pressed” this time, which actually results in greater pressing consistency, plus now there’s a good chance everyone who orders will get their copy in a reasonable time period), packed in the same fancy box. The only difference is that the music is on two LPs, cut at 45rpm, meaning the grooves are much wider. All things equal, this should make for finer detail, an airier ambience, more lifelike sound generally. And that’s what you get here. Take the passage from my Stereophile review and step it up a few notches: “finer touches…even more stunningly clear…still more layers…the ecstatic beauty…” Everything is more present, more brassy, woody, or metallic, depending on the instrument. There’s a more palpable sense of a human being blowing through a mouthpiece, plucking a string, coaxing a keyboard, or tapping a snare drum. There is more of a sense that you are with the musicians in the studio. In short, take any account you’ve read-or any memory you treasure-of this album’s sonic glories, and embellish every admiring adjective with more, more, better, better.” — Music = 11/11; Sound = 11/11 Fred Kaplan, TrackingAngle.com. To read Kaplan’s full review, click here. Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis’ Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into “Best Of” lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody. It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley with Wynton Kelly playing piano on “Freddy the Freeloader.” Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record. The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer’s stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. For this 45 RPM 2LP edition we’ve set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1/3 RPM is holographic at 45. Four glorious sides of 200-gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. There’s also a 20-page booklet with updated session photos and liner notes by Robert Palmer and Ashley Kahn. Plus, we’ve included photos of legendary mastering engineer Bernie Grundman’s mastering notes from this release. Kind of Blue is more than Miles Davis’s most enduring recording, it’s a testament to Miles’ experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. “The music has gotten thick,” Davis complained in a 1958 interview for The Jazz Review. “… There will be fewer chords but infinite possibilities as to what to do with them.” Kind of Blue is, in a sense, all melody — and atmosphere. None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune. Miles remained proud of the album, performing at least two of its tracks — “So What” and “All Blues” — for years after, until his musical path took him in a different direction. History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles’ being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio. A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio’s 3-track master recorder was running slowly the day of the album’s first session. This speed issue affected the album’s first three tracks, “So What,” “Freddie Freeloader” and “Blue in Green,” making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late ’90s. Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world’s best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
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Steely Dan – Countdown To Ecstasy (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemSteely Dan’s second studio album, originally released in 1973 by ABC Records, was certified gold-selling by the Recording Industry Association of America (RIAA) for selling 500,000 copies in the U.S. Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan’s popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn’t perform live between 1974 and 1993. But their popularity nevertheless grew throughout the ’70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations. Like Steely Dan’s 1972 debut album Can’t Buy A Thrill, Countdown to Ecstasy has a rock sound that exhibits a strong influence from jazz. It comprises uptempo, four-to-five-minute rock songs, which, apart from the bluesy vamps of “Bodhisattva” and “Show Biz Kids,” are subtly textured and feature jazz-inspired interludes. Countdown to Ecstasy was the only album written by Steely Dan for a live band. “My Old School” features reverent horns and aggressive piano riffs and guitar solos. “The Boston Rag” develops from a jazzy song to unrefined playing by the band, including a distorted guitar solo by Jeff “Skunk” Baxter. Jim Hodder’s drumming eschews rock music for pop and jazz grooves. Bop-style jazz soloing is set in the context of a pop song on “Bodhisattva.” Commenting on the album’s style and production, Tom Hull says it is “clean, almost slick,” with “no dissonance, no clutter,” reminiscent of 1940s bop and “the overproduced early 60s pop rock.” Countdown to Ecstasy has lyrical themes similar to Can’t Buy A Thrill. It explores topics such as drug abuse, class envy, and West Coast excess. “My Old School” is inspired by a drug bust involving Walter Becker and Donald Fagen at Bard College, “King of the World” explores a post-Nuclear holocaust United States, and “Show Biz Kids” satirizes contemporary Los Angeles lifestyles. Rolling Stone described Countdown To Ecstasy as “another dose of mainstream rock and roll, restating the basic themes of Can’t Buy A Thrill, but this time concentrating a bit more on the rocking side of their style.” The original cover painting was by Fagen’s then-girlfriend Dorothy White. At the insistence of ABC Records president Jay Lasker, however, several figures had to be added when he found the discrepancy between five band members and three figures on the cover unacceptable. The proofs for the album cover were later stolen during a dispute over the final layout. The back cover features an orchid surrounded by the band and their recording equipment. After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
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Steely Dan – Can’t Buy A Thrill (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item“Happily, for this, my first UHQR experience, it feels super-solid. Musically, Can’t Buy A Thrill feels more three-dimensional on this UHQR edition than on other versions I’ve heard. Overall, the sound is super-clear and crisp, but ultimately presents the music more warmly than the standard 180g 1LP edition does. When you compare them side by side, you start noticing the differences between the UHQR and the standard edition — the sizzling cymbals aren’t quite as sizzly on the standard version, for one thing, and, comparatively, the vocals take on a bit of that raw edge around them. Plus, the congas feel less natural-sounding on the standard edition. … Can’t wait to see, and hear, what comes next — but for now, the 200g 2LP Can’t Buy A Thrill serves as one of the best listening experiences you’ll have this year.” — Music = 8/11; Sound = 9/11 – Mark Smotroff, AnalogPlanet.com. To read Smotroff’s full review, click here. “(Clarity Vinyl) is a very quiet formulation .… This means you can really crank up the UHQR. In fact, to really enjoy it, you must. When you do, the music will come to life on top, the midrange will bloom with detail and the bottom will be firm, deep and satisfying. Vocal clarity and ‘body’ benefit greatly from Grundman’s mastering, yet Victor Feldman’s percussive accents remain sharp, clean and present.” — Music = 9/11; Sound = 9/11 – Michael Fremer, trackingangle.com. To read Fremer’s full review, click here. Steely Dan’s platinum-selling debut studio album Can’t Buy A Thrill, released in November 1972, was a commercial success, peaking at No. 17 on the Billboard chart. It later appeared on many professional listings of the greatest albums, including Colin Larkin’s All Time Top 1000 Albums (2000) and Rolling Stone magazine’s “500 Greatest Albums of All Time” (2003) The album was written by band members Donald Fagen and Walter Becker, recorded in August 1972 at The Village Recorder in Los Angeles, and produced by Gary Katz. Its music features tight song structure and sounds from soft rock, folk rock, and pop, alongside philosophical, elliptical lyrics. Two songs recorded during the Can’t Buy A Thrill sessions were left off the album and released as a single: “Dallas” b/w “Sail the Waterway.” This is the only Steely Dan album to include David Palmer as a lead vocalist, having been recruited after Donald Fagen expressed concerns over singing live. Drummer Jim Hodder also chips in lead vocals on one song, “Midnite Cruiser” (sometimes spelled “Midnight Cruiser”), as well as singing the “Dallas” single. By the time recording of the next album began, the band and producer Gary Katz had convinced Fagen to assume the full lead vocalist role. AllMusic gave the album 4.5 stars, with reviewer Stephen Thomas Erlewine praising the core duo Walter Becker and Donald Fagen as “remarkable craftsmen.” Erlewine noted that “there are very few of the jazz flourishes that came to distinguish their (later) albums”, but added that the first single from the album, “Do It Again,” incorporates a tight Latin jazz beat, while the second single, “Reelin’ In the Years,” features jazzy guitar solos and harmonies. Rolling Stone, in its review, said the debut album was a collection of some of the group’s best jazz/rock songs. “Two of Fagen’s four (vocal solo) songs were the singles, ‘Do It Again’ and ‘Reelin’ In The Years,’ the later starting off (and continues throughout) with a ripping solo by session player, Elliot Randall, and in fact, was rated by Led Zeppelin’s Jimmy Page as his favourite guitar solo of all time. That’s quite an endorsement. The song peaked at No. 11 on the Billboard Charts. ‘Do It Again’ charted at No. 6, making it their second highest chart for a single. ‘Dirty Work,’ another great song from the record features Palmer. The album is tight, with some of the best musicianship money can buy.” — Rolling Stone The album cover features a photomontage by Robert Lockart that includes an image of a line of prostitutes, standing in a red-light area from Rouen in France waiting for clients. The image was chosen because of its relevance to the album title. Walter Becker and Donald Fagen themselves commented on the album art in their liner notes to the reissued The Royal Scam, saying that The Royal Scam album possessed “the most hideous album cover of the seventies, bar none (excepting perhaps Can’t Buy A Thrill).” The cover was banned in Francisco Franco’s Spain and was replaced with a photograph of the band playing in concert. After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
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Steely Dan – Pretzel Logic (45 RPM 200 Gram Clarity Vinyl)
198,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartSteely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members. They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums. Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus. Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages." "When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said. AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay. The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate." After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.