Showing 351–375 of 387 results

  • In stock

    Crystal clear polypropylene inner sleeves

    28,90 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Show off your coloured vinyl in these crystal clear polypropylene inner sleeves. These sleeves have an anti-static treatment, offering the same protection as our HDPE inner sleeves.

    Add to cart
  • Backorder

    Dave Brubeck Quartet – Time Out

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today … at least for the foreseeable here and now, Analogue Productions’ newly mastered 45 RPM (Brubeck) is the edition to own. You’ll hear it right from the familiar piano intro to “Blue Rondo a la Turk,” where Brubeck’s playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings.” — Music = 5/5; Sound = 5/5 — Wayne Garcia, The Absolute Sound, January 2013. “I’ve now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem’s year-and-a-half-old record-pressing plant. Before Time Out, I would have said that some positive trends were apparent from the earlier LPs I’ve heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it’s obvious things have improved considerably over the past year. It’s a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that’s the case here. Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that QRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI.” — Sound = 4.5/5; Music = 5/5 — Marc Mickelson, The Audio Beat, August 2012 Virtually all serious and even casual music lovers ought to be familiar with, or at least are likely to have heard The Dave Brubeck Quartet, even without realizing it — for the quartet’s best-known hit “Take Five” has graced the soundtracks of multiple films, including “Mighty Aphrodite,” “Pleasantville” and “Constantine.” The piece is famous for its distinctive, catchy saxophone melody, as well as its use of unusual 5/4 time — so distinctive, it’s a rare jazz track that became a pop hit. Including the monster hit “Take Five,” the Brubeck Quartet’s Time Out is a jazz and audiophile classic. Every album collection needs a copy. And now, cut at 45 RPM on 180-gram premium vinyl, pressed at Quality Record Pressings (Acoustic Sounds’ own industry-lauded LP manufacturer), Analogue Productions brings you the definitive copy. Why definitive? The dead-quiet double-LP, with the music spread over four sides of vinyl, 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. For the first time in its history, Time Out is presented here packaged in a deluxe gatefold jacket. Inside are eight fantastic black and white images shot during the recording session at Columbia’s famous 30th Street Studios. Sony Music supplied the images for use in our SACD reissue, and gave us persmission to use them in our LP reissue as well. The jacket is also special — very heavy-duty. It’s produced for us by Stoughton Printing featuring a printed wrap mounted to a heavyweight chipboard shell, producing an authentic “old school” look and feel. This jacket is a beauty! Never has Time Out‘s colorful iconic cover art looked so vibrant. The record label’s sales executives didn’t want a painting on the cover when Time Out debuted in 1959 on Columbia Records, Brubeck told an interviewer.  An entire album of originals? That wouldn’t work either, he was told. Some standards and some show tunes were needed in the mix. Fortunately, Brubeck ignored the conventional wisdom and Time Out became the original classic we know it as today. Brubeck became proof that creative jazz and popular success can go together. The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State-sponsored tour of Eurasia. In Turkey, he observed a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music. Paul Desmond, who was Brubeck’s alto saxophonist, wrote “Take Five,” at Brubeck’s urging to try and write a song in quintuple (5/4) time. “I told Paul to put a melody over (drummer) Joe Morello’s beat,” Brubeck explained. As a jazz pianist, Brubeck became a household name in jazz in part due to Time Out‘s success. Demond’s cool-toned alto and quick wit fit in well with Brubeck’s often heavy chording and experimental playing. Morello and bassist Gene Wright completed the group. The Quartet traveled and performed constantly around the world until breaking up in 1967 to pursue other musical ventures. Time Out peaked at No. 2 on the Billboard pop albums chart and was certified platinum by the Recording Industry Association of America. “Take Five” became a mainstream hit, reaching No. 25 on the Billboard Hot 100, and No. 5 on Billboard‘s Easy Listening survey, the precursor to today’s Adult Contemporary charts. The song was included in countless movies and television soundtracks and still receives significant radio play. Musicians: Dave Brubeck, piano Paul Desmond, alto saxophone Joe Morello, drums Gene Wright, bass

    Show item
  • Backorder

    Charles Mingus – Mingus, Mingus, Mingus, Mingus, Mingus

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    "Mingus is also all about the ensemble...this reissue has a life and immediacy I've not heard before with this title, whose stunning music overwhelms any flaws of the recording." - Wayne Garcia, The Absolute Sound, June/July 2009 Produced by Impulse! A&R director Bob Thiele in 1963, this recording is a major showcase of the talented Charles Mingus as a bassist, pianist and writer. In his 1963 original liner notes, critic-at-large Nat Hentoff said that of all the musicians, it is impossible to remain indifferent to Mingus. This recording more than any other testifies to Hentoff's claim. More so today than in 60's, there is truly only one Mingus, Mingus, Mingus, Mingus, Mingus.

    Show item
  • Backorder

    Charles Munch – A Stereo Spectacular: Saint-Saens Symphony No.3

    58,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “So far, Analogue Productions’ series of outstanding reissues have avoided the missteps of the previous Classic Records issues, instead offering real improvements over the originals. … The latest release, of this title and the Offenbach Gaite Parisienne (LSC 1817), keeps a perfect track record of outstanding Living Stereo releases by Analogue Productions. Pristine surfaces and better-defined layers of sound along with much finer texture add up to a wonderful experience of the famous Organ Symphony. The original is almost coarse sounding compared to this reissue. While the Offenbach reissue does not eclipse the original in all areas, the original remains very expensive and the reissue is superb.” Recording = 10/10; Music = 10/10 – Dennis D. Davis, Hi-Fi +, Issue 119 “These are the best vinyl releases of RCA LPs I’ve yet heard.” — Jonathan Valin, executive editor, The Absolute Sound This performance of the Saint-Saëns Symphony No. 3 (Organ Symphony) is a favorite Living Stereo release. To say that it is incredible might be an understatement. The original 3-track session tapes were used in mastering for the LPs and SACDS in this Analogue Productions reissue series. The record reveals all of the glory of the recording and the precision and passion of Munch and the Boston Symphony Orchestra in Boston’s Symphony Hall. It’s more than ever the sonic blockbuster par excellence! It doesn’t get any better than this. Musicians: Berj Zamchokian, organ Boston Symphony Charles Munch, conductor

    Show item
  • Backorder

    Son House – Father of Folk Blues

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “Just had to get in touch to let you know that my copy of Son House’s Father Of The Blues — on QRP 45 RPM is totally amazing. I’ve been collecting records for 40 years and have a modest collection of 900 LPs — most first pressings from the late ’60’s on — but nothing compares to this pressing from your company! Wow! Quiet pressing, amazing sound, fabulous packaging — just fantastic. At 54 I’ve just bought the best quality album ever. I’ve bought originals, classic records, modify, Japanese etc. but this is the best in every detail. Well done to you all to produce an LP this classy! Thanks.” — Kevin O’Connor, Waterford Ireland “AP’s reissue of this recording is extremely transparent, naturally balanced, and fulfills the ‘it’s like he’s playing in my room!’ audiophile cliché. The record sounds mono at times, but that is how the album was originally mixed. … Ryan K. Smith used the original two-track stereo tape from the Sony archives and referenced an original Columbia ‘360 Sound’ pressing to master this correctly and it shows. Never have I heard a blues recording that is so musically raw yet so sonically exceptional. Further, the QRP-pressed platters are silent and flat as pancakes.” Music = 10/11; Sound = 11/11 – Malachi Lui, AnalogPlanet.com. Read the entire review here. Mississippi’s Son House was already legendary for a small collection of live field recordings made by folklorist Alan Lomax in 1941 and 1942, and for having taught some important licks to both Robert Johnson and Muddy Waters before he was rediscovered by a new generation of college-age fans in 1964. The “Father of the Delta Blues” recorded this namesake LP for Columbia Records a year later in 1965. It’s become, in the words of Living Blues magazine — “Essential recordings by one of the greatest bluesmen ever.” And now, Analogue Productions presents a reissue unmatched in sonic quality and luxury presentation. For our version we turned to Ryan Smith at Sterling Sound to remaster the recording from the original master tapes. The freshly cut lacquers — for this version we’ve cut the album at 45 RPM for truer cartridge tracking and decreased distortion on the inner groove — were then plated and pressed on 180-gram vinyl by our own Quality Record Pressings. The Hybrid Stereo SACD version was authored for SACD by Gus Skinas at the Super Audio Center in Boulder, Colo. Son was born Eddie James House, Jr., on March 21, 1902, in Riverton, Miss. By the age of 15, he was preaching the gospel in various Baptist churches as the family seemingly wandered from one plantation to the next. He didn’t even bother picking up a guitar until he turned 25; to quote House, “I didn’t like no guitar when I first heard it; oh gee, I couldn’t stand a guy playin’ a guitar. I didn’t like none of it.” But if his ambivalence to the instrument was obvious, even more obvious was the simple fact that Son hated plantation labor even more and had developed a taste for corn whiskey. After drunkenly launching into a blues at a house frolic in Lyon, Miss., one night and picking up some coin for doing it, the die seemed to be cast; Son House may have been a preacher, but he was part of the blues world now. Now, sit back and enjoy one of the genere’s greatest, on a reissue that’s the best that’s been made to date. So authentic, so real – that’s the Analogue Productions difference. Praise for our 33 1/3 version! “Muddy Waters’ Folk Singer wasn’t the only blues LP recorded with the due care rarely shown to albums in the genre, prior to the revival. Son House’s rediscovery in the early 1960s reads like a Hollywood script, but all of the elements are there to make you realize that this John Hammond-produced LP, 50 years on, was one of the most important. Just House and his bottleneck acoustic guitar: his sheer presence must has been terrifying to those unfamiliar with the intensity of rural, unamplified blues. Every track is astounding, but skip straight to the voice-only ‘John The Revelator’ for an instant taste of House’s abilities to captivate. And he lived long enough, too, to savor his renaissance.” — Sound Quality = 92% — Ken Kessler, HiFi News, November 2016

    Show item
  • Backorder

    David Abel/ Julie Steinberg – Debussy/Brahms/Bartok: Sonatas For Violin And Piano

    58,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “This is perhaps the most exquisitely natural recording ever made. All in all, this Wilson record is a triumph of the analog recording art.” — International Audio Review David Abel, violin. Julie Steinberg, piano. Perhaps the most transcendent of David Wilson’s brilliant recordings, this remarkable album of solo violin accompanied by piano comes as close to putting the two performers in the listening room as any ever made, writes The Absolute Sound, of Sonatas for Violin & Piano. Recorded on Wilson’s Ultramaster Recorder, built by John Curl, and using a spaced pair of Schoeps microphones driving vaccum tube electronics, the recording has a close perspective that heightens transparency and engagement as well as wonderfully capturing the beautiful tonality of Abel’s Guarnerius violin and Steinberg’s Hamburg Steinway without exaggering their size. “The duo performs these works as if they are one.” — The Absolute Sound, July/August 2013

    Show item
  • Backorder

    Doug MacLeod – Come To Find

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Spend any time around Doug MacLeod and the stories from his years of road time with the likes of Big Joe Turner and Pee Wee Crayton start to flow as easily as a brook tickled by a breeze. And you know you're getting to the good part, the climax if you will, when Doug's eyes start to twinkle, his grin grows broader and out of his mouth pop the words "Come to find ..." MacLeod was a widely acknowledged electric blues guitarist for many years, and the leader of his own band, yielding a number of U.S. and European tours and several albums to his credit. Doug disbanded the group to focus all his energies on his first love, acoustic blues. Come To Find is the debut fruit of that effort. And now it's made even more remarkable, with this 45 RPM 180-gram reissue by Analogue Productions. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. The pressing sounds spectacular. You're holding a 180-gram masterpiece from our own Quality Record Pressings, our state-of-the-art LP pressing plant. And the gatefold jacket from Stoughton Printing is hard-core, old-school style — thick cardboard, tip-on, with additional photos and liner notes inside. Sweet. Come To Find is the sound of a consummate bluesman touching the core of his art in a program featuring ten originals by Doug. He is beautifully supported in this intimate setting by harmonica ace Charlie Musselwhite and the Mighty Flyer rhythm section, Jimi Bott and Bill Stuve. This is the album that deserves a place of honor in the music collections of even casual blues fans. And for those who love blues already, this is one of the best-sounding, most original works you'll ever hear.  

    Show item
  • Backorder

    Fritz Reiner – Bartok: Concerto For Orchestra

    58,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “Analogue Productions’ reissue of the RCA Living Stereo titles continues apace with one of the great masterpieces of the twentieth century – Béla Bartók’s Concerto For Orchestra with the Chicago Symphony Orchestra, conducted by Fritz Reiner. … (it) is is an audiophile’s dream recording. It has string tone to die for, a soundstage that fills your living room, and exhibits startling dynamics. … if you pass on this issue, you will miss out on what is the best-sounding pressing of this LP. In combination with great remastering, pressing on whisper quiet vinyl, and packaging in a first-class record sleeve, this is a bargain.” Recording = 10/10; Music = 10/10 – Dennis D. Davis, Hi-Fi +, Issue 121 “These are the best vinyl releases of RCA LPs I’ve yet heard.” — Jonathan Valin, executive editor, The Absolute Sound Since its original release on LP in the mid-1950s, Fritz Reiner’s rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured. Reiner’s superb control of his orchestra and of Bartók’s rhythms and textures is still unsurpassed, even by dozens of subsequent conductors in the digital age. Likewise, the Music for Strings, Percussion, and Celesta shows just what an incredible ensemble the Chicago Symphony was under Reiner’s direction. The original 2-track session tapes were used in mastering for LPs and SACDs. Reiner delivers definitive interpretations that set a standard that remains unsurpassed.

    Show item
  • Backorder

    Fritz Reiner – Festival

    58,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “These records are definitive.” — Michael Fremer, editor, AnalogPlanet.com

    Winner of a Gruvy Award, chosen by AnalogPlanet’s editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed. http://www.analogplanet.com/content/gruvy-awards

    “These are the best vinyl releases of RCA LPs I’ve yet heard.” — Jonathan Valin, executive editor, The Absolute Sound

    A collection of Russian orchestral favorites, including one of the best versions of “Night On Bare Mountain.” Fritz Reiner conducts the mighty Chicago Symphony Orchestra.

    Show item
  • Backorder

    Holly Cole – Temptation

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    "Not the first time a jazz singer has focused on a single composer — even Keely Smith did an all-Beatles LP, while Ella made an entire series of songbooks — but a double LP that's predominantly made up of Tom Waits material? You're forgiven if this seems like a Rickie Lee Jones album in disguise, rather than a sincere tribute. That, though, would be too glib because this 1995 release is entrancing and atmospheric. The arrangements offer a variety of experiences from Cole's trio in lean, unplugged form, to other tracks augmented by electricity, brass or strings. The transfer is superb, and Acoustic Sounds has expanded the original set with three bonus tracks." — Sound Quality: 90% — Ken Kessler, Hi Fi News, December 2019 Over the past decade, new talents such as Cassandra Wilson, Patricia Barber and Holly Cole have redefined the world of female jazz vocals. Cole's Temptation, a 1995 Blue Note release, is her musical tribute to the writings of Tom Waits. Besides being a superb audiophile recording (perfect in every production detail, from the rendering of Cole's amazing voice to the incredibly natural sound captured by producer Craig Street's team), this album has garnered kudos for her interpretation of Waits' unique compositions. Now hear how our Analogue Productions' 200-gram LP reissue makes this standout album even stronger! Doug Sax at the Mastering Lab, assisted by Gavin Lurssen remastered the 33 1/3 recording that gives Cole's vocals richer detail and greater body. Premium pressing by Quality Record Pressings provides flawless reproduction against a super-silent background for pure listening enjoyment. Lastly, top it off with a Stoughton Printing old-style tip-on jacket and this disc is a sure winner. A great addition to your jazz collection. Standout tracks include a catchy version of "Jersey Girl," which made it onto a number of radio playlists, and a rendition of "The Briar and the Rose," augmented by the Canadian Brass. Also included are "Take Me Home," "Train Song," "Temptation," "Falling Down," "Invitation to the Blues," "Frank's Theme," "Little Boy Blue," "I Don't Wanna Grow Up," "Tango 'til They're Sore," "The Heart of Saturday Night," "Soldier's Things," "I Want You" and "Good Old World."

    Show item
  • In stock

    Jimmy Witherspoon & Ben Webster – Roots

    58,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “… Kudos to blues lover Chad Kassem for recognizing the sonic pearl hiding behind a good but not stellar original recording. Kevin Gray at Cohearent Audio has proven yet again why vinyl rules the audiophile universe. Compared to a white label promo original, this issue is a quantum leap improvement, with three dimensional images and a big fat sound to die for.” Recording = 10/10; Music = 10/10 — Dennis D. Davis, Hi-Fi +, Issue 84 “When the line below the artist’s name says ‘featuring Ben Webster,’ and even if the artist is a bluesman to the core, you know there will be jazz inflections. If anyone was able to show that the to genres are inextricably linked, it’s Witherspoon, who could take material by Bill Broonzy and make it sound like it was filtered through Count Basie. … you’ll be torn between filing it with blues or jazz. Buy it for one of the finest interpretations ever of ‘Key to the Highway.'” — Sound Quality 90 percent — Ken Kessler, Hi-Fi News, November 2012 A true hidden classic! Somehow this 1961 Reprise title seems to have escaped the audiophile must-have list. It’s a true hidden classic and an incredibly warm recording. The small combo setting really allows these two heavyweights to shine. The mood is laid-back and down-home. Accompanying musicians include trumpeter Gerald Wilson, pianist Ernie Freeman, bassist Ralph Hamilton and drummer Jim Miller. Roots was recorded at the often underrated or forgotten Radio Recorders in Hollywood, California. The studio, built in 1929, was one of the truly great – and great-sounding – studios of its day with an unbelievable discography of classics to its name.

    Add to cart
  • Low stock

    Lowell Graham & National Symphonic Winds – Center Stage

    58,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    New from Wilson Audiophile Recordings, Center Stage, featuring Lowell Graham conducting the National Symphonic Winds. These recordings were made in a historic concert hall on the campus of Hampton University in Hampton Roads, Va. The history of the hall parallels somewhat New York's Carnegie Hall. The musicians in the National Symphonic Winds come from the premier military bands of the United States as well as the Virginia Symphony Orchestra. The result was a superb mix of seasoned and assured professionals for this single, five-hour recording session. Lowell Graham, a graduate of the University of Northern Colorado, was also the first to be awarded the Doctor of Musical Arts degree in orchestral conducting from the Catholic University of America. He has led orchestras and bands in performances throughout the world, and he's the current conductor and commander of the United States Air Force Tactical Air Command Band. Recorded with minimal miking (Sennheiser), directly to 2-track half-inch, 30 ips tape using arguably the finest 2-track analog recorder in the world — the Wilson Ultramaster — a highly-modified Studer tape deck with custom-designed electronics designed by John Curl. To accomplish this difficult, time pressure recording, the recording engineering skills of the renowned Bruce Leek were employed. The extreme dynamic range of the music remains intact as well as the soundstage and timbre of the ensemble remaining completely natural. There is no added enhancement to the concert hall's natural reverberation. When raising the volume, be careful as these real world dynamics can be harmful to playback equipment if care is not taken. The musical repertoire was chosen to be user friendly, vivid, colorful and impactful. Selections from Tony-winning stage classics "Barnum," "West Side Story" and "Oklahoma" are joined by compositions from John Williams, including "Olympic Fanfare" composed for the 1984 Olympic Games. Selections from the Walt Disney favorite "Mary Poppins" include "Spoonful of Sugar," "Chim Chim Cheree" and more. These significant recordings hold a distinctive place in the audio and musical world.

    Add to cart
  • Low stock

    Lowell Graham – Winds Of War and Peace

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “It’s a sonic spectacular and while perhaps you are skeptical about this, it makes for damn entertaining listening. … If your system is capable of wide dynamic swings and deep bass, you’ll definitely enjoy cranking up this record! The original, cut by Doug Sax, … is obviously no ‘slouch,’ but this Kevin Gray-mastered reissue is even better overall. The bottom remains solid and dynamic while the midrange is far more transparent, having lost a ‘milky’ quality that made it sound as if it had been recorded in an airplane hangar. … if chamber is more your style and/or more suited to your system I’d recommend Sonatas For Violin and Piano (Analogue Productions APC-8722) performed by David Abel (violin) and Julie Steinberg (piano). Incidentally, Wilson’s catalogue numbers begin with the release year, so this one was issued in 1987. These chamber music recordings were designed to create the sensation of the performers playing in your room as opposed to you being in a venue. … The QRP pressings produce pitch black backgrounds with which the originals cannot begin to compete. Plus the music is sublime and/or bombastic!” — Michael Fremer, AnalogPlanet.com. Read the whole feature article here. On Winds of War and Peace, conductor Lowell Graham takes the National Symphonic Winds ensemble through a program of stirring orchestrations and marches. “Liberty Fanfare” was composed for the centennial celebration of the Statue of Liberty in 1986. The fanfare set the stage for one of the most spectacular celebrations in America’s history. Samuel Barber’s “Commando March” composed in 1943, represents Barber’s first band work. Written in a quadruple meter, this work utilizes the constant contrast of dotted and triplet rhythms. Roger Nixon’s “Festival Fanfare March,” was recognized for superb composition by the American Bandmasters Association in 1973. It is a work that’s technical, bright in color and effervescent in spirit. The album also includes “Victory at Sea,” “El Camino Real,” “A Santa Cecilla” and “Symphonic Dance No. 3”. Although the 33 1/3 reissue of this recording by Analogue Productions was outstanding, our 45 RPM version raises the quality bar even higher. With wider grooves, you’ll hear sound that reveals more depth and space to the orchestra as a whole, as well as individual instruments. This disc sports more detail, more human presence, more of what we as audiophiles, listen for. The musicians in the National Symphonic Winds come from the premier military bands of the United States as well as the Virginia Symphony Orchestra. The musicians for this recording session represented a superb mix of seasoned and assured professionals. Graham, a native of Greeley, Colorado, has earned recognition as one of America’s most talented conductors. He graduated from the University of Northern Colorado with both his Bachelor of Arts and Master of Arts degrees. He was also the first person to be awarded the Doctor of Musical Arts Degree in Orchestral Conducting from the Catholic University of America. Graham has led orchestras and bands on record and in performance throughout the world. He is the current conductor and commander of the United States Air Force Tactical Air Command Band.

    Add to cart
  • Low stock

    Lowell Graham & National Symphonic Winds – Center Stage 45

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    From Wilson Audiophile Recordings comes Center Stage, featuring Lowell Graham conducting the National Symphonic Winds. These recordings were made in a historic concert hall on the campus of Hampton University in Hampton Roads, Va. The history of the hall parallels somewhat New York's Carnegie Hall. The musicians in the National Symphonic Winds come from the premier military bands of the United States as well as the Virginia Symphony Orchestra. The result was a superb mix of seasoned and assured professionals for this single, five-hour recording session. Those who have already enjoyed the 33 1/3 Analogue Productions reissue of Center Stage know why it is an exceptional-sounding audiophile record. Now, cut at 45 RPM, and with wider grooves, you'll hear sound that's upgraded from exceptional, to brilliant. There's more depth and space to the orchestra as a whole, as well as individual instruments. This disc sports more detail, more human presence, more of what we as audiophiles, listen for. Lowell Graham, a graduate of the University of Northern Colorado, was also the first to be awarded the Doctor of Musical Arts degree in orchestral conducting from the Catholic University of America. He has led orchestras and bands in performances throughout the world, and he's the current conductor and commander of the United States Air Force Tactical Air Command Band. Recorded with minimal miking (Sennheiser), directly to 2-track half-inch, 30 ips tape using arguably the finest 2-track analog recorder in the world — the Wilson Ultramaster — a highly-modified Studer tape deck with custom-designed electronics designed by John Curl. To accomplish this difficult, time pressure recording, the recording engineering skills of the renowned Bruce Leek were employed.

    Add to cart
  • Backorder

    Lynyrd Skynyrd – Pronounced Leh-nerd Skin-nerd

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “It’s not the first time the ill-fated band’s astounding debut has been ‘audiophiled’ but this version is arguably the best. OK, for some of you, the two-LPs-at-45rpm shtick may seem overkill, especially applied to a hard rock release, but it does remind us that there may be more in the grooves than we think. If anything, it’s a physical manifestation of what drives us as audiophiles. Everything here is enhanced: detail, space, tonal balanc, the sense of mass, transient attack. Perhaps the biggest benefactor of the format is vocalist Ronnie Van Zant, who could purr or growl. Southern rock at its finest, this LP closed with the aching, majestic ‘Free Bird’ — here, it overwhelms, filling a side. Sublime.” — Sound Quality: 95% — Ken Kessler, Hi Fi News, June 2018 “The idea of two-disc, 45 RPM 180-gram audiophile LP reissues of Lynyrd Skynrd’s first and next-to-last studio albums, each selling for $55, may seem an odd mix of high-brow sound with low-brow music, but doubters should suspend judgment until they hear the results. … such classics as the riff-rockin’ ‘Gimme Three Steps,’ the power ballad ‘Simple Man,’ and the, um … immortal (or is that unmercifully deathless?) ‘Free Bird’ have a previously unheard clarity and depth. No longer do the guitars of Gary Rossington, Allen Collins, and Ed King all run together in a sonic wash. A new level of definition makes Ronnie Van Zant’s always surprisingly good vocals even more so. … As is usual with Analogue Productions reissues, the heavyweight packaging is lush — and the pressing quality, from AP sister company Quality Record Pressings, is excellent. Best of all, these editions are the final sonic words on these albums. … These albums have never sounded better, and it’s not much of a leap to say they never will.” — Performance = 4/5; Sonics 4/5 — Robert Baird, Stereophile, May 2017 What would American southern rock be without the scorching sounds of Lynyrd Skynyrd? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin’ Fancy. Back to the well then, we go, for two more Skynyrd favorites — the epic Gimme Back My Bullets and the band’s bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd. Remastered from the original analog tapes by Ryan Smith at Sterling Sound, our Analogue Productions reissue of Pronounced Leh-nerd Skin-nerd is the ultimate in luxurious reproduction and unbeatable sound. 180-gram plating and pressing by Quality Record Pressings, and a tip-on Stoughton Printing jacket round out the package. The undeniable youthful hunger of Pronounced Leh-nerd Skin-nerd pumps through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock. Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group’s rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973. It’s at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches – twinkling piano notes, soaring mellotrons, a one-off harmonica – provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant’s comfortable gruffness and way of expressing local customs.

    Show item
  • Backorder

    Mighty Sam McClain – Give It Up To Love

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “Give It Up to Love has been one of my all-time faves since its release in 1993. Producer Joe Harley correctly identified red-clay R&B vocalist Sam McClain as someone whose musical career was due for a new act. The album continues to be an audiophile go-to; this latest issue by Analogue Productions generously spaces out 11 tracks over two 45 RPM LPs. The sound was already standard-setting, whatever the format, thanks to engineer Michael C. Ross’s superb ‘get.’ I can pretty much tell within moments how my system is sounding by hearing a few beats of Mighty Sam’s vocals and listening to guitarist Kevin Barry sliding down over the frets at the top of ‘What You Want Me to Do.'” — Sasha Matson, for Stereophile — “Records To Die For” — February 2021.

    “Give It Up To Love is the R&B comeback of the year.” — Rolling Stone

    “Mighty Sam McClain’s Give It Up To Love is one of the great soul records.” — Stereophile

    Mighty Sam is a rhythm and blues legend who shook up the blues world with this 1993 release. The great torch bearer of deep soul is caught in top form on this classic album. And now, this gatefold 2LP 45 RPM edition presented by Analogue Productions makes the album even greater!

    The four sides of wider-spaced grooves make for reduced distortion and better high frequency reproduction. It’s a 180-gram masterpiece from our own Quality Record Pressings, our state-of-the-art LP pressing plant. And the gatefold jacket is hard-core, old-school style — thick cardboard, tip-on, with additional photos and liner notes inside. Sweet.

    “McClain sings soul with incredible power — he knows when to pull the punches and when to cool it down. ‘Give It Up to Love,’ the title track, acknowledges his gospel roots; he performs it as a vocal prayer to God asking for wisdom, love, and strength. Bruce Katz’s contributions on B-3 Hammond organ expands McClain’s sound, particularly on the ‘Green Onions’-influenced ‘What You Want Me to Do.’ The sparsely effective arrangement on ‘Here I Go Falling in Love Again’ brings McClain up front as he cries of being a soul stripped to the bare bones. Kevin Barry’s funky bass blows while McClain declares himself as a child of God in ‘Child of the Mighty Mighty.'” — AllMusic

    Show item
  • Backorder

    Peter, Paul & Mary – Album 1700

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Now a 45 RPM 180-gram 2LP release! Wider grooves for better tracking, more detail, more breath and sparkle! Transport your ears completely back to the studio! This is a phenomenal reissue of a significant album for the famed folk rock trio. Album 1700, released in 1967, yielded the group's final hit single (and only No. 1), "Leaving on a Jet Plane." It also yielded graceful folk-rock trappings for their repertoire of originals and covers by, among others, Bob Dylan and Eric Anderson, writes David Wolf for Amazon.com. This is the deluxe Analogue Productions treatment. An expert remastering by Kevin Gray of Cohearent Audio. A 180-gram pressing with lacquer plating by Gary Salstrom at Quality Record Pressings. Expertly recreated jacket artwork. A masterpiece.

    Show item
  • Low stock

    Multifunctional Sleeves (Pack of 25)

    27,50 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Crystal Clear CPP-25 Sleeves to a pack This design is meant to protect your tri-fold, quad-fold (or pages) album cover while still giving you easy access to the vinyl record. You use this product in combination with 2 x 4 mil dual pocket outer sleeves. You can also use this sleeve to join multiple sleeves together for gatefolds with pages or to use with a single dual pocket to make an end that is closed, when you don’t need a record holder, or to encapsulate a lyric sheet. Uses 1. to seal an album completely; 2. use with 1 x 4 mil dual pocket to make a gate-fold sleeve; 3. use with 2 x 4 mil dual pocket to make a tri-fold sleeve; 4. and many more ideas that people are using it for. The pocket has 2 x 1.25 inch sealable flap to give you a perfect archival seal. Our CPP sleeves have excellent properties including clear transparency, scratch resistance, heat resistance, and moisture-proof. CPP (cast polypropylene) film has a clear advantage over standard BOPP, polyethylene, Mylar or PVC sleeves. What are the advantages of cast polypropylene? CPP has higher tear and impact resistance, better cold-temperature performance and moisture transmission properties than standard sleeves. CPP won’t turn cloudy over the normal life of the product, unlike other films. CPP is very hard to crease unlike BOPP and has some stretch forgiveness. Cast film is usually used in applications that require superior optical properties such as gloss, transparency, surface smoothness, and good tear resistance. Are they a little pricey compared to other low-cost sleeves? Yes, but they are a true premium product to protect your expensive, irreplaceable record collection for years to come. No other product will give you this amazing clarity, Environmentally inert. 100% recyclable. Acid-free. Contains no PVC. Highly non-polar. Excellent optics. Highly reflective. Moderate WVTR (water vapor transmission rate) barrier against moisture and odours. High resistance to acids, alkaline, grease and oil. Exceptional resistance to corrosive chemicals. Exceptional toughness, wear and abrasion resistance. Natural living hinge properties, Fold won’t easily crack or crinkle. Passes the P. A. T. test for no photographic enclosure reactivity. Typically used for high-end photo albums, sports cards and DVDs. Measurements, approx. 320 mm x 320 mm, +/-2 mm tolerance Strong 1/16” seams. Made in Canada with Canadian-made film. Pure polypropylene resin, no recycle contents, no questionable offshore material. With this design, there are only 2 seams, 1 on each side. Available in 2 mil thickness. Please use inner sleeves.

    Add to cart
  • Backorder

    Rickie Lee Jones – It’s Like This

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “This lovely set of intimately arranged and meticulously recorded covers, originally issued in 2000, is precisely the kind of semi-obscure album in need of a quality all-analog reissue…The superbly natural sound produced by this record is what spending big bucks on an audio system is all about. Set the volume appropriately and Ms. Jones’ll draw you into the studio for a personal song recital…This is one to savor.” Music = 9/11; Sound = 10/11 – Michael Fremer, www.musicangle.com

    “…this effort from 2000 shows Jones conjuring such magic with the material that she deserves as much attention for reworking standards as do Carly Simon or Linda Ronstadt. Kicking off with Steely Dan’s ‘Show Biz Kids,’ and with appearances by Joe Jackson and Ben Folds, among the highpoints is the Beatles’ ‘For No One’ that ranks as among the finest Beatles cover ever. And considering that they number in the tens of thousands, that’s about as high as praise gets.” Recording = 5/5; Performances = 5/5 Album of the Month – Ken Kessler, Hi-Fi News, April 2008

    “The Rickie Lee Jones 45rpm is AWESOME UNREAL AMAZING!!! I have to get a backup copy. I’ll play this one to death.” – Danny Kaey, Positive-Feedback Online

    Not since Billie Holiday has there been a vocalist who so completely transforms a song into her own. On It’s Like This, eclectic folkie Rickie Lee Jones envelops standards, showtunes, ’70s soul, and even slick jazz-rock, interpreting them with her familiar childlike, breathy shouts. In a very similar vein as 1991’s Pop Pop, Jones pulls together a collection of diverse songs from throughout the 20th century and gives them a sparse, fragile spin, kind of like Diana Krall and Bjork sharing coffee at an all-night diner. Produced by Bruce Brody (who has also worked with Maria McKee and Bette Midler), this album is really a showcase for the dynamic vocalist – her voice pitching and yawing like a sloop far out at sea. Several notable artists scatter themselves unobtrusively throughout the album like Joe Jackson, Ben Folds, John Pizzarelli, and Taj Mahal; each lend a subtle bass line or harmony vocal, cautiously not stepping on any of Jones’ delicate lines.

    Show item
  • Pre-order

    Steely Dan – The Royal Scam (45 RPM 200 Gram Clarity Vinyl)

    198,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Steely 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 LiedThe 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.

    Add to cart
  • Backorder

    Stevie Ray Vaughan – Soul To Soul

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    The 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Soul To Soul is so good, as are its 45 RPM companions — Texas Flood and Couldn't Stand The Weather — that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date." We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued — six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs. We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs.  Stevie Ray Vaughan's myth making was already complete by the time that his third record in as many years was released in October 1985. But no one could have expected the artistic leaps and additional prowess the guitarist displays on Soul To Soul, a record on which Vaughan added a full-time keyboardist and saxophonist, and dug deep into his native state's musical well for soul, R&B and surf motifs. Vaughan wrote four of Soul to Soul's 10 tracks; two songs were released as singles. The album went to No. 34 on the Billboard 200 chart and the music video for "Change It" received regular rotation on MTV. There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy. But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.

    Show item
  • Backorder

    The Oscar Peterson Trio – West Side Story

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    “…these are all truly classic Verve titles that you simply don’t want to miss…most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I’d definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!” Winner of a 2012 Positive Feedback Online Writers’ Choice Award – Danny Kaey, Positive Feedback Online, November/December 2011 One of the first Broadway musical scores to be overtly jazz-influenced was Leonard Bernstein’s West Side Story, a tale of rival street gangs in the inner city. In 1962, pianist Oscar Peterson put his light-swing signature on the already popular score, making it, in the words of one critic, “a delight to hear again” and earning him a Grammy nomination. Originally released in 1962

    Show item
  • Backorder

    Various Artists – The Sound Of Jazz

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Praise for Analogue Productions’ 33 1/3 reissue

    “The only reason Classic Records failed to reissue this one back in the 1990s and 2000s is because the reel containing one side had gone missing. For this reissue Sony/BMG located the original 3-track recording from which this stereo record was sourced so it’s one generation ahead of the mixed 2-track master. This tape probably hadn’t been played in almost sixty years and so sounds remarkably fresh. … Analogue Productions reissued this in a tip-on gatefold sleeve with great black and white photos taken at the recording session of Count Basie, Billie Holiday and Ben Webster. A moment in musical time perfectly captured that’s easy to recommend for the music, the sound and the packaging. The reissue sound is somewhat drier than the original, which makes it all the more intimate and less dated. A great lacquer cut by Ryan K. Smith.” — Michael Fremer, AnalogPlanet.com. To read Fremer’s full review, click here.

    This 180-gram 45 RPM Analogue Productions LP reissue is a magnificent-sounding recording of a historic TV event. For a rare and glorious one-hour nationwide broadcast, CBS brought together 32 towering heavyweight jazz musicians of the swing era for the jam session to end all jam sessions. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

    See the video above for a look at how the program went down.

    The one-hour program aired on Sunday, December 8, 1957, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.

    “The Sound of Jazz” brought together 32 leading musicians — a Who’s Who of the swing era — including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry “Red” Allen, Vic Dickenson, and Pee Wee Russell; and younger ‘modernist’ musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots (see the song list below), but also joined to combine various styles in one group, such as Red Allen’s group and the group backing Billie Holiday on “Fine and Mellow”.

    Columbia Records released this LP in 1958 that is actually a rehearsal that preceded the telecast (recorded on December 4 at Columbia’s 30th Street studios), and is not its soundtrack. The LP was released in 1958 as Columbia CL 1098, with liner notes by Eric Larrabee, and the cover photo is by Tom Yee. The recording doesn’t include all of the performers on the TV show (Mulligan refused to participate because no additional payment was involved) and includes several who were not on the show. Bassist Walter Page rehearsed, and is featured on the LP, but collapsed on the way to the studio for the telecast.

    For this Analogue Productions reissue we started with the original tape and the best mastering available — Ryan K. Smith at Sterling Sound did a steller job, and naturally, plating at Quality Record Pressings was handled by master plating technician Gary Salstrom. Our 180 & 200-gram QRP platters serve up an utterly noiseless background that lets the superior sonics shine through.

    The show’s performance of “Fine and Mellow” reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.

    During the performance of “Fine and Mellow”, Webster played the first solo. “Then”, Hentoff remembered: “Lester got up, and he played the purest blues I have ever heard, and [he and Holiday] were looking at each other, their eyes were sort of interlocked, and she was sort of nodding and half-smiling. It was as if they were both remembering what had been — whatever that was. And in the control room we were all crying. When the show was over, they went their separate ways.”

    Within two years, both Young and Holiday had died.

    Show item
  • Low stock

    Dave Brubeck Quartet – Time Out 180g

    58,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    "The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today ... at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. You'll hear it right from the familiar piano intro to "Blue Rondo a la Turk," where Brubeck's playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings." — Music = 5/5; Sound = 5/5 — Wayne Garcia, The Absolute Sound, January 2013. “I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Before Time Out, I would have said that some positive trends were apparent from the earlier LPs I've heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year. It's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here. Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that QRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI." — Sound = 4.5/5; Music = 5/5 — Marc Mickelson, The Audio Beat, August 2012 Virtually all serious and even casual music lovers ought to be familiar with, or at least are likely to have heard The Dave Brubeck Quartet, even without realizing it — for the quartet's best-known hit "Take Five" has graced the soundtracks of multiple films, including "Mighty Aphrodite," "Pleasantville" and "Constantine." The piece is famous for its distinctive, catchy saxophone melody, as well as its use of unusual 5/4 time — so distinctive, it's a rare jazz track that became a pop hit. Including the monster hit "Take Five," the Brubeck Quartet's Time Out is a jazz and audiophile classic. Every album collection needs a copy. And now, cut at 45 RPM on 180-gram premium vinyl, pressed at Quality Record Pressings (Acoustic Sounds' own industry-lauded LP manufacturer), Analogue Productions brings you the definitive copy. Why definitive? The dead-quiet double-LP, with the music spread over four sides of vinyl, 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. For the first time in its history, Time Out is presented here packaged in a deluxe gatefold jacket. Inside are eight fantastic black and white images shot during the recording session at Columbia's famous 30th Street Studios. Sony Music supplied the images for use in our SACD reissue, and gave us persmission to use them in our LP reissue as well. The jacket is also special — very heavy-duty. It's produced for us by Stoughton Printing featuring a printed wrap mounted to a heavyweight chipboard shell, producing an authentic "old school" look and feel. This jacket is a beauty! Never has Time Out's colorful iconic cover art looked so vibrant. The record label's sales executives didn't want a painting on the cover when Time Out debuted in 1959 on Columbia Records, Brubeck told an interviewer.  An entire album of originals? That wouldn't work either, he was told. Some standards and some show tunes were needed in the mix. Fortunately, Brubeck ignored the conventional wisdom and Time Out became the original classic we know it as today. Brubeck became proof that creative jazz and popular success can go together. The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State-sponsored tour of Eurasia. In Turkey, he observed a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music. Paul Desmond, who was Brubeck's alto saxophonist, wrote "Take Five," at Brubeck's urging to try and write a song in quintuple (5/4) time. "I told Paul to put a melody over (drummer) Joe Morello's beat," Brubeck explained. As a jazz pianist, Brubeck became a household name in jazz in part due to Time Out's success. Demond's cool-toned alto and quick wit fit in well with Brubeck's often heavy chording and experimental playing. Morello and bassist Gene Wright completed the group. The Quartet traveled and performed constantly around the world until breaking up in 1967 to pursue other musical ventures. Time Out peaked at No. 2 on the Billboard pop albums chart and was certified platinum by the Recording Industry Association of America. "Take Five" became a mainstream hit, reaching No. 25 on the Billboard Hot 100, and No. 5 on Billboard's Easy Listening survey, the precursor to today's Adult Contemporary charts. The song was included in countless movies and television soundtracks and still receives significant radio play. Musicians: Dave Brubeck, piano Paul Desmond, alto saxophone Joe Morello, drums Gene Wright, bass

    Add to cart
  • Low stock

    Muddy Waters – Folk Singer

    88,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Follow along as writer/professor Wayne Goins explores the creation of Folk Singer, and leads a visual tour of the former Chess Records studios, here. "The Quality Record Pressing is drop-dead quiet-as silent as the best Japanese pressings from the late 1970s-and the amount of inner detail released is simply astonishing...the sound is sweet, liquid and free of harshness and edge. The dynamics are mind-boggling. When Muddy takes it up ten notches to emphasize a point it's positively explosive in a way the 33 1/3 version only suggests." Music = 9/10, Sound = 10/10! — Michael Fremer, musicangle.com. "How about a 45 RPM set from Analogue Productions' recently launched Quality Record Pressings Facility, mastered by Bernie Grundman, in a beautiful gatefold jacket with extra sessions shots? It's been ages since I've heard LP surfaces this quiet — as in dead quiet. The expense and effort that Chad Kassem and company put into this venture are immediately obvious. ... Making music together bring this recording to life as never before. It's by far the best sounding and most engaging version yet... analog lovers will be in hog heaven." — Wayne Garcia, The Absolute Sound, May/June, Issue 223 "Worried that the folk-music fad was luring listeners away from the blues, Chess Records directed Waters to record with acoustic instruments. These sessions — by Waters, Willie Dixon and a young Buddy Guy — went astonishingly well, and this pioneering "unplugged" set is beloved by blues and folk fans alike." — rollingstone.com "...This time, though, it's been given the royal treatment, and not just heavy vinyl. It has been remastered from the original tapes, pressed on Chad Kassem's new hardware and it plays at 45rpm. It is a revelation...It's always been a chillingly 'real' experience. Now, it's overwhelming. Buy it!" Sound Quality: 90% - Ken Kessler, Hi-Fi News, January 2012 Folk Singer has been an audiophile staple for years. It always gets a bunch of play at hi-fi shows. It's a no-doubter demonstration disc. But never before has it sounded like this! Never has it been cut at 45 RPM! There are a handful of landmark albums in any genre. In the blues, one of them is Muddy Waters' Folk Singer. Originally released in 1964, Folk Singer was the only acoustic album Waters ever recorded, thus becoming the first and perhaps best blues concept album ever. Muddy of course started out playing acoustic blues in the Delta, and he's clearly very comfortable in this return to his roots, which was designed to appeal to the mid-1960s surge of interest in folk music. Muddy's supporting cast includes a very young Buddy Guy on guitar, Willie Dixon at the upright bass and Clifton James on drums. This recording has enormous presence with ample room for Muddy's booming voice to resonate.

    Add to cart