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Klaudio – Vinyl LP Record Ultrasonic Cleaner with Dryer (External Reservoir) (KD-CLN-LP200T)
7.699,00 €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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Arthur Fiedler – Gershwin: An American In Paris / Rhapsody In Blue
58,00 €Add to cart"This reissue cut by Ryan K. Smith from the original 3 track beats every original I have (four) in every way. It peels back layers of murk without adding brightness or spotlighting or anything bad. Instead, it's as if layers of dust and dirt have been expertly cleaned away revealing a fresh, clear window onto the live musical event. ... (Earl) Wild's piano has never sounded as cleanly rendered or as well-focused. You'll see it as clearly as the skyscrapers. The finale has never packed such a ferocious wallop either. ... With records like this coming out, audiophiles who declare flatly that reissues never sound as good as originals skate further and further onto the thin ice. If you intend to own but a single classical record in your collection, make it this one." — Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here: http://www.analogplanet.com/content/analogue-productions-irhapsody-blueiiamerican-parisi-living-stereo-reissue-beats-original "These are the best vinyl releases of RCA LPs I've yet heard." — Jonathan Valin, executive editor, The Absolute Sound "Grade A++. This is a disc that I have never been wild about (though it was always one of HP's favorites). My complaint was the cavernous hole in the stage center, which made Earl Wild's piano sound tiny, distant and swamped with reverberation. Here mastering magic has been done by Kassem and his crew. The piano track, apparently not properly mixed back in '59, has been given the prominence it should always have had. Don't worry: The "stage" ambience (usually a bit of a misnomer, given that the BPO was seldom recorded on the stage of Symphony Hall, more often in the "orchestra section" of the hall, after the first-floor seats had been removed) has not been lost: it's just no longer overcooked, making a scintillating performance that much more immediate and exciting. (Thus the extra "+.") — Jonathan Valin, The Absolute Sound.com, June 11, 2013. To read the full review click here: http://www.theabsolutesound.com/articles/sneak-preview-acoustic-sounds-rca-reissues/ With Rhapsody in Blue, George Gershwin, a popular songwriter, established himself as a serious composer. His American in Paris tells the story of a trip through the streets and cafes of France. A first rate orchestra (The Boston Pops), a distinguished conductor (Arthur Fiedler), and a superb pianist (Earl Wild) combine to make this landmark recording something to be treasured.
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Nils Lofgren – Acoustic Live (45 RPM 180 Gram 4 LP Box Set)
175,00 €Show itemGuitarist and singer-songwriter Nils Lofgren in 1997 released a small treasure for longtime fans. Acoustic Live captures Lofgren alone in front of an appreciative audience, knocking out such favorites as “You,” “No Mercy” and “Keith Don’t Go,” plus six new songs. Even with the new songs, there are no real revelations, only a selection of little gems that will put a smile on your face as you listen. Yes, this is a digital recording. True to our company principles, Analogue Productions in almost all cases reissues recordings only where the analog master tape is available. However, there are rare exceptions that whether digitally recorded or otherwise, a recording is so outstanding it’s worthy of the highest quality vinyl reissue. Now with Analogue Production’s 45 RPM release, the best-sounding version of this classic double album gives listeners an even richer sonic experience. The dead-quiet 4LP set, with the music spread over four sides of vinyl at RTI, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. Along with his work as a solo artist, Lofgren has marked more than 25 years as a member of Bruce Springsteen & The E Street Band as well as a former member of Crazy Horse and Grin. Lofgren joined Neil Young’s band in 1968 at age 17, playing piano on the album After the Gold Rush. Lofgren would maintain a close musical relationship with Young, appearing on his Tonight’s the Night album and tour among others. He was also briefly a member of Crazy Horse, appearing on their 1971 LP and contributing songs to their catalogue. From ’71 to ’74 Lofgren was active in Grin, the band he founded in ’69. Solo albums and tours followed every year through the 1970s as Lofgren established himself as a top guitarist and live performer earning the respect and acclaim of his peers. Bruce Springsteen made the call in 1984 and Lofgren joined the E-Street Band for the Born in the USA tour. Lofgren was an instant hit with Springsteen’s fans through his playing and vibrant on stage persona. Lofgren remains a stalwart of the E-Street Band to the present day. “Acoustic Live is an interesting and charming album from Nils Lofgren in 1997 as he follow on in the Unplugged tradition that became popular in the 1990s. It was actually recorded at The Barns Of Wolftrap, Vienna in Virginia on January 18th, 1997.” — bestlivealbums.com
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Shelby Lynne – Just A Little Lovin’
58,00 €Show item"...She's enough of a talent to serve up nine of Dusty's (plus one original) with reverence rather than mimicry, while avoiding the obvious songs. But the hook is the sound: it ranks with any 'audiophile' LP you can name." Sound Quality: 90%, Hi-Fi News Album Choice - Ken Kessler, Hi-Fi News, September 2012 "...I heard the music in an entirely new way ... the recording is so good, and the Analogue Productions mastering brings such new life to this LP ... Mastered by Doug Sax, this explodes off your turntable." Recording = 10/10; Music = 9.5/10 — Dennis D. Davis, Hi-Fi +, Issue 89 "...it is simply hard to believe how good this LP sounds, the backgrounds are as quiet as any of the famous UHQR pressings. Lynne's voice simply comes out of silence and a real space. It is rich, detailed, and most of all, unbelievably alive sounding. This recording is so good that I swear it sounds like she sings better than she did on the original...This is an LP that every vinyl lover must have in their collection!" - Jack Roberts, Dagogo "...the first truly all-analog version...a tad warmer tonally, goes even deeper in the lower bass, and has an overall ease to the presentation that makes it the best version yet of this record. In fact, the super-silent 200-gram vinyl surfaces particularly benefit an ultra-dynamic recording such as this, so that previously unheard details such as the lightest cymbal flourishes can now be heard. While it isn't fully clear whether it was the mastering - or the plating and pressing that was responsible for the improvement, there's no doubt that there is one...Highly Recommended." - My Vinyl Review, March 18, 2012 To read the entire review, click here: http://myvinylreview.blogspot.com/2012/03/short-spin-shelby-lynne-just-little.html?m=0 "...all I can say is THIS IS INCREDIBLE!!!!!! The sonics are spectacular and the pressing quality is as good as has ever been pressed in my opinion. The backgrounds are dead, black, silent the way Japanese pressings used to come on JVC 'Supervinyl!' and believe me it doesn't get any better than that, though this may even be richer, darker and blacker." Music = 9/11; Sound = 11/11 — Michael Fremer, MusicAngle.com To read Fremer's full review, click here: http://www.analogplanet.com/content/you-cant-roll-joint-ipod-0 "...Despite the album's AAA pedigree, and Lynne's stating her preference for analog and for vinyl — which created a press buzz of its own, particularly after she memorably made the case for the format by saying 'You can't roll a joint on an iPod' — the original vinyl release was a fiasco...Enter Chad Kassem's Analogue Productions. Kassem knew the history and he knew how much better Just A Little Lovin' could sound. So he licensed the title for vinyl and SACD, acquired the master tapes and had them shipped to Doug Sax at The Mastering Lab. The songs arrived on individual reels that had to be spooled off and spliced together to create each side's running master." — Andre Marc, MusicAngle.com One of the most incredible sounding records we've ever heard. It's exactly what audiophiles dream about. A mixture of great music, great performances and a great recording — all with air to breathe. Show-stopping sound! "There's nothing we've offered that I'm more excited about and that I'm more confident will just blow people away." — Chad Kassem, Acoustic Sounds, Inc. CEO Released originally by Lost Highway Records in 2008, Just A Little Lovin' is Shelby Lynne's stirring, emphatic tribute to the late British singer Dusty Springfield. It is to date the highest charting album of Lynne's career, reaching No. 41 on the Billboard 200. The producer is veteran Phil Ramone — the engineer for Springfield's original recording of "The Look Of Love." Reissuing this masterpiece to our Analogue Productions standards was an enormous — and expensive — undertaking. Keep in mind that almost without exception, for every pop record recorded after 1992, even if it's recorded to analog tape like this one, the songs are stored individually. That means that there is never an actual complete album master compiled. So to cut an LP from tape, we had to have mastering engineer Doug Sax assemble an analog master in order so that he could then cut the record to LP, using his famed tube electronics. This involves a lot of extra cost and work. But, since this is such an incredible album, we went all the way. Also, we should mention that Shelby Lynne herself is reportedly a big fan of vinyl. As for the quality of the record itself, the name says it all. This heavyweight platter from Quality Record Pressings is dead quiet — and smooth. Plating was also done in-house at QRP by Gary Salstrom. Right on the heels of our Analogue Productions reissue of Dusty Springfield's Dusty In Memphis, which was named Stereophile's Recording of the Month for February 2012, the timing couldn't be more perfect. In addition to the Springfield tracks, Lynne also covers Tony Joe White's "Willie and Laura Mae Jones." In fact, given the style of music and sound quality, we'd recommend that anyone who likes this record also check out our reissue of Tony Joe White's Homemade Ice Cream (https://store.acousticsounds.com/d/75086/Tony_Joe_White-Homemade_Ice_Cream-200_Gram_Vinyl_Record) and our reissue of Dusty Springfield's Dusty In Memphis (https://store.acousticsounds.com/d/73767/Dusty_Springfield-Dusty_In_Memphis-45_RPM_Vinyl_Record). And if you like either of those two records, we think you're gonna like this one. PopMatters' review of Just A Little Lovin' wrote - "Lynne has crafted a disc that - while not exactly transcendent - still manages to go to emotional places that remain unattainable to your run-of-the-mill pop vocalists." Some of Dusty's biggest hits are covered here including "You Don't Have To Say You Love Me," "I Only Want To Be With You," and "How Can I Be Sure." Let Shelby Lynne give you Just A Little Lovin' — it'll make your day! Read more — in Shelby's own words — about the virtues of analog and the making of this record: http://www.huffingtonpost.com/shelby-lynne/vinyl-vs-ipod_b_89336.html
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Various Artists – The Wonderful Sounds Of Male Vocals
88,00 €Show item"Analogue Productions returns with another in its very popular 'Wonderful Sounds' series that began with a Christmas compilation and followed up in 2018 with a female vocalist assemblage. Like those two, AP's Chad Kassem selected the tunes from among titles he's licensed over the years for whole album reissues on SACD and AAA vinyl.... Use this compilation as a 'listening booth' to discover unfamiliar music or just enjoy song after great well-recorded 'demo quality' song. While some like Aaron Neville's cover of John Hiatt's 'Feels Like Rain' and The Beach Boys' 'In My Room' will be familiar others probably won't be — like Willis Alan Ramsey's 'Sympathy for a Train,' Willy DeVille's 'Spanish Jack' and perhaps JD Souther's 'Silver Blue' (with Stanley Clarke on bass). Many fans of Belafonte at Carnegie Hall have never heard the encore 'Scarlet Ribbons,' which is here too." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here. "Can't stop exploring The Wonderful Sounds Of Male Vocals! The album is stunning not only because of the exemplary high standard of recording it showcases, but also because of the satisfying range of artists and music genres presented across the four sides. There are wonderful surprises to discover as well as wonderful sounds." — Kevin Howlett Kevin Howlett is an award-winning U.K.-based radio producer and writer. He's been closely associated with The Beatles throughout his long career, having written numerous books about the group as well as making radio documentaries about them for the BBC and Apple Corps. He was deeply involved in the recent super-deluxe editions of Sgt. Pepper, "The White Album" and Abbey Road, both writing the books and researching the original session tapes. Other artists and companies Howlett has documented for radio or in books include David Bowie, Leonard Cohen, Paul Simon, Jimmy Webb, Frank Zappa, Elektra Records and Ortofon. Ready for another go with A-list caliber demo tracks chosen by the man himself, Acoustic Sounds founder and CEO Chad Kassem? Here in our Analogue Productions Wonderful Sounds series, we have a treat for you — following up on The Wonderful Sounds of Christmas, and Female Vocals, we've put together The Wonderful Sounds of Male Vocals — stone-cold killers from the first song to the last! When you want to show off your hi-fi system's potential, why waste time with multiple LPs? Skip the searching, un-sleeving, re-sleeving and more — and give your audiophile friends what they like to hear. Grab this album and you'll hear show stoppers by Amos Lee, Dean Martin, Aaron Neville, Roy Orbison, Willie Nelson, Pure Prairie League, Harry Belafonte, Pete Seeger, The Beach Boys, Willy DeVille, Greg Brown, JD Souther, Tennessee Ernie Ford, Tony Bennett, Harry Nilsson, Tony Joe White — and what would a male vocal compilation be without the truly great Elvis Presley? Just how good older recordings can sound when the touch of an exceptional mastering engineer is involved is demonstrated by the matchless Ryan K. Smith at Sterling Sound. Like others in our Wonderful Sounds series, this album works well as entertainment and as a great sampler of the LPs, mostly released by Analogue Productions. Michael Fremer, of AnalogPlanet.com and Stereophile Magazine, walks you through each track and its historic place with very thorough and entertaining liners. Plating and pressing was done at Quality Record Pressings, where Gary Salstrom and his crew manufacture the world's best-sounding LPs with their exceptionally quiet playing surfaces. From "Fever" to "Spanish Jack," and "Amie" to "Blue Bayou" and everything in-between — "Georgia on My Mind," "(I Left My Heart) In San Francisco," "Silver Blue" and more — you'll be relishing this LP with each play. Make the easy selection and enjoy listening.
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Willie Nelson – And Then I Wrote
88,00 €Add to cart"...Stardust this is not but it's a collection of 12 Nelson tear jerkers like 'Darkness on the Face of the Earth' and 'Where My House Lives' that somehow turns 'down in the dumps' self-pity into excruciating pleasure-especially if you've ever been there. ... Matt Lutthans mastered at 45rpm on the finally fully up and perfectly running The Mastering Lab's tube-based cutting system now housed at Blue Heaven Studios in Salina, Kansas. How great it is to see the TML-M stamp on two brand new slabs of 180g QRP pressed records. Housed in gatefold Stoughton Press 'Tip on' jacket. Willie Nelson fans will want to have this." — Music = 7/11; Sound = 9/11 - Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. "Hello Walls," "Crazy," "Funny How Time Slips Away." These are some of the most memorable hits in the Willie Nelson songwriting canon. One of the most important musical artists in American history, a first-name giant like Elvis and Ella, Willie scored these and more hits with his debut album — ...and then I wrote. (Texas Monthly magazine ranks it No. 4 on their ranked list of all 145 Willie Nelson albums). In 1961 Willie Nelson was finally in Nashville and tasting success after years of scraping by in various locales, on his gift for making heartaches and memories rhyme. Nelson's songs "Crazy," "Hello Walls" and "Funny How Time Slips Away" bcame huge hits for Patsy Cline, Faron Young and Billy Walker, respectively. The royalty checks — fat ones — were rolling in. But Willie wanted more. These songs were his essence, and he wanted country music fans to know they poured out of his soul. The next fall, in 1962, he debuted his first full-length album with Liberty Records, and called it ...and then I wrote. It was perhaps the most accomplished debut album in history. "For many of us born in the six decades since, it's impossible to imagine a world in which these songs didn't exist. If you grew up in Texas, they were likely just about everywhere: at ballgames and cookouts and weddings and funerals, on road trips and the radio and every jukebox you've ever flipped through," writes Texas Monthly. How best to apply the Analogue Productions reissue treatment to such a historic veteran country classic? Well, for starters, there was no doubt this classic deserved the wider-spaced grooves, improved cartridge tracking, and noticable reductions in distortion and high frequency loss that are testament to a 45 RPM four-sided AP reissue. So four glorious sides of 180-gram dead-silent vinyl pressed by our own Quality Record Pressings it would have to be. And the mastering? Top-notch marks there as well. The capable hands of our engineer Matthew Lutthans at The Mastering Lab by Acoustic Sounds working with the original master tape sounds amazing. The Mastering Lab by Acoustic Sounds upholds the quality standard achieved by the late Grammy-winning mastering engineer Doug Sax that made the brand famous. It wasn't just the songs on the album that ascended to the country canon, including the three previously mentioned hits that appear back-to-back, but the deep cuts like "Mr. Record Man," "Undo the Right," and "Wake Me When It's Over." ...and then I wrote isn't just one of the greatest debuts of all time — it's one of the best singer-songwriter records ever recorded. The sheen of the Nashville sound on this record is mercifully dialed down. It was produced by the head of Liberty's country division, Joe Allison, partly in Music Row's famous Quonset Hut studio and partly in Hollywood. Allison appreciated Willie's idiosyncratic singing style and kept his vocals out front, dropping the glossy chorus back in the mix and eschewing strings altogether. The album produced one Top Ten single ("Touch Me"), yet none of the other three singles made the charts. Yet if it were released today, people would mistake it for a Willie's Greatest Hits record. Patsy Cline released her definitive version of "Crazy" in 1961, and in the years since it's been recorded by dozens of artists, from Linda Ronstadt to Chaka Khan to Austin emo band Mineral to, for the first time on this record, Willie himself. It's the song that would take him from poet-picker to a composer worthy of inclusion in the Great American Songbook. The Analogue Productions reissue of ...and then I wrote will find its place of honor at the top of the most cherished LPs in your music collection.
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Lynyrd Skynyrd – Nuthin’ Fancy
88,00 €Add to cartThe title may say Nuthin' Fancy but don't be deceived! This 200-gram stunner pressed at Quality Record Pressings is nearly peerless as a Southern rock record. Expertly remastered by Kevin Gray, lacquer plating by master technician Gary Salstrom, heavy cardboard gatefold jacket with vibrantly reproduced original artwork. How does it get any better? Well, we've cut this edition at 45 RPM! 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. As the Ultimate-Guitar.com put it: "Most hard rock bands would give their left arm for a record that swaggers and hits as hard as Nuthin' Fancy." "Second Helping brought Lynyrd Skynyrd mass success and for the follow-up they offered Nuthin' Fancy. It was a self-deprecating title for a record that may have offered more of the same, at least on the surface ... The biggest difference with this record is that the band, through touring, has become heavier and harder, fitting right in with the heavy album rock bands of the mid-'70s. The second notable difference is that Ronnie Van Zant may have been pressed for material, since there are several songs here that are just good generic rockers. But he and Skynyrd prove that what makes a great band great is how they treat generic material, and Skynyrd makes the whole of Nuthin' Fancy feel every bit as convincing as their first two records." — AllMusic
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10 ” Dual Pocket Outer Sleeves (Resealable Pack of 25)
24,90 €Add to cartVinyl Record Outer Sleeves 4 mil – Crystal Clear CPP-25 Sleeves to a Pack. Available as RESEALABLE and with double tuckable flap. This product is exactly the same as our standard 12 inches 4 mil dual pocket sleeve, except in 10-inch size. This design is meant to protect your album cover while still giving you easy access to the vinyl record. I don’t recommend storing your record in the pocket without a good inner sleeve. The pictures are just to demonstrate the two-pocket design. 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 values, 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 Polypropylene is usually used in applications that require superior optical properties such as gloss, transparency, surface smoothness, and good tear resistance. 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 odors. 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. All sizes are designed to fit most single and gatefold record jackets. Strong 1/16” seams. Made in Canada with Canadian and American 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 only in 4 mil thickness.
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10″ Rice Paper Inner Sleeves (Pack of 25)
14,90 €Add to cartPack of 25 sleeves. Tested and certified by an independent lab in the USA to meet ISO PHOTOGRAPHIC ACTIVITY TEST ISO 18916! Made just slightly larger to ensure proper fit for 180 and 200 gram records, while still fitting inside of the album jacket or dual pocket sleeve. This is the sleeve you will love for those expensive records. ALMOST CRUMPLE PROOF! This is the rice paper sleeve you have dreamed about! 3 mil or 2 mil rice paper, standard square, anti-static. HDPE, high density polyethylene film, only virgin resin, no recycled content. The 3 mil sleeve is THREE times as thick as most of it competitors, and 50% thicker than the 2 mil rice paper inner sleeve. Made in China
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7″ Dual Pocket Outer Sleeves (Resealable Pack of 25)
15,50 €Add to cartVinyl Record Outer Sleeves 4 mil (RESEALABLE) – Crystal Clear CPP-25 Sleeves to a Pack. Available as resealable and with double tuckable flaps. Absolutely crystal clear protection for your cherished 7-inch collection. Revive old sleeves to look almost new and protect new sleeves for years to come. This product is exactly the same as our standard 12-inch 4 mil dual pocket sleeve, except in 7-inch size. This design is meant to protect your album cover while still giving you easy access to the vinyl record. I don’t recommend storing your record in the pocket without a good inner sleeve. The pictures are just to demonstrate the two-pocket design. 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 values, 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 Polypropylene is usually used in applications that require superior optical properties such as gloss, transparency, surface smoothness, and good tear resistance. 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. Upgrade 1/2 inch resealable closure tape. 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. All sizes are designed to fit most single and gatefold record jackets. Strong 1/16” seams. Made in Canada with Canadian and American made film and tape. Pure polypropylene resin, no recycle contents, no questionable offshore material. With this design, there are only 2 seams, 1 on each side. Available only in 4 mil thickness.
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7″ Rice Paper Inner Sleeves (Pack of 25)
12,50 €Add to cartPack of 25 sleeves. Tested and certified by an independent lab in the USA to meet ISO PHOTOGRAPHIC ACTIVITY TEST ISO 18916! Made just slightly larger to ensure proper fit for 180 and 200 gram records, while still fitting inside of the album jacket or dual pocket sleeve. This is the sleeve you will love for those expensive records. ALMOST CRUMPLE PROOF! This is the rice paper sleeve you have dreamed about! 3 mil or 2 mil rice paper, standard square, anti-static. HDPE, high density polyethylene film, only virgin resin, no recycled content. The 3 mil sleeve is THREE times as thick as most of it competitors, and 50% thicker than the 2 mil rice paper inner sleeve. Made in China
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Blood, Sweat & Tears – Bloodlines (+ Booklet)
248,00 €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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Crystal clear polypropylene inner sleeves
28,90 €Add to cartShow 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.
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Dave Brubeck Quartet – Time Out
88,00 €Add to cart“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
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Charles Mingus – Mingus, Mingus, Mingus, Mingus, Mingus
88,00 €Add to cart"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.
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Charles Munch – A Stereo Spectacular: Saint-Saens Symphony No.3
58,00 €Show item“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
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Son House – Father of Folk Blues
88,00 €Add to cart“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
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David Abel/ Julie Steinberg – Debussy/Brahms/Bartok: Sonatas For Violin And Piano
58,00 €Show item“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
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Doug MacLeod – Come To Find
88,00 €Show itemSpend 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.
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Fritz Reiner – Bartok: Concerto For Orchestra
58,00 €Add to cart“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.
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Fritz Reiner – Festival
58,00 €Add to cart“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.
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Holly Cole – Temptation
88,00 €Add to cart"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."
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Jimmy Witherspoon & Ben Webster – Roots
58,00 €Add to cart“… 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.
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Lowell Graham & National Symphonic Winds – Center Stage
58,00 €Add to cartNew 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.
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Lowell Graham – Winds Of War and Peace
88,00 €Show item“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.