Showing 76–100 of 343 results

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    Genesis – Selling England By The Pound

    82,00 €

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    Recorded in August 1973 — the tour for Foxtrot (1972) having ended in May of that year — Genesis' members joined for a short time to write new material which covered a number of themes, including the loss of English folk culture and an increased American influence. Hence the inspiration for the title Selling England by the Pound. Several tracks from the album became fan favorites and were featured as a regular part of the band's live setlist well into the 1980s. "I Know What I Like (In Your Wardrobe)," was released in February 1974 and became the band's first top 30 hit in the U.K. In 2012, the album ranked seventh in Rolling Stone's "Readers' Poll: Your Favorite Prog Rock Albums of All Time." Selling England by the Pound reached No. 3 on the U.K. charts and No. 70 on the U.S. Billboard Pop Albums chart. AllMusic reviewer Stephen Thomas Erlewine wrote that Genesis hadn't sacrificed its newfound immediacy of Foxtrot with that album's follow-up. They found ways to infuse with the delicate whimsy that was their calling card since the group began. "This, combined with many overt literary allusions — the Tolkeinisms of the title of 'The Battle of Epping Forest' only being the most apparent — gives this album a storybook quality. It plays as a collection of short stories, fables, and fairy tales, and it is also a rock record, which naturally makes it quite extraordinary as a collection, but also as a set of individual songs. Genesis has never been as direct as they've been on the fanciful yet hook-driven 'I Know What I Like (In Your Wardrobe)' — apart from the fluttering flutes in the fade-out, it could easily be mistaken for a glam single — or as achingly fragile as on 'More Fool Me,' sung by Phil Collins. It's this delicate balance and how the album showcases the band's narrative force on a small scale as well as large that makes this their arguable high-water mark." All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    Genesis – The Lamb Lies Down On Broadway

    169,00 €

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    Genesis' sixth studio album was released as a double album in November 1974 by Charisma Records and is the last to feature original frontman Peter Gabriel. The group's longest album to date, The Lamb Lies Down on Broadway peaked at No. 10 on the U.K. Albums Chart and No. 41 on the Billboard 200 in the U.S.. The album is a concept album and tells the surreal story, devised by Gabriel, of a young Puerto Rican named Rael who embarks on a journey through a series of strange and bizarre events in New York City. Musically, the album is a departure from the band's previous works, incorporating a wide range of styles including progressive rock, art rock, funk, and jazz fusion. The album features complex rhythms, intricate melodies, and dense layers of instrumentation, showcasing the band's virtuosic musicianship. The album is notable for its use of storytelling, with each track contributing to the larger narrative of Rael's journey. The lyrics are often cryptic and abstract, and the album's surreal imagery has been interpreted in a variety of ways by listeners and critics. The Lamb Lies Down On Broadway gained acclaim in the years after its release, reaching gold certification for sales in the U.K. and U.S.. In 1978, Nick Kent wrote for NME that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together." In a special edition of Q and Mojo magazines titled Pink Floyd & The Story of Prog Rock, The Lamb ranked at No. 14 in its 40 Cosmic Rock Albums list. The album came third in a list of the 10 best concept albums by Uncut magazine, where it was described as an "impressionistic, intense album" and "pure theatre (in a good way) and still Gabriel's best work." A Rolling Stone poll to rank readers' favourite progressive rock albums of all time placed The Lamb fifth in the list. The Lamb Lies Down On Broadway is widely regarded as one of Genesis's most important and influential works, inspiring generations of progressive rock musicians.

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    Steely Dan – Aja SACD

    44,00 €

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    Aja — Steely Dan's landmark sixth studio album reissue Hybrid Stereo SACD release from Analogue Productions Mastered by Bernie Grundman from an analog, non-Dolby EQ'd quarter-inch 15 ips tape copy Plays in all CD and SACD players If you were an audiophile in the late 1970s, you owned Aja. Rolling Stone, which ranks 1977's Aja at No. 63 on its latest 500 Greatest Albums of All Time list, says "this was Walter Becker and Donald Fagen's no-holds barred stab at becoming a huge mainstream jazz-pop success. "And sure enough, thanks to sweet, slippery tracks like 'Deacon Blues,' and 'Peg,' this collegiate band with a name plucked from a William Burroughs novel and a songbook full of smart, cynical lyrics became bona fide superstars, shooting to the Top Five and selling platinum. And yes, Aja even won a Grammy for Best Engineeed Album." Fagan and Becker would assemble a revolving cast of almost 40 session musicians to play on the album, consisting of some of the all-time greats, including Joe Sample, Larry Carlton, Wayne Shorter, Steve Gadd, Lee Ritenour, Timothy B. Schmidt — it's a long list. It's a Who's Who of session superstars. The album name and its title track were inspired by a South Korean woman whom a high school friend's brother had married after serving in the army in her country. The chord progressions and melodies are so unique and so typically Steely Dan. The drum solo at the end of the title track by Steve Gadd is also astounding. Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations. After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

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    Art Pepper – Smack Up

    44,00 €

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    Contemporary Records Acoustic Sounds Series continues in 2024! Twelve standout albums from the Contemporary Records catalog reissued on 180-gram vinyl   Titles featuring Art Pepper, Sonny Rollins, Helen Humes, Ben Webster and many more!   Mastered AAA by Bernie Grundman from the original analog tapes   180-gram LPs pressed at Quality Record Pressings!   Stoughton Printing gatefold old-style tip-on jackets   Series supervised by Chad Kassem CEO of Acoustic Sounds Continuing Craft Recordings' celebration of seminal jazz artists from Contemporary Records Saxophonist Art Pepper was considered one of the best altos of his time, just behind Charlie Parker. This 1960 recording, whose album's title presages the addiction that would soon offline the self-taught musician's career, features compositions written by fellow saxophonists (including Ornette Coleman's "Tears Inside" and Buddy Collette's "A Bit of Basie"). Finding Pepper at his finest, most limber form, his own composition "Las Cuevas de Mario" is a particular standout in 5/4 time and would pop up on his set lists in subsequent years. This new edition is released as part of the Contemporary Records Acoustic Sounds series on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a Stoughton Printing tip-on jacket.

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    John Coltrane – Giant Steps (45 RPM 180 Gram Vinyl)

    82,00 €

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    Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the alternate non-Bill Evans lineup featured on "Freddie the Freeloader" on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." The Giant Steps chord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, its difficult chord changes presenting a "kind of ultimate harmonic challenge", and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently "Naima" and "Giant Steps." The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "Trane's first genuinely iconic record." In 2003, the album was ranked No. 102 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list. Undeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Overall, Giant Steps is not only a critical triumph but also a defining moment in John Coltrane's career. Its innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre.

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    Stone Temple Pilots – Core

    82,00 €

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    Stone Temple Pilots roared on to the scene in 1992 with their raucous debut Core. A breakout success, the album peaked at No. 3 on the Billboard 200 chart, dominated radio waves with hits like "Sex Type Thing" and "Wicked Garden," and has been certified 8x platinum by the RIAA. The band also took home the 1994 Grammy Award for Best Hard Rock Performance for their smash single "Plush." Although it faced initial criticisms for being derivative of other grunge bands, such as Pearl Jam and Alice in Chains, time has gained Core recognition as a classic of the 1990s alternative rock era and remains a pivotal album in the Stone Temple Pilot's discography. Critics praised the band's musicianship, Scott Weiland's charismatic vocals, and the album's songwriting. Core showcases a diverse range of musical styles, blending elements of alternative rock, grunge, hard rock, and even psychedelic influences. The band's sound is characterized by powerful guitar riffs and a melodic bassline. The album strikes a balance between heavy, grunge-infused tracks and more introspective, melodic compositions. Songs such as "Sex Type Thing" and "Wicked Garden" exemplify the band's heavier, hard rock side, while tracks like "Plush" and "Creep" showcase their ability to craft emotionally charged, radio-friendly ballads. The album's eclectic mix of styles contributed to its widespread appeal and longevity in the alternative rock scene. The top-notch Analogue Productions reissue earmarks are all here: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    John Coltrane – My Favorite Things

    82,00 €

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    John Coltrane's landmark 1961 jazz album My Favorite Things was born of the same recording sessions that yielded a majority of the albums Coltrane Plays the Blues (1962), Coltrane's Sound (1964), and Coltrane Legacy. That My Favorite Things was recorded in less than three days was in itself, remarkable. This record marked a significant turning point in Coltrane's career and showcased his distinctive playing style, which continues to inspire and influence musicians to this day. Coltrane's playing on My Favorite Things can be described as innovative, exploratory, and deeply emotive. The unforced, practically casual soloing styles of the assembled quartet — which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) — allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band, notes AllMusic. Coltrane was known for pushing the boundaries of jazz and expanding the possibilities of the saxophone as an instrument. Throughout the album, Coltrane's improvisations are characterized by their intensity, virtuosity, and sheer creativity. The title track is a modal rendition of the Rodgers and Hammerstein song "My Favorite Things" from The Sound of Music. Coltrane's use of modal playing made him a pioneer — modal jazz emphasizes improvisation over specific chord progressions. Coltrane's modal approach allowed him to explore a broader range of tonal colors and to create more open and expansive musical landscapes. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. As a soloist, the definitive soprano sax runs during the Cole Porter standard "Everytime We Say Goodbye" and tenor solos on "But Not for Me" easily establish Coltrane as a pioneer of both instruments. In 1998, My Favorite Things received the Grammy Hall of Fame award. The album attained gold record certified status in 2018, having sold 500,000 copies. We've given this definitive reissue of such a landmark album the presentation it deserves: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    The Doors – L.A. Woman

    82,00 €

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    The title track from this, the last Doors album recorded with Jim Morrison, who died shortly after it was released, has, said one reviewer, “maybe the best Chuck Berry riffs since the Stones.” And that’s not even mentioning “Love Her Madly,” which became one of the highest charting hits for The Doors. “Love Her Madly,” was written by Doors guitarist Robbie Krieger, who is said to have penned the song about the numerous times his girlfriend threatened to leave him. The song peaked at No. 11 on the Billboard Hot 100 singles chart and reached No. 3 in Canada. L.A. Woman was still high on the charts when, like in the lyric “actor out on loan” of its closing track — the celebrated “Riders on the Storm,” Jim Morrison died in a Paris bathtub in the summer of 1971. Via such tracks as “The Changeling,” “Crawling King Snake,” and the frothy, rollicking title track, the collection leaned heavily toward the Blues — in particular, Morrison’s boastful “Lizard King” brand of it. All-in-all, Rolling Stone proclaimed L.A. Woman, “The Doors’ greatest album, including their first,” and “A landmark worthy of dancing in the streets.” Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 180-gram vinyl, pressed at 45 rpm. All six are also available on Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy. "Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate. "If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room. "When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters." - Bruce Botnick, July 2012 "I received test pressings today for both Morrison Hotel and L.A. Woman. I have to tell you that these are the very best pressings I've heard in many, many moons. Great plating and your compound is so quiet that I clearly heard every fade out to its conclusion with no problem. Doug (Sax) and company did a lovely job, the tapes sound pretty damn good for being almost 50 years old and his system is clearly the best...You should be very proud of what you and your troops are doing." - Bruce Botnick, The Doors producer/engineer Click here to read a 1997 interview in The Tracking Angle with Doors producer/engineer Bruce Botnick As soon as I held Analogue Productions' new pressing of L.A. Woman, I knew this LP was something truly special. The quality of the gatefold cover is astonishing, the colors pop and the weight of the materials are top-notch, it really is a beauty to behold. Upfront, I had some concerns of owning a 45 RPM LP (the shorter playing time per side, and the resulting record flips) but I found this was a short-lived issue. At 45 RPM the needle is reading more information than 33 RPM, so ideally this is the speed you want your vinyl to spin to achieve the absolute best sound quality. The two LPs are housed in high quality QRP inner sleeves, nearly identical to the MFSL sleeves - another firm statement of quality control. These are also great looking records with the classic Electra 'butterfly' labels and heavy-weight 180-gram vinyl. As soon as the needle dropped, real time stopped and the music flowed effortlessly from a deep blackness filled with vast dynamic contrasts and rich glowing tones. I read this album was remastered from the original analog tapes using an all-tube system - I just know the sound is awesome, with seemingly limitless analog resolution. Much of L.A. Woman is also deeply steeped in the Blues; hard-edged and often gritty performances exemplified by the Doors vicious cover of John Lee Hooker's 'Crawling King Snake'. On L.A. Woman, The Doors abandon the dated West Coast psychedelic flourishes of earlier albums for the more mature pop sensibility of 'Love Her Madly'. Outside of the prime songs, deep album cuts like 'The Wasp' illustrate Jim's often surreal poetic creativity. Sadly, this would be The Doors final album with Jim just before the darkness would envelop him in Paris. Significantly, L.A. Woman contains The Doors most mature and developed compositions and some of Jim's most ominous lyrics. A more cynical view of America and Los Angeles are vividly revealed by the famous title track - the blistering Hollywood noir 'L.A. Woman'. Their epic song 'Riders on the Storm' has the power to evoke spine-chilling emotions - this is cinematic music presented in full panoramic widescreen; the jazzy tempo, understated melody and poignant lyrics underscore the power and clarity of this stunning Analogue Productions pressing. I'm very happy to finally have the definitive audiophile vinyl edition of The Doors L.A. Woman in my growing vinyl LP collection. If you are a Classic Rock fan and/or a Doors fan spinning vinyl, or if you just want to be blown away by the sonic possibilities of audiophile vinyl, the Analogue Productions' edition of L.A. Woman is essential listening. - Paul Powell Jr, Acoustic Sounds Customer

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    The Doors – Strange Days

    82,00 €

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    "... This double 45 offers incredible dynamics, beautiful detail and just comes alive in my room. The drums are so dynamic and alive it is startling on some cuts. Morrison's voice is right there with all its power and gravel. It never breaks up, but simply sounds so right. ... To be honest, these are better than I ever dreamed rock music from the sixties could sound. I want to thank everyone at Analogue Productions for bringing me such sweet sounds from some of my favorite music ever. My highest recommendation!" — Jack Roberts, dagogo.com, September 2012 Sinister, beguiling ... these were words reviewers used to describe The Door’s melodic psychedelic-era genre-blending sound. A mix of blues, Eastern music, classical and pop fueled hits such as the bluesy “Love Me Two Times” and “People Are Strange” from The Door’s debut follow-up, Strange Days. Strange Days featured a smattering of edgy recitations (“Horse Latitudes”) and smoky rockers (“My Eyes Have Seen You”). Morrison’s rallying cry “We want the world, and we want it now!” from the ambitious extended track, “When the Music’s Over,” marked a touchstone for that era’s counterculture movement. Rolling Stone described Strange Days as having “all the power and energy of the first LP, but (it’s) more subtle, more intricate and much more effective.” Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman —  are featured on 180-gram vinyl, pressed at 45 rpm. All six titles are also available on Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy. A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby! "Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate. "If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room. "When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters." - Bruce Botnick, July 2012 "... Kassem has once again (as with the Impulse 45 RPM series) met the highest of expectations with these (album) covers. The 180 gram platters, housed in QRP rice paper sleeves, are equally impressive, arriving clean, flat and playing silently with nary a pop or tic throughout ... this dead quiet, ultra-dynamic pressing showcases the epic ("The End") bringing out low level detail that simply can't be heard on the already fantastic-sounding Monarch pressing original. ... Immediately upon dropping the needle on the Analogue Productions 45 RPM reissue of Strange Days, you know that you're about to experience something special. ... This 45 RPM pressing gives up none of the emotion or midrange complexity of the original and forces none of the overly tight bass sometimes heard on audiophile reissues in the process. ... This is as good as an audiophile reissue can get and I give it my highest recommendation." - My Vinyl Review "The double 45 (Strange Days) offers far greater dynamics, detail and uniformity among the tracks since the cut never extends near the high frequency curtailing inner groove area. ... It's the best sounding edition you will ever hear and well worth the price, especially if you had any idea what AP's Chad Kassem had to go through to convince the powers that be to let him use the original analog master tapes, and what he had to pay for the privilege." - Music = 10/11; Sound = 10/11 - Michael Fremer, Analog Planet, July 2012 Click here to read a 1997 interview in The Tracking Angle with Doors producer/engineer Bruce Botnick. "I received test pressings today for both Morrison Hotel and L.A. Woman. I have to tell you that these are the very best pressings I've heard in many, many moons. Great plating and your compound is so quiet that I clearly heard every fade out to its conclusion with no problem. Doug (Sax) and company did a lovely job, the tapes sound pretty damn good for being almost 50 years old and his system is clearly the best...You should be very proud of what you and your troops are doing." - Bruce Botnick, The Doors producer/engineer

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    The Doors – Morrison Hotel

    82,00 €

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

    "Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate. "If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room. "When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters." - Bruce Botnick, July 2012 "I received test pressings today for both Morrison Hotel and L.A. Woman. I have to tell you that these are the very best pressings I've heard in many, many moons. Great plating and your compound is so quiet that I clearly heard every fade out to its conclusion with no problem. Doug (Sax) and company did a lovely job, the tapes sound pretty damn good for being almost 50 years old and his system is clearly the best...You should be very proud of what you and your troops are doing." - Bruce Botnick, The Doors producer/engineer Click here to read a 1997 interview in The Tracking Angle with Doors producer/engineer Bruce Botnick.

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    The Doors – The Doors

    82,00 €

    Includes 19% MwSt DE
    plus shipping
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    "... To be honest, these are better than I ever dreamed rock music from the sixties could sound. I want to thank everyone at Analogue Productions for bringing me such sweet sounds from some of my favorite music ever. My highest recommendation!" — Jack Roberts, dagogo.com, September 2012 One of rock music’s most famous debuts, The Doors self-titled 1967 smash is legend. And now it becomes the kick-off for a positively stunning reissue series from Analogue Productions and Quality Record Pressings! The Doors was born after Jim Morrison and Ray Manzarek — who'd met at UCLA's film school — met again, unexpectedly, on the beach in Venice, CA, during the summer of 1965. Although he'd never intended to be a singer, Morrison was invited to join Manzarek's group Rick and the Ravens on the strength of his poetry. The group later changed its moniker, taking their name from Aldous Huxley's psychotropic monograph "The Doors of Perception." The band signed to Elektra Records following a now-legendary gig at the Whisky-a-Go-Go on the Sunset Strip. The Doors' arrival on the rock scene produced a string of hit singles and albums destined to become clasics. Belting out a standard like “Back Door Man” or talk-singing such originals as “The Crystal Ship,” and “I Looked at You,” one reviewer wrote that leather-clad frontman Morrison exuded “both sensuality and menace.” The Doors reached Billboard’s No. 2 slot and delivered the No. 1 signature smash “Light My Fire” plus “Break On Through,” “The Crystal Ship,” and “The End.” Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman —  are featured on 180-gram vinyl, pressed at 45 rpm. All six are also available on Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy. "Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate. "If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room. "When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters." - Bruce Botnick, July 2012 "...the amount of detail and space produced here is superior to any version of this that I've heard save for the Elektra original, which is serious competition though good luck finding a clean quiet one. Even then the 45rpm cut's spaciousness, dynamics and bass power and particularly the overall sound on what are the inner tracks on the original LP are better on the double 45 cut using an all vacuum tube chain just as was the original...The double 45 has greater dynamics, detail, spaciousness and appropriate grit - everything the smooooth 192k/24 bit sourced version lacks...Definitely on my recommended list and the Quality Record Pressings vinyl is superb." Music = 9/11; Sound = 9/11 - Michael Fremer, Analog Planet, July 2012 To read Fremer's full review click here Click here to read a 1997 interview in The Tracking Angle with Doors producer/engineer Bruce Botnick. "... Kassem has once again (as with the Impulse 45 RPM series) met the highest of expectations with these (album) covers. The 180 gram platters, housed in QRP rice paper sleeves, are equally impressive, arriving clean, flat and playing silently with nary a pop or tic throughout ... this dead quiet, ultra-dynamic pressing showcases the epic ("The End") bringing out low level detail that simply can't be heard on the already fantastic-sounding Monarch pressing original. ... Immediately upon dropping the needle on the Analogue Productions 45 RPM reissue of Strange Days, you know that you're about to experience something special. ... This 45 RPM pressing gives up none of the emotion or midrange complexity of the original and forces none of the overly tight bass sometimes heard on audiophile reissues in the process. ... This is as good as an audiophile reissue can get and I give it my highest recommendation." — My Vinyl Review "I received test pressings today for both Morrison Hotel and L.A. Woman. I have to tell you that these are the very best pressings I've heard in many, many moons. Great plating and your compound is so quiet that I clearly heard every fade out to its conclusion with no problem. Doug (Sax) and company did a lovely job, the tapes sound pretty damn good for being almost 50 years old and his system is clearly the best...You should be very proud of what you and your troops are doing." - Bruce Botnick, The Doors producer/engineer

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    WAR – Greatest Hits

    88,00 €

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    180-gram 45 RPM double LP from Analogue Productions!   Mastered by Ryan K. Smith from the original analog master tapes   Platinum-selling album by funk, rock and soul band includes "Why Can't We Be Friends," "Slippin into Darkness," "Low Rider," "Cisco Kid" and more!   Plated and pressed at Quality Record Pressings! Gatefold old-style "tip-on" jacket by Stoughton Printing with faithfuly reproduced artwork Originally released in 1976, the War compilation album Greatest Hits contains a monster set of Chicano funky grooves from L.A., most of which forever transformed the sound of funk. The album includes most of the band's best cuts — such as "Slippin Into Darkness," "Cisco Kid," "World Is A Ghetto," "All Day Music," "Me & Baby Brother," "Why Can't We Be Friends," and "Low Rider." One of the hippest funk, rock and soul groups on the Cali scene of the '70s, who just kept on making great music as the years went on! Now with our 45 RPM release, plated and pressed at QRP, the best-sounding version of this historic album gives listeners an even richer sonic experience. 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. Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound.

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    Ben Webster Quintet – Soulville

    44,00 €

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    Mastered by George Marino at Sterling Sound "...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 Soulville is quintessential Ben Webster: intimate, tender, endlessly expressive. Webster was internationally recognized as one of jazz's elder statesman when he recorded this album in 1957, but the youthful fire that had marked his playing with the Duke Ellington Orchestra two decades earlier was undiminished. Leading a stellar combo through a program consisting mostly of vintage pop tunes, the great tenor saxophonist is at his peak. And this reissue includes three rare recordings of Webster on piano, the first instrument he played as a young professional musician. Recorded in 1957. Ben Webster, tenor saxophone Ray Brown, bass Herb Ellis, guitar Stan Levey, drums Oscar Peterson, piano

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    John Coltrane – Ballads UHQR

    198,00 €

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    Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable. You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall. The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety." While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s. Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios. "It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

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    Crosby, Stills and Nash – Crosby, Stills & Nash

    85,00 €

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    Several unique features set the debut studio album by folk rock supergroup Crosby, Stills & Nash, released in 1969 by Atlantic Records, apart. It's the only album by the band before adding Neil Young to their lineup. The album spawned two Top 40 singles, "Marrakesh Express" and "Suite: Judy Blue Eyes," which peaked respectively at No. 28 during the week of August 23, 1969, and at No. 21 during the week of December 6, 1969, on the U.S. Billboard Hot 100. The album itself peaked at No. 6 on the U.S. Billboard Top Pop Albums chart. It has been certified four times platinum by the RIAA for sales in excess of 4 million copies. Instantly lifting the group to stardom, along with the Byrds' Sweetheart of the Rodeo and the Band's Music from Big Pink, the previous year, the album is cited by music reviewers for initiating sweeping changes in popular music. In 2021 the album held the rank of No. 161 on Rolling Stone's 500 Greatest Albums of All Time list. Crosby, Stills & Nash was "the perfect blend of David Crosby's social conscience, Stephen Stills's virtuoso musicianship and Graham Nash's ability to craft the perfect pop melody for radio," writes Rolling Stone, in its review. The band was brought together after Crosby was fired from The Byrds, Stills's band, Buffalo Springfield had broken up (a band which also featured later member, Neil Young) and Nash's departure from The Hollies. The three decided to form a band after an informal jam led them to discover how well their voices harmonized. Released in May 1969, the band would perform nine of the album's 10 songs at Woodstock, which was the second time they ever did, in August of the same year. The album features some of CSN's most well known and iconic songs; "Suite: Judy Blue Eyes," "Marrakesh Express," "Guinnevere," "Wooden Ships," "Helplessly Hoping" and "Long Time Gone." This album saw a shift in sound to what was popular at the time — blues based rock, opting for a more folk rock, and sometimes jazz-based sound. It would lay the foundations for the California Sound that would be popularised out of Laurel Canyon in the ‘70s. Artists such as The Eagles, Jackson Browne and Fleetwood Mac would take inspiration from the sound of this record. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    Hootie & The Blowfish – Cracked Rear View

    82,00 €

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    Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time. AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks." The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences. This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

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    Matchbox Twenty – Yourself Or Someone Like You

    82,00 €

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    Described by AllMusic as the standard-bearer for post-alternative rock 'n' roll because of its '90s production dynamics, while still holding true to its classic rock core, Yourself or Someone Like You — the debut album from Matchbox Twenty — features sturdy songs and fairly strong hooks, all delivered forcefully with lead singer-songwriter Rob Thomas's distinctive bravado. Musically not flashy, nor as ingratiating as Third Eye Blind's pop instincts, the album is solid, American rock, reminiscent of a blend of Tom Petty and Pearl Jam. So it shouldn't have been surprising when the album found a wide audience. Yourself Or Someone Like You went on to sell more than 15 million copies worldwide. The band was a mainstream staple of the mid- to late-'90s with its light rock songs about loneliness, depression, anger, and alcoholism, and successful albums followed such as Mad Season and More Than You Think You Are. Band members reunited in 2012 for North. Thomas says he wrote the songs for Yourself Or Someone Like You in a five- or six-month period before the band recorded it. He felt driven to create new songs, he says, because of a contentious relationship with a previous band he had left, and the motivation to be ready and prepared when it came time for Matchbox Twenty to record its debut album. The album's second single "Push" released in 1997 topped the U.S. Modern Rock Tracks chart and became one of the band's signature songs. Thomas wrote the lyrics to "Push" with Matt Serletic. The lyrics dealt with the stress of falling in and out of love. In Birmingham, Alabama, the band was playing a thousand-seat club and there was a line of patrons outside the door clamoring to get in. Matchbox Twenty was the opening act that night for The Lemonheads. "We thought, 'Wow, The Lemonheads are having a good night.' Then we found out it was because that town was the only one playing 'Push' on the radio and it was the biggest hit in Birmingham, and they were all there for us. It was a huge change. We were so used to playing to 20 people, or sometimes to six people and most of the time they were people from the other band (that was playing) that night; we would just play for each other. So, it was a really big change that all of a sudden, people we didn't know were lining up to see us," Thomas told the AV Club. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Ryan K. Smith and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    Otis Redding – The Dock Of The Bay SACD

    44,00 €

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    The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon.

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    Ray Charles – Ray Charles (Mono Version)

    82,00 €

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    Ray Charles' self-titled 1957 album was one of the first handful of LPs issued by Atlantic (and was later retitled Hallelujah I Love Her So). As AllMusic reviewer Bruce Elder notes, the album is weighted about three to one in favor of Charles' own compositions, with the hits "Hallelujah I Love Her So" and the pounding, soaring "Ain't That Love," which opens the LP, its raison d'etre. Charles does just as well with his interpretations of others' work, most notably the ominous, gospel-focused rendition of "Sinner's Prayer" (which offers a virtuoso piano performance, and comes courtesy of the pen of Charles' former mentor Lowell Fulson) and Henry Glover's wrenching ballad "Drown in My Own Tears," which is topped out on each verse by a gorgeous chorus. "Funny (But I Still Love You)" offers a guitar break played in such an understated fashion that it almost doesn't seem so much a part of R&B as it was usually being offered in 1957 as it does a part of Charles' early career output. The second side of the LP is even better, opening with the title track, a number that is almost too ubiquitous in its various cover versions — the original has a mix of urgency and playfulness that's absolutely bracing, and the album carries this mood forward with "Mess Around," an Ahmet Ertegun-authored piano- and sax-driven romp with Charles at his most ebullient as a singer. "This Little Girl of Mine" offers him in a surprisingly light, almost acrobatic vocal mode, while "Greenbacks" is a knowing, clever cautionary narrative that is almost a throwback to 1940s-style R&B. "Don't You Know" is as salacious a piece of R&B as one was likely to hear in 1957, and "I Got a Woman" closes the record out on a pounding, driving note. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    Alice Cooper – Welcome To My Nightmare

    82,00 €

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    1975 was a banner year for superstar Alice Cooper with the release of the groundbreaking concept album Welcome To My Nightmare. This album showcases Cooper's theatricality, storytelling prowess, and ability to create an immersive world of horror and fantasy. From the opening notes of the title track, "Welcome to My Nightmare," listeners are transported into a dark and twisted dreamscape. Cooper's signature blend of rock, glam, and theatricality shines throughout the album. His gritty yet melodic vocals, combined with a richly layered musical backdrop, create an atmosphere of eerie enchantment. The album's production incorporates haunting orchestral arrangements, catchy hooks, and powerful guitar riffs, crafting a sonically diverse and captivating listening experience. Teaming up again with his longtime producer Bob Ezrin, the duo assembled some of the greatest music to go along with the David Winter produced film, and in doing so, created some of h is best known songs like the huge hit single "Only Women Bleed." This Top 5 single carried Welcome To My Nightmare into multiple platinum territory and forever etched the word superstar to the name of Alice Cooper. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    Otis Redding – The Dock Of The Bay

    82,00 €

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

    The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Kevin Gray and cut at 45 RPM. Pressed at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    Hugh Masekela – Hope

    88,00 €

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    "How sad, if timely: this stunning reissue of the 1994 live album arrived in the very week that trumpeter Masekela passed away. One of the most successful ambassadors ever for African music, his fusing of the continent's rhythms and instruments with contemporary jazz and rock proved irresistible. Nearly every one of you has heard him, thanks to guess spots with The Byrds and Paul Simon. His breakthough hit from 1968 — the infectious "Grazing In The Grass" — is here, along with another 11 tracks recorded at Blues Alley, the U.S. club that gave us Eva Cassidy. Notably, despite its early-1990s origins, this is all-analogue." — Sound Quality = 90% - Ken Kessler, HiFi News, May 2018 "...Hope is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps." - Wayne Garcia, The Absolute Sound, August 2008 "...The high quality original mix plus Analogue Productions' superb mastering has resulted in a terrific, very transparent sonic with great impact." - John Henry, Audiophile Audition The Analogue Productions reissue of Hugh Masekela's masterpiece Hope, now available on 33 1/3 LP. Mastering from Kevin Gray at Cohearent Audio; 180-gram knock-your-socks-off silent heavyweight vinyl plated and pressed by Quality Record Pressings. Stoughton Printing tip-on old-style heavyweight gatefold jacket. The ultimate. A longtime audiophile demonstration disc. Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound — WOW! Unlike a prior 45 RPM version that included seven songs, this 33 1/3 reissue contains the full program as originally recorded with all 12 tracks included! Plus, as an added bonus, we've included a special insert — featuring an exclusive interview with Grammy/Emmy Award-winning engineer David Hewitt, who recorded Hope originally. "Hugh's record is right up near the top for a lot of reasons," Hewitt says. Hewitt and his team were afforded the time they needed, and they pulled out all the stops to pull off what's now recognized as an all-time great recording. They used better-quality microphones, they were micing the room for ambient sound, and Masekela was performing for a sophisticated and appreciative audience. "We used stuff from our stash of mics as opposed to what you'd find typically at a jazz club. We actually had control via the record label and producers, so we could take our time. We had the ability to mic the room for abient sound. ... you've got people that actually know and appreciate the music and respond accordingly. What you've got there is all the right stuff at the right time and the right people, and then something magical happens." Listen to that magic unfold — put on this Analogue Productions reissue of Hope, and be transported.

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    Phil Collins – Hello I Must Be Going!

    82,00 €

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    On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward. "First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)." This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt, in a review for genesis-news.com.

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    Bad Company – Bad Company

    82,00 €

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    From the wreckage of Free came Bad Company, the English hard rock supergroup fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin, also managed Bad Company until 1982. The group's eponymous 1974 album debut decidedly proves the band is proudly not progressive — the details make a difference, as do the pastoral acoustics of the closing "Seagull" — reducing their rock 'n' roll to a strong, heavy crunch; compare "Ready for Love," a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business. Appropriately enough given their name, there's a sense of slow, churning menace to Bad Company, writes AllMusic reviewer Stephen Thomas Erlewine. Their first three albums, Bad Company (1974), Straight Shooter (1975), and Run with the Pack (1976), reached the Top Five in the album charts in both the U.K. and the U.S.. Many of their singles and songs, such as "Bad Company," "Can't Get Enough," "Good Lovin' Gone Bad," "Feel Like Makin' Love," "Ready for Love," "Shooting Star," and "Rock 'n' Roll Fantasy," remain staples of classic rock radio. They have sold 20 million RIAA-certified albums in the U.S. and 40 millon worldwide. The self-titled debut album was recorded at Headley Grange, Hampshire, in Ronnie Lane's Mobile Studio. The album reached No. 1 on the Billboard 200 in the U.S, and No. 3 on the U.K. Albums Chart, spending 25 weeks on the U.K. charts. The album has been certified five times platinum in the U.S., and became the 46th-best-selling album of the 1970s. The singles "Can't Get Enough" and "Movin' On" reached No. 5 and No. 19 on the Billboard Hot 10. All the hallmarks of a top-notch Analogue Productions reissue are here for your pleasure: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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    Steely Dan – Aja (45 RPM 200 Gram Clarity Vinyl)

    198,00 €

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    If you were an audiophile in the late 1970s, you owned Aja. Rolling Stone, which ranks 1977's Aja at No. 63 on its latest 500 Greatest Albums of All Time list, says "this was Walter Becker and Donald Fagen's no-holds barred stab at becoming a huge mainstream jazz-pop success. "And sure enough, thanks to sweet, slippery tracks like 'Deacon Blues,' and 'Peg,' this collegiate band with a name plucked from a William Burroughs novel and a songbook full of smart, cynical lyrics became bona fide superstars, shooting to the Top Five and selling platinum. And yes, Aja even won a Grammy for Best Engineeed Album." Fagan and Becker would assemble a revolving cast of almost 40 session musicians to play on the album, consisting of some of the all-time greats, including Joe Sample, Larry Carlton, Wayne Shorter, Steve Gadd, Lee Ritenour, Timothy B. Schmidt — it's a long list. It's a Who's Who of session superstars. The album name and its title track were inspired by a South Korean woman whom a high school friend's brother had married after serving in the army in her country. The chord progressions and melodies are so unique and so typically Steely Dan. The drum solo at the end of the title track by Steve Gadd is also astounding. Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations. After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 30,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

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