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Dr. John – Gris Gris
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The Velvet Underground – Loaded
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T-Bone Walker – T-Bone Blues
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Charles Mingus – Oh Yeah
82,00 €Add to cartTBA
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Stone Temple Pilots – Purple
82,00 €Add to cartPurple, the second studio album released in 1994 by the Stone Temple Pilots, stands as a monumental achievement in the band's career and a defining moment in the grunge and alternative rock music scene of the 1990s. With a potent blend of raw energy, introspective lyrics and masterful musicianship, Purple not only catapulted Stone Temple Pilots to superstardom, but it also marked a significant evolution in the band's sound. The album, building on the foundations laid by the band's debut album Core, was a huge success for the band, debuting at No. 1 on the Billboard 200 chart and quickly achieving multi-platinum status, worldwide. Its chart-topping single, "Interstate Love Song," became an anthem for a generation, and the album as a whole showcased the band's artistic prowess. Lyrically, "Purple" also revealed a more introspective and mature side of Stone Temple Pilots. Scott Weiland's songwriting delved into personal struggles and emotions, addressing themes of addiction, love, and self-discovery. This depth added a layer of authenticity to the album, allowing listeners to connect with the band on a profound level. Purple also demonstrated that Stone Temple Pilots were more than just another grunge act; they were a force to be reckoned with, capable of delivering powerful and emotionally resonant music. Purple remains a crucial chapter in the band's history and an essential listen for any fan of rock music. Analogue Productions has given the showstopping Purple the full reissue treatment: 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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Foreigner – 4
82,00 €Add to cart"Nightlife" kicks off a series of energetic and nearly flawless melodic rock songs on the album. Within this collection, you'll find tracks like "Woman in Black," "Don't Let Go," and the '50s-inspired "Luanne." However, the standout gem in this album is "Juke Box Hero." This song manages to be both a mainstream hit and exceptionally unique. It blends heavy metal guitar riffs, harmonized vocals, and lyrics that capture the desire to become a rock star. But there's more to this album. It also includes the essential power ballad, "Waiting for a Girl Like You." This emotional song transcended genres, becoming one of the most successful tearjerkers of the decade. It's a constant presence on soft rock radio and has overshadowed another beautiful ballad from the album called "Girl on the Moon." And let's not forget the surprising and funky "Urgent." This track stands out as one of the band's most memorable and uncharacteristic smash hits, thanks to Junior Walker's signature saxophone solo. As awesome as the music is this definitive deluxe 180-gram 45 RPM 2LP package. Foreigner 4 has never sounded better!
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Willie Nelson – Shotgun Willie
82,00 €Add to cartBefore Shotgun Willie, Willie Nelson had struggled to gain widespread recognition as a solo artist, despite having written many successful songs for other artists. Nelson's big break came when he signed with Atlantic Records in 1973. The pivotal moment in his career came after Atlantic Records executive Jerry Wexler, known for his work with artists like Ray Charles and Aretha Franklin, took an interest in Nelson's music. Wexler saw potential in Nelson's unique approach to country music and signed him to the label. With the creative freedom offered by Atlantic Records, Nelson was able to record Shotgun Willie with the artistic freedom he had long desired. The album's unconventional sound and honest lyrics resonated with both critics and fans. Shotgun Willie marked a new beginning for Willie Nelson's career, and it set the stage for his subsequent albums and his emergence as one of the most influential and iconic figures in the history of country music. The recording was one of the first albums of outlaw country — a new subgenre of country music and an alternative to the conservative restrictions of the Nashville sound, the dominant style in the genre at the time The album — the first to feature Nelson with long hair and a beard on the cover — gained him the interest of younger audiences. It peaked at No. 41 on Billboard's Top Country Albums and the songs "Shotgun Willie" and "Stay All Night (Stay A Little Longer)" peaked at Nos. 60 and 22 on Hot Country Songs respectively. We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of the timeless Willie Nelson classic, Shotgun Willie. Cue it up and prepare to be transported!
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Sonny Stitt – Blows The Blues
44,00 €Add to cartNew for 2024! Sonny Stitt Blows The Blues Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered 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 Sonny Stitt led a number of excellent record dates in 1959, especially at the end of the year when he produced three LPs for Verve over a span of three sessions with pianist Lou Levy, bassist Leroy Vinnegar and drummer Mel Lewis. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. The music includes several potent originals, especially "Hymnal Blues" and the slow, powerful "Morning After Blues." Originally released in 1970. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.1. Blue Devil Blues 2. Home Free Blues 3. Blue Prelude 4. Frankie and Johnny 5. Birth of the Blues 6. A Blues Offering 7. Hymnal Blues 8. Morning After Blues -
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Diana Krall – When I Look In Your Eyes
62,00 €Show itemNew for 2024!Acoustic Sounds Series reissues from Verve/Universal Music Enterprises!Monthly releases highlighting the world's most historic and best jazz records! Mastered by Ryan K. Smith at Sterling Sound 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 When I Look in Your Eyes is the fifth studio album by Canadian singer Diana Krall, released on June 8, 1999, by Verve Records. It was nominated for a Grammy Award for Album of the Year, the first time in 25 years that a jazz album was nominated in that category, and won two awards for Best Jazz Vocal and Best Engineered Album, Non-Classical at the 42nd Grammy Awards. The album also won the Juno Award for Best Vocal Jazz Album in 2000. If artistry is about growth, then count Krall as one of jazz's consummate artists. When I Look In Your Eyes is yet another step ahead for the vocalist/pianist. This gorgeous Verve release breaks away from the standard piano trio setting of her two previous releases; several of the album's cuts feature the graceful orchestrations of maestro Johnny Mandel. When I Look In Your Eyes features Krall on piano and vocals with long-time trio mate Russell Malone on guitar. Ben Wolfe and John Clayton share bass duties and Jeff Hamilton and Lewis Nash alternate on drums. The album was produced by Grammy-winner and Verve Music Group Chairman Tommy LiPuma, with some tracks being co-produced by LiPuma and Mandel. It was recorded by Al Schmitt. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.1. Let's Face The Music And Dance 2. Devil May Care 3. Let's Fall In Love 4. When I Look In Your Eyes 5. Popsicle Toes 6. I've Got You Under My Skin 7. I Can't Give You Anything But Love 8. I'll String Along With You 9. East Of The Sun (West Of The Moon) 10. Pick Yourself Up 11. The Best Thing For You 12. Do It Again -
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Diana Krall – The Look Of Love
62,00 €Add to cartNew for 2024! Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Ryan K. Smith at Sterling Sound 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 Diana Krall's sixth studio album topped the Canadian Albums Chart after its release in 2001, and in 2002 it earned Al Schmitt a Grammy Award for Best Engineered Album, Non-Classical. It also received a Juno Award for Album of the Year in Canada. Jim Santella of All About Jazz commented, "Lush strings and gliding flutes surround Diana Krall's tender vocals. Even her substantial piano interludes take on the appearance of drifting mists, through the mix of orchestral timbres. With an emphasis on her sultry vocal interpretations, the latest album reaches out to a broad, popular music audience. Nothing wrong with that. It's just that jazz fans usually want the improvised licks along with their melodies... By interpreting classic love songs, Krall's latest album turns toward romantic interests. The clutter of a large string orchestra, however, obscures the total picture." John Kreicbergs of PopMatters wrote, "Simply said, her piano chops are more than adequate to back up her incredible voice." Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.
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Bad Company – Straight Shooter
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INXS – Kick
82,00 €Show itemKick, the sixth and best-selling 1987 studio album by Australian band INXS, has the unmistakable sound personified by its four U.S. Top 10 singles, "New Sensation," "Never Tear Us Apart," "Devil Inside" and "Need You Tonight," — which reached the top of the U.S. Billboard singles charts. Between 1980 and 1984, INXS released four studio albums and had toured their native country Australia extensively. With Kick, producer Chris Thomas fused the funk and soul of their previous album The Swing with the mainstream rock of Listen Like Thieves. In an interview with MusicRadar, Andrew Farriss stated, "The melding of funk and rock was always in our heads. We were very excited about the idea of overlaying two types of songs and genres together." Kick showcased a diverse range of musical styles, blending rock, pop, funk, and dance elements. This versatility appealed to a wide audience, making the album accessible to fans of different genres. It's four catchy singles became radio staples and were accompanied by stylish music videos, helping propel INXS to international stardom. Incorporating elements such as electronic percussion and synthesizers gave Kick a modern sound, helping it stand out, together with Michael Hutchence's charismatic and sultry vocals that created a strong emotional connection. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from an EQ'd tape copy 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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Yes – The Yes Album
82,00 €Add to cartAfter half a century of crafting an astonishing array of chart-topping albums and embarking on triumphant global tours, Yes's The Yes Album marks the origin of their meteoric rise, through the recording sessions for this 1971 masterpiece. With an ever interesting line-up of world class musicianship, this highly regarded chapter of Yes consisted of Jon Anderson (vocals), Chris Squire (bass/vocals), Bill Bruford (drums), Tony Kaye (keyboards) and the introduction of Steve Howe (guitars/vocals), The Yes Album was the band's breakthrough album, ultimately remaining on the sales charts for 34 weeks, selling more than 1 million copies. This important piece of music consists of six amazing Yes workouts such as the definitive album opener "Yours Is No Disgrace," the hard rocking "Starship Trooper" and the brilliant "I've Seen All Good People" plus the massive hit single "Your Move." From this moment on, there was no looking back for this superstar quintet. Yes enthusiasts were superlatively rewarded with even more progressive rock favorites as the brilliant acoustic driven guitar work of Steve Howe's "Clap," Chris Squire and Jon Anderson's superb "Perpetual Change" and the jazz-rock fusion of "A Venture" truly made this album a standout. The album was a critical success and a major commercial breakthrough for Yes, who had been at risk of being dropped by Atlantic due to the commercial failures of their first two albums. It reached No. 4 in the United Kingdom and No. 40 in the United States, and was later certified platinum by the Recording Industry Association of America for surpassing 1 million copies. Analogue Productions is proud to offer the definitive reissue deluxe 180-gram 45 RPM 2LP of The Yes Album. For Yes fans, this is a can't-miss addition to your album collection.
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Charles Mingus – The Clown (Mono)
82,00 €Add to cartThe Clown was Charles Mingus' second masterpiece in a row, featuring Jean Shepard (yes, that Jean Shepard from the holiday movie A Christmas Story) on the title tune narrating a story about a clown attempting to please the world with his performances. The Clown also introduced two of Mingus' finest compositions in the driving, determined "Haitian Fight Song" and the '40s-flavored "Reincarnation of a Lovebird," a peaceful but melancholy tribute to Charlie Parker; Mingus would return to both throughout his career. With Pithecanthropus, Mingus displayed a gift for airtight, focused arrangements that nonetheless allowed his players great freedom to add to the established mood of each piece. The Clown refines and heightens that gift; instead of just writing heads that provide launch points for solos, Mingus tries to evoke something specific with every piece, and even his most impressionistic forays have a strong storytelling quality. The Clown tells the story of a clown "who tried to please people like most jazz musicians do, but whom nobody liked until he was dead," Mingus said, in an interview. "My version of the story ended with his blowing his brains out with the people laughing and finally being pleased because they thought it was part of the act. I liked the way Jean changed the ending; leaves it more up to the listener." The title track is even more interesting for the free improvisations led by trombonist Jimmy Knepper, as the group responds to Shepherd's story and paints an aural backdrop. It's evidence that Mingus' compositional palette was growing more determinedly modern, much like his increasing use of dissonance, sudden tempo changes, and multiple sections.
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The Doors – The Soft Parade
88,00 €Add to cart"...I thought it was impossible to improve on Bruce Botnick's neutral and detailed engineering on the original Elektra vinyl, but Chad Kassem's 45 RPM, 180-gram reissue, stamped on two discs by his own Quality Record Pressings, has more inner detail, deeper bass, more extended highs, wider dynamic range and more delicacy. Over the last 20 years, many record companies have claimed, largely erroneously, that their "audiophile" vinyl reissues of classic jazz, rock and classical music exceed the sound quality of the original LPs. Here, Chad Kassem has actually done it, and by a wide margin." — Robert J. Reina, Stereophile, February 2014. A 2014 Stereophile Record to Die For! "...This double 45 is so far superior sounding to the red label original and Japanese late '70s reissue I have here ... easily the greatest version of it for those who are fans. I have never heard so much detail revealed and such blackness behind the notes, nor have the strings and horns been so well reproduced. The laminated gatefold packaging is a treasure you'll want to polish when your grimy fingerprints dull the luster." Music = 8/11; Sound = 10/11 — Michael Fremer, Analog Planet.com. To read Fremer's full review, click here: http://www.analogplanet.com/content/soft-parade-too-soft About Soft Parade, Rolling Stone described two songs written by guitarist Robby Krieger, “Touch Me” and “Follow Me Down” as horn-string showpieces for the resonant baritone of Jim Morrison. Described as among the cleanest, most solid and, above all, most recognizable sounds in rock, the distinctive Doors’ sound was no doubt due to the Morrison power, but the other Doors were equally responsible. Ray Manzarek brought virtuosic keyboard tapestries, Krieger gritty, expressive fretwork, and Densmore dynamically rich percussion grooves. Half of the songs on Soft Parade, The Doors’ fourth LP, were written by Morrison and the other half by guitarist Krieger. “Touch Me” became one of The Doors’ most popular singles. Released as a single in December 1968, the song reached No. 3 on the Billboard Hot 100 and No. 1 in the Cashbox Top 100 in early 1969. It was the band’s third American No. 1 single. 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.
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The Doors – Waiting For The Sun
82,00 €Add to cartWaiting For The Sun, The Doors’ third album and its first chart-topper, delivered the No. 1 signature smash “Hello, I Love You” and the Top 40 hit “The Unknown Soldier.” Slant Magazine proclaims that Waiting For The Sun contains some of The Doors’ prettiest, most genial lilts: “Love Street,” a fictionalized sketch of the Bohemian street where Morrison lived with his wife, Pamela Courson; the wistful “Summer’s Almost Gone,” which includes the lovely refrain, “Morning found us calmly unaware/Noon burned gold into our hair”; and the placid piano ballad “Yes, The River Knows.” More and more, says Slant, Morrison was starting to emulate one of his idols, Frank Sinatra — “after all, they had an insatiable taste for women and alcohol in common.” Waiting For The Sun was also some of The Doors’ most combative, political work. “The Unknown Soldier” was a barefaced antiwar attack, a reaction to the Vietnam-era hostilities brewing on the home front. 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 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 “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.