Analogue Productions
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Van Morrison – Astral Weeks
85,00 €Add to cartVan Morrison — Astral Weeks Morrison's timeless masterpiece — folk, jazz, and soul collide! Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! 180-gram 45 RPM double LP Mastered by Matthew Lutthans at The Mastering Lab Mastered from a flat 24/192 digital transfer of the original master tape. EQ'd through The Mastering Lab's analog all-tube system Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Rolling Stone's 500 Greatest Albums of All Time No. 60/500! As Rolling Stone puts it, "Van Morrison's second album is quite unlike his first. For a start, there's nothing on it like ‘Brown Eyed Girl,' and that's what the world was expecting." The founder of Bang Records, the label he was signed to, had unexpectedly died. His widow blamed Morrison as the two had been arguing over the direction of his new music. Bert Berns wanted Morrison to head to a more pop orientated sound, but Morrison wanted to explore new terrain. Following the death, Morrison was blocked from recording. Warner Brothers, who subsequently signed Morrison helped him out of that deal. And Morrison set to work on recording a folk rock masterpiece, a stream of consciousness record with music a mix between folk, blues, jazz and even classical music. Astral Weeks is more than an album — it's an experience. Van Morrison's 1968 masterpiece defies genre, while rewarding listeners with new emotional and musical discoveries. It's a fusion of folk, jazz improvisation, and ethereal soul that transports the listener to another realm. Often regarded as one of the greatest albums of all time, Astral Weeks doesn't fit neatly into any category. It's Morrison's most emotional vocal performance — his voice soars, whispers, and wails, delivering poetic lyrics with an intensity that feels deeply personal yet universally resonant. With upright bass, flute, vibraphone, and acoustic guitar weaving hypnotic textures, the album's organic, free-flowing arrangements create an unparalleled sense of atmosphere. Morrison's stream-of-consciousness lyrics paint vivid, mystical portraits of youth, love, nostalgia, and longing. Tracks such as "Madame George" and "Cyprus Avenue" are cinematic in their storytelling. Van Morrison fans will immediately recognize Astral Weeks as his most adventurous and soul-baring work. It's not just music-it's a meditative, dreamlike journey that lingers long after the final note fades. Lacquers cut by Matthew Lutthans at The Mastering Lab at 45 RPM (Mastered from a flat 24/192 digital transfer of the original master tape. EQ'd through The Mastering Lab's analog all-tube system). Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
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Van Morrison – Moondance
85,00 €Add to cartVan Morrison — Moondance Melody, mood and romance — Morrison at his most effortless and inspired! Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! 180-gram 45 RPM double LP Mastered by Matthew Lutthans at The Mastering Lab Mastered from a flat 24/192 digital transfer of the original master tape. EQ'd through The Mastering Lab's analog all-tube system Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Rolling Stone's 500 Greatest Albums of All Time No. 120/500! Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced what is regarded as perhaps the most spiritually transcendent body of work in the rock 'n' roll canon. Hailed by critics as one of the greatest albums of all time, Morrison's Moondance was an immediate and commercial success after the Northern Irish singer-songwriter released it on Feb. 27, 1970. After the commercial failure of his first Warner Bros. album Astral Weeks (1968), Morrison moved to upstate New York with his wife and began writing songs for Moondance. There, he met the musicians that would record the album with him at New York City's A & R Studios in August and September 1969. The album found Morrison abandoning the abstract folk jazz compositions of Astral Weeks in favor of more formally composed songs, which he wrote and produced entirely himself. Its lively rhythm and blues/rock music was the style he would become most known for in his career. The music incorporated soul, jazz, pop, and Irish folk sounds into songs about finding spiritual renewal and redemption in worldly matters such as nature, music, romantic love, and self-affirmation. Moondance helped establish Morrison as a major pop music artist while several songs from the album, including the title track, became staples of FM radio in the early 1970s. Rolling Stone's updated list of the 500 Greatest Albums of All Time has Moondance at No. 120. Lacquers cut by Matthew Lutthans at The Mastering Lab at 45 RPM (Mastered from a flat 24/192 digital transfer of the original master tape. EQ'd through The Mastering Lab's analog all-tube system), pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
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Bob Marley and The Wailers – Kaya
82,00 €Add to cartBob Marley & The Wailers — Kaya Mastered by Ryan K. Smith at Sterling Sound from the original master tape Two 45 RPM LPs pressed on 180-gram vinyl at Quality Record Pressings Deluxe Old-Style Tip-On Stoughton Printing gatefold jacket Kaya, released in 1978, was the tenth studio album by the Jamaican band Bob Marley & The Wailers, comprising tracks recorded alongside those released on the Exodus album. On Kaya, the band continued what has become an unspoken tradition in the evolution of Bob Marley & The Wailers discography — blending western sounds and motifs with the icons and traditions from the very core of Jamaican society. Released in 1978, Kaya wasn't necessarily made with American tastes in mind, but it was an album that presented a more accessible version of Bob Marley. Lyrically, the songs avoided the political commentary or Rastafarian philosophizing that was at the forefront of Natty Dread and Rastaman Vibration, and instead emphasized tunes about love and ganga, such as "Easy Skanking" and the title cut. And the palpable musical tension that simmered beneath the surface on the Wailers' earlier material gave way to a more laid-back riddim that was more comfortable but a bit less demanding. Kaya presented a gentler and friendlier version of Bob Marley & the Wailers, but it also documented Marley and his group at the peak of their abilities. Likewise, Kaya could also be easily construed as an open love letter or musical paean to the lifestyle that Marley so eagerly embraced and promoted. Evidence that the spirituality that permeates the Wailers music is real and not lip service. Now, Analogue Productions presents Kaya in sonic perfection — featured on 180-gram vinyl pressed at 45 RPM at Quality Record Pressings. Housed in a deluxe Old Style Tip-On Jacket from Stoughton Printing.
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Bob Marley and The Wailers – Uprising
82,00 €Add to cartBob Marley & The Wailers — Uprising Mastered by Ryan K. Smith at Sterling Sound from the original master tape Two 45 RPM LPs pressed on 180-gram vinyl at Quality Record Pressings/Also on Hybrid Multichannel SACD Deluxe Old-Style Tip-On Stoughton Printing gatefold jacket Uprising would be the final studio album featuring Bob Marley & the Wailers to be released during Marley's lifetime. Prophetically, it also contains some of the band's finest crafted material, as if they were cognizant that this would be their final outing. Released in 1980, Uprising stands as one of Bob Marley's most poignant and spiritually charged albums, embodying both his enduring reggae genius and his reflective, almost prophetic musings on life and faith. What makes Uprising particularly unique in Marley's discography is its duality-balancing socially conscious anthems with deeply personal expressions of faith, hope, and mortality. Tracks such as the iconic "Redemption Song," with its acoustic simplicity and universal message of liberation, and the haunting "Forever Loving Jah," reveal a man at peace with his spirituality. Meanwhile, songs such as "Could You Be Loved" deliver infectious grooves and crossover appeal, proving Marley's ability to blend message and melody effortlessly. Critics and fans alike hailed Uprising as a high point in Marley's career. It received acclaim for its mature sound and cohesive vision, with reviewers highlighting its raw emotional power. While it didn't achieve the explosive commercial success of Exodus or Kaya, it cemented Marley's status as a global ambassador for reggae and freedom. For Marley fans, it's more than an album — it's a testament to his enduring spirit. Now, Analogue Productions gives Uprising the deluxe treatment this album, with its rich heritage, deserves. Pressed on 180-gram vinyl pressed at 45 RPM at Quality Record Pressings. Housed in a deluxe Old Style Tip-On Jacket from Stoughton Printing.
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Miles Davis Quintet – Great Prestige Recordings
279,00 €Add to cartMiles Davis Quintet — The Great Prestige Recordings A classic box set reborn! Mastered from the original analog tapes by Kevin Gray at Cohearent Audio 180-gram vinyl 33 1/3 5LP pressed at Quality Record Pressings Set includes pressings of The New Miles Davis Quintet (Miles), Cookin' with the Miles Davis Quintet, Relaxin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Steamin' with the Miles Davis Quintet LPs housed in Stoughton Printing old style tip-on jackets Also includes a 12-page booklet with liner notes by Bob Blumenthal One of Analogue Productions' most successful and collectible projects has been the Miles Davis Quintet/The Great Prestige Recordings deluxe box set on 33 1/3 LP. Now, that beautiful five-album set is being reintroduced. Featuring a 12" x 12" 12-page gorgeous booklet, packaged with the LPs (each housed in a Stoughton Printing tip-on jacket) in a deluxe, heavy-duty box, this set is the end-all of Miles' work for the legendary Prestige label from 1951 through 1956. Stereophile awarded the first incarnation of this set Recording of the Month in their March 1997 issue, giving it five stars for both music and sonics. Miles Davis's final Prestige sessions came from a desire to move to Columbia in 1956 while still owing Prestige several albums. Using producer Bob Weinstock's loose recording approach, Miles and his first great quintet knocked out the obligation in two marathon sessions (May 11 and October 26, 1956) at Rudy Van Gelder's studio, playing their regular live repertoire with little rehearsal. Prestige later released the music as Cookin', Relaxin', Workin', and Steamin'. Intended as quick contract fillers, the recordings became landmark hard-bop albums and some of the most natural, swinging jazz ever captured. The Miles Davis Quintet featured what is likely Miles' best-ever group, featuring Davis, John Coltrane, Philly Joe Jones, Paul Chambers and Red Garland. All of those albums are included in this limited edition box set. The albums are pressed on 180-gram vinyl and mastered from the original analog tapes by Kevin Gray at Cohearent Audio. They are packaged in a deluxe box with original album covers plus the 12-page booklet by Bob Blumenthal. These were not rehearsed studio constructions but living, breathing performances — spontaneous, swinging, and electrifying in their interplay. From the simmering cool of "My Funny Valentine" to the hard-driving pulse of "Airegin," these sessions distilled everything that made Miles and his sidemen legends. This box set is essential listening — meticulously mastered, beautifully presented, and historically vital. Own the sound that started it all — Miles, Coltrane, and company at their most inspired.
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Chet Baker – In New York
84,00 €Add to cartChet Baker — In New York Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish On Chet Baker — In New York, Chet plays like an angel with a muted trumpet. In New York captures the moody prince of cool stepping into the East Coast hard bop ring — and holding his own with charm, tone, and those impossibly lyrical lines that seem to float above the beat like cigarette smoke in a club basement. Chet Baker didn’t play the trumpet. He seduced it. His tone? So velvety, you might try spreading it on toast. His solos? Like a conversation with someone who never raises their voice — but always gets the last word. On In New York, Chet proves that his famously fragile persona belied a rock-solid sense of melody, timing, and understated swagger. Chet may be the name on the cover, but he came to town with some serious firepower. Johnny Griffin (tenor sax), known as the “Little Giant” brings a big sound and a bebop bite, pushing Chet into edgier territory — and yes, it works. Al Haig (piano), is bebop royalty. Cool, crisp, and a perfect harmonic foil for Baker’s phrasing. Paul Chambers (bass), is from Miles’ first-call list. He doesn’t just walk the bass — he struts. Lastly, Philly Joe Jones (drums) swings so hard, it’s a wonder the studio walls didn’t cave in. This lineup turns In New York from a moody trumpet feature into a full-on jazz heavyweight bout, where elegance and energy shake hands for 42 glorious minutes. Among the tracks, “Fair Weather” opens like a sigh and builds to a gorgeous melodic statement. Chet’s tone is so pure, you’ll swear it’s whispering secrets. “Solar” is the Miles Davis tune. Chet steps into the master’s world and makes it his own. Confident, cool, and swinging. “Polka Dots and Moonbeams” is a ballad done Baker-style: Romantic, vulnerable, and smoother than a vintage Cadillac. These are just a taste of the treasures that await on In New York. This vinyl reissue is par excellence: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it’s housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. This is an album that deserves space in every jazz fan’s collection. It captures a unique moment in Chet’s career — between the breezy West Coast cool and the rawer later years. It’s a must-have for any jazz collector who values tone, taste, and a little touch of trumpet romance. Add to cart. Drop the needle. Cue the cool.
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Gene Ammons – Blue Gene
84,00 €Add to cartGene Ammons — Blue Gene Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Jazz lovers and sonic thrill seekers — here’s a horn-heavy hangout starring the smooth, swaggering Gene Ammons and a dream team of mid-century jazz legends. Think of it as a top-shelf jam session that someone wisely remembered to hit “record” on. This 1958 Prestige gem is bluesy by name and bluesier by nature — three of the four tracks ride those familiar blues changes like a Cadillac with velvet seats. But don’t get too comfortable, because pianist Mal Waldron penned the entire setlist, including the haunting, minor-key ballad “Hip Tip,” just to keep your ears on their toes. Gene Ammons, aka “Jug,” brings that famously expressive tenor sax of his — rich enough to butter toast with — and pairs up with two of the finest co-conspirators ever to bless a horn: the sharp, soulful Idrees Sulieman on trumpet and the baritone brawler himself, Pepper Adams. This trio doesn’t just blow; they converse, they duel, and occasionally they just throw down. Every player on this date had already jammed with Gene before, so the chemistry is tighter than a snare drum. It’s the kind of session where everyone shows up knowing it’s about to go down — and it does. The vinyl reissue is par excellence: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it’s housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Blue Gene is a must-have slice of golden-era jazz — equal parts brains, brawn, and bluesy brilliance. File it under “Instant Vibe.”
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Chuck Berry – Berry Is On Top
44,00 €Add to cartChuck Berry — Berry Is On Top (Mono) Chess Records 75 Series from Chess Records and Acoustic Sounds! Rock 'n' roll anthems abound, includes "Johnny B. Goode" and "Roll Over Beethoven" All-analog mastering by Matthew Lutthans at The Mastering Lab 180-gram vinyl pressed at Quality Record Pressings Chuck Berry didn't just play rock 'n' roll; he invented its swagger. Released in 1959 on Chess Records, Berry On Top is where Berry slammed his flag into the musical mountaintop and declared, "This land is rock 'n' roll, and I own the real estate." This album and its anthems that built rock — "Johnny B. Goode," "Roll Over Beethoven" — was a starter kit for everything that came after. The riffs? Every garage band you've ever heard learned them here. The attitude? Let's just say Elvis may have swiveled his hips but Chuck wrote the manual. Chess Records was the beating heart of American music in the 1950s — the place where blues went electric, soul started to simmer, and rock 'n' roll took its first wild steps. With Berry, and others, Chess didn't just join the rock 'n' roll revolution, they launched it. Berry On Top showed that blues roots and a country twang could collide and create something explosive! This reissue is the real deal as well. Mastered by Matt Lutthans at The Mastering Lab, the sound makes Berry's riffs snap like live wires while keeping the bottom end tight and warm. The Quality Record Pressings vinyl is so flat and silent, you'll hear every nuance — every pick scrape, every finger pop, every ounce of Chess mojo. Berry On Top is a cornerstone of rock, where swagger met swing, and a guitar god was born.
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Etta James – At Last
44,00 €Add to cartEtta James — At Last! (Stereo) Chess Records 75 Series from Chess Records and Acoustic Sounds! Landmark album and shimmering vocals blending soul, jazz, blues and gospel Timeless tracks "At Last," and "Something's Got A Hold on Me" All-analog mastering by Matthew Lutthans at The Mastering Lab 180-gram vinyl pressed at Quality Record Pressings Etta James's debut album, originally released in 1961 on the Chess subsidiary Argo Records. The album's title-track and "All I Could Do Was Cry" (co-written by future Motown founder Berry Gordy) both went to No. 2 on the R&B charts. When Etta James stepped to the mic in 1960 to record her debut for Chess Records, the world didn't just get an album — it got a cultural landmark. At Last! was a velvet-wrapped knockout punch that still sends chills down spines six decades later. This was the record that turned Etta from a teenage R&B firebrand into a full-fledged legend. Backed by lush orchestration and dripping with raw emotion, she could make heartbreak sound like poetry and longing feel like a victory lap. Chess Records knew they had something special, and they delivered an LP that blended blues grit, jazz sophistication, and pop elegance in a way nobody had done before. Mastered by Matthew Lutthans at The Mastering Lab from the original Chess tapes, he's unlocked the depth, the lush, breathing magic in James' performance. Pressed at Quality Record Pressings, this is perfection under the needle — flat, silent, heavy 180-gram vinyl.
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Van Morrison – His Band And The Street Choir
85,00 €Add to cartVan Morrison — His Band And The Street Choir 1970 album includes "Domino," "Blue Money" and "Call Me Up In Dreamland" Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! Mastered from the original analog master tape 180-gram 45 RPM double LP pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on gatefold jacket Legendary Irish singer-songwriter Van Morrison produced two of the most famous albums of his career — Astral Weeks and Moondance — but overlooked is this gem because of its proximity to those two heavyweights. His Band And The Street Choir came into existence predominantly during the first half of 1970 at A&R Recording Studios in New York City, with recording wrapping up in July and August. Produced by Morrison himself, the album actually started out in Woodstock, New York, where he recorded some demos in a small church. By March, however, the album's session had begun in earnest in NYC. Some of the songs had actually been first recorded for those earlier two albums we mentioned, but Morrison decided to rewrite them and rearrange them for the new LP, since the musical sensibilities on His Band And The Street Choir were decidedly different from the albums that preceded it. As Stephen Thomas Erlewine wrote on Pitchfork., "The album gives an illusion of buoyant immediacy thanks in no small part to its heavy R&B kick. Where Moondance traded in jazz — even its liveliest moment was named after a Duke Ellington song — His Band And The Street Choir relied on soul and gospel, using folk almost as an accent." It's fair to say that critics at the time gushed over the album. "His Band And The Street Choir is a free album," Jon Landau wrote in his Rolling Stone review. "It was recorded with minimal over-dubbing and was obviously intended to show the other side of Moondance." His Band And The Street Choir captures Van Morrison at his most joyful and spontaneous — a luminous counterpoint to the introspection of Moondance. This is the sound of a great artist unguarded, caught in the groove of the moment, with the energy of the studio practically spilling out of the grooves. If you love the sound of real instruments recorded with warmth and soul, Street Choir belongs in your collection.
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Tony Joe White – Tony Joe White
85,00 €Add to cartTony Joe White — Tony Joe White Southern soul, swamp rock, and the restless spirit of a changing America Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! 180-gram 45 RPM double LP Mastered from the original master tape Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Tony Joe White, nicknamed the Swamp Fox, released his fourth album, and his first for Warner Bros. Records in 1971. The album was recorded over a two-week period in December 1970, in two different Memphis studios (one was Ardent Studios, where Big Star later recorded their influential power pop albums). His producer was none other than London-born Peter Asher, who had just produced James Taylor's early hits for the label (he would continue to produce hits for Taylor and Linda Ronstadt on his way to becoming one of the most successful producers of the '70s). AllMusic describes the songs on Tony Joe White as "standard and straightforward ... White's husky southern warble remains the album's key focus." Still, White digs into the turbulence of the late '60s and early '70s with both heart and heat. "The Change" sets the tone, a smoky, spoken-word sermon that taps into the era's yearning for progress. "I Just Walked Away" (the album's standout single) balances Southern funk and raw emotional punch, while "The Daddy" and "Five Summers for Jimmy" reveal White's tender, introspective side. The autobiographical "A Night in the Life of a Swamp Fox" closes the album with a nod to the man behind the myth — a road-weary musician caught between fame and freedom. Tony Joe White stands as a defining moment for one of music's most distinctive voices — a swamp-rock masterpiece steeped in social reflection and Southern soul, raw and timelessly American.
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The Meters – Rejuvenation
85,00 €Add to cartThe Meters — Rejuvenation Includes "People Say," "Just Kissed My Baby" and "It Ain't No Use" Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! Mastered from the original analog master tape 180-gram 45 RPM double LP pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on gatefold jacket When The Meters dropped Rejuvenation in 1974, the funk world shifted on its axis. Produced by Allen Toussaint, this is the New Orleans groove machine at full throttle — a masterclass in rhythm, feel, and fire. Every track locks into that deep pocket only The Meters could create, powered by George Porter Jr.'s elastic bass, Zigaboo Modeliste's razor-tight drumming, Art Neville's soulful keys, and Leo Nocentelli's greasy, gritty guitar lines. Now restored to its full glory by Analogue Productions and pressed at Quality Record Pressings, this definitive reissue lets Rejuvenation breathe with new life. The clarity, warmth, and punch reveal every nuance of Toussaint's production — from the steamy pulse of "Just Kissed My Baby" to the swaggering "People Say" and the slow-burn funk sermon "It Ain't No Use." Rejuvenation captures the raw, rhythmic genius that would go on to fuel generations of hip-hop, rock, and R&B artists. Pressed to perfection for your turntable, Rejuvenation isn't just a funk essential — it's a cornerstone of American music history. Spin it loud and experience that unmistakable New Orleans groove.
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The Meters – Fire On The Bayou
85,00 €Add to cartThe Meters — Fire On The Bayou Gritty and punchy originals "Out In The Country," "They All Ask'd For You" and the title track! Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! Mastered from the original analog master tape 180-gram 45 RPM double LP pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on gatefold jacket Members of The Meters were longstanding musical luminaries in New Orleans, but by the time of 1975's Fire On The Bayou, the world beyond the Big Easy had also taken notice; The Rolling Stones tapped the band to open their U.S. tour that year. Produced by the great Allen Toussaint at his Sea-Saint Studios, the collection was the quintet's third for Reprise and arguably their best for the label. With percussionist Cyril Neville joining the ranks, the grooves get even funkier on these 11 tracks, as a couple of fine covers ("Mardi Gras Mambo") join ace originals like "Out in the Country," "They All Ask'd For You," and the title track. Gritty and punchy, Fire On The Bayou simmers from start to finish. Now restored to its full glory by Analogue Productions and pressed at Quality Record Pressings, this definitive reissue of Fire On The Bayou captures The Meters at their funkiest and most fearless — a swampy, hard-grooving New Orleans classic that radiates heat, grit, and soul from the first note to the last.
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Seals & Crofts – Summer Breeze
85,00 €Add to cartSeals & Crofts — Summer Breeze Feel the sunshine, hear the harmony — Summer Breeze brings it all back! Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! 180-gram 45 RPM double LP Mastered from the original master tape Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Few songs capture the spirit of the 1970s quite like "Summer Breeze." The title track from Seals & Crofts' 1972 breakthrough album became an enduring soft-rock anthem, reaching No. 6 on the Billboard Hot 100 and forever defining the duo's warm, harmony-rich sound. With Summer Breeze, Seals & Crofts — Jim Seals and Dash Crofts — found the perfect balance of breezy melodies, intricate musicianship, and lyrical introspection. It was the record that transformed them from respected songwriters into household names, helping usher in the smooth California sound that would dominate radio throughout the decade. Every track here glows with the easygoing optimism that made Seals & Crofts a lasting favorite among music lovers and audiophiles alike. More than 50 years later, Summer Breeze still radiates that same golden warmth — an album built for open windows, long drives and timeless replay.
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Seals & Crofts – Diamond Girl
85,00 €Add to cartSeals & Crofts — Diamond Girl Shimmering harmonies, golden melodies — the sound of '70s sophistication at its brightest Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! 180-gram 45 RPM double LP Mastered from the original master tape Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing The title track of Seals & Crofts' fifth studio album made its debut on the Billboard Hot 100 in 1973. Like the majority of their material, the jazz-influenced "Diamond Girl" was written by Jim Seals and Dash Crofts. Alan Bershaw of Paste Magazine described the song as "the infectious title track" of the album, praising the way that its lyrics are "skillfully depicting the love for a woman or a commitment to God, depending on how one interprets them." (The latter aspect is no surprise, given that the duo was famously affiliated with the Baha'i faith.) "Diamond Girl" was another Top 10 hit for Seals & Crofts, and it helped send the album of the same name hurtling all the way to No. 4 on the Billboard 200, thereby turning it into the highest-charting album of their career. It was also the end of the duo's tendency to embrace the acoustic side of music, as they henceforth tended to focus more on a band-oriented approach to their tunes. If you've got to leave a certain percentage of your fans behind, it's best to do it with an album that sticks with them, and Diamond Girl certainly achieved that in spades.
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Ry Cooder – Paris, Texas
85,00 €Add to cartRy Cooder — Paris, Texas Cooder's soul-stirring soundtrack to the 1985 film Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! 180-gram 45 RPM double LP Mastered from the original master tape Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Released in 1985, the Paris, Texas soundtrack by Ry Cooder blends slide guitar and minimalist music to reflect the film's emotional depth. The iconic track "Paris, Texas" helped the album earn critical acclaim, including a BAFTA for Best Film Music. Cooder's score perfectly captured the film's themes of isolation and redemption. It's been more than four decades since the film was awarded the 1984 Palme d'Or at its acclaimed Cannes Film Festival debut. The film's mystifying personae and desolate neo-western vistas have lost none of their original intrigue, thanks in large part to Ry Cooder's iconic soundtrack — a defining showpiece by a slide guitar savant. Recorded over three days, his music plays a pivotal mood-setting role, providing a plangent underpinning for German director Wim Wenders' postcard renderings of Americana.