Showing 1–12 of 36 results

“Krushevo” 45rpm 165gm 2LP Set (blue)

Opaque blue vinyl set Vlatko Stefanovski + Miroslav Tadic 45rpm 165gm 2LP set MASTERED BY BERNIE GRUNDMAN

Amos Lee – Amos Lee – Analogue Productions 45RPM 180g Vinyl

Soundstage, sonic detail enhanced at 45 RPM 2LP! Mastered by Bernie Grundman from the original master tapes! Plating and 200-gram pressing by Quality Record Pressings! Stoughton Printing old-style tip-on gatefold jacket

Anne Bisson – Blue Mind – 180g 45rpm 2LP Vinyl

This fantastic audiophile recording is now even better - if you can believe it! The album has been remastered by Bernie Grundman and pressed by RTI on 180g Vinyl 45rpm Double LP. With the extra space on the double LP pressing, the album contains two bonus tracks that previously only appeared on the CD version but were omitted from the original audiophile LP release.

Anne Bisson – Keys To My Heart 180g 45RPM One Step Vinyl

Canadian jazz singer & pianist releases her sixth opus! Mastering by Bernie Grundman One-step plating, 180-gram 45 RPM numbered double LP!
Now in stock

Bill Evans At The Montreux Jazz Festival – Analogue Productions – 200g 45RPM Vinyl

200-gram pressing by Quality Record Pressings! Now at 45 RPM! Cut by Matthew Lutthans at The Mastering Lab by Acoustic Sounds Old-style tip-on gatefold jacket by Stoughton Printing Winner of the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group!

Bill Evans At The Montreux Jazz Festival – Verve Reissue – 180G Vinyl

Winner of the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group!
As others have noted, this album occupies a unique place in the Bill Evans discography. It's the only album to document drummer Jack deJohnette's too-short stay in the trio. The trio's performance on this album won them the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group.

Bob Dylan – Bob Dylan MOFI 180g 45RPM Mono 2 LP Vinyl Offer

Special price while stocks last
Understated 1962 Debut Launched Immeasurably Influential Career: Inspired by Woody Guthrie and Blues Legends, Clearest Connection to Dylan's Purist Folk Roots
Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Bob Dylan – Nashville Skyline 180g 45RPM 2LP Mofi Vinyl


Hyper-Detailed 45RPM Version Allows You to Experience Dylan’s All-Time Cleanest Vocal Performances Like Never Before: Soft, Smooth Croon a Dramatic Change from His Past

For an artist whose career is flush with enigma, myth, and disguise, Nashville Skylinestill surprises more than almost any other Bob Dylan move more than four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon’s full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard’s most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan’s voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.

Bob Dylan and The Band – Before the Flood – 180g 2LP Mofi Vinyl

Live 1974 Set Documents Acclaimed Reunion of Bob Dylan and The Band
The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade’s most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists’ shared chemistry as well as Dylan’s instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be “at its best, [the] craziest and strongest rock and roll ever recorded,” Before the Flood crackles with intensity, relevance, and unhinged performances.

Counting Crows – August And Everything After – Analogue Productions 45RPM 180g Vinyl

Counting Crows' 1993 debut album released for the first time as an LP in the U.S.! Double LP cut at 45 RPM, plated and pressed by Quality Record Pressings — four sides maximize the recording's dynamic range Deluxe gatefold jacket! Mastered by Ryan Smith at Sterling Sound

Dusty Springfield – Dusty In Memphis – Analogue Productions 45RPM 2 x 180g Vinyl

A classic now cut at 45 RPM! Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'". Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians - collectively known as the Memphis Cats - include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Ella Fitzgerald – Let No Man Write My Epitaph – Analogue Productions 45RPM 200g Vinyl

Considered one of Ella’s greatest recordings, she’s backed on this 1960 release by pianist Paul Smith. Let No Man Write My Epitaph was a 1960 Hollywood movie featuring Fitzgerald. The album hits at a depth of emotional understanding that critics often complained was missing in Ella’s reading of jazz lyrics, and once again establishes her as one of the supreme interpreters of the Great American Songbook.