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
RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound! Remastered from the original master tape and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings! RCA Living Stereo Reissue Series No. 2 - 25 newly-remastered classical mainstays!
Stark, Austere, Acoustic Record Dylan’s First With All-Original MaterialImmediately distinguished by the you’re-either-with-us-or-against-us messages of the landmark title track, Bob Dylan’s The Times They are a-Changin’ sounds an unmistakable clarion call on behalf of progress and its unstoppable advancement. One of the Bard’s trademark songs, it remains a timeless anthem with a clear sense of common purpose, a musical line in the sand that helped unite various social movements and multiple generations. The reverential 1964 record feeds off the opening tune and its unmistakable sentiments, marching forward to confront racism, poverty, injustice, and upheaval in a stark, immediate manner unlike few albums before or since.
Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project. "I think we've gotten something quite a bit better than what was originally issued," Marino says. "I think this version is much more representative of what was on the tape. And that's not a criticism of what was originally done." - George Marino
Analogue Productions 180gram, 45RPM Heavy Vinyl PressingIn January of 1963, bassist and composer Charles Mingus recorded a very personal and socially conscious work he titled The Black Saint & The Sinner Lady. Each composition, from the opening "Solo Dancer" to the closing "Group and Solo Dance" was a musical expression of Mingus' philosophy of life, love and the world around him.
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
Analogue Productions and Quality Record Pressings present the definitive Time Out by The Dave Brubeck Quartet First time reissued as a gatefold jacket, with rare black and white photos from the Columbia Studios recording session. Heavy-duty chipboard shell stock by Stoughton Printing 200-gram, double LP set cut at 45 RPM by Bernie Grundman and pressed at Quality Record Pressings
200-gram vinyl by Quality Record Pressings! Now a 2LP at 45 RPM! Doug MacLeod's ode to acoustic blues, a consummate bluesman channeling his focus Mastered from the original analog tapes by Kevin Gray Tip-on, thick cardboard gatefold jacket Spend any time around Doug MacLeod and the stories from his years of road time with the likes of Big Joe Turner and Pee Wee Crayton start to flow as easily as a brook tickled by a breeze. And you know you're getting to the good part, the climax if you will, when Doug's eyes start to twinkle, his grin grows broader and out of his mouth pop the words "Come to find ..."
Now on 45 RPM LP, mastered at Sterling Sound by Ryan Smith from the analog tapes
Plated and pressed by Quality Record Pressings
Deluxe "tip-on" gatefold jackets by Stoughton Printing
Recorded in New York on December 1950 these four tracks were Ellington’s first LP in the 12″ format, issued on Columbia’s Masterworks series, and it is among the earliest such LPs released by Columbia (1951). Containing three proven compositions, the fourth The Tattooed Bride was first played in 1948 in concert, and recorded in a studio session only now. An historic reissue and must have album!
Collaborative albums such as this one have always been something of a stunt on the part of the record label, with the artists themselves usually stuck with too little time to work out something that would easily act as a functional compromise. Many of these albums, then, have faded away with time. Impulse, however, had more than its share of solid collaborations. This one is a lot of fun, whether it's the daffy cut-up of "Limbo Jazz" or the slow New Orleans smoke of "Wanderlust." All present turn in nice performances on this set of Ellington numbers.
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.