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Nagaoka MP150 MM Cartridge
Nagaoka MP110 MM Cartridge
Successor model of MP-11 that won a grand prize in Europe.
The successor to the highly acclaimed and classic Nagaoka MP-11 phono cartridge, the new Nagaoka MP-110 phono cartridge extends and strengthens its predecessor’s prowess and talents to a new level of radiance. You’ll hear more music, more detailed refinement to enjoy and savor. The Nagaoka MP-110 is the cartridge to start with and to keep for a long time.
Nagaoka MP100 MM Cartridge
Kondo IO-M Moving Coil Cartridge
- Reproduce the beauty of silence, relaxed sound with exceptional presence
- Drop the needle with excitement and sweet temptation
- Magnetic resistance is highly reduced by extra thickness of the yoke, improvement is much above ordinary designs.
Lou Donaldson – Midnight Creeper Blue Note Tone Poet Series 180g Vinyl
Alto saxophonist Lou Donaldson hadn't recorded for Blue Note since 1963 when he returned to the label in 1967 and began a new chapter in his lengthy career. Sweet Papa Lou had helped lay Blue Note's soul jazz foundation alongside Hammond B3 organists including Jimmy Smith, Baby Face Willette, and Big John Patton going back to the late-1950s thru the early-60s on standout dates including his own Here ‘Tis, Good Gracious!, and The Natural Soul.
Gregg Allman – Midnight Rider / These Days – Analogue Productions 45 rpm Vinyl Single
Stone Temple Pilots – Core – Analogue Productions Atlantic 75 Series 45 rpm 180g Vinyl
IN STOCK
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.”
Matchbox Twenty – Yourself Or Someone Like You – Analogue Productions Atlantic 75 Series 45 rpm 180g Vinyl
IN STORE NOW!
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.
Critical Mass Systems Center Stage LS 2.25 Loudspeaker Foot
Feet are priced individually
THE ULTIMATE ENHANCEMENT
The Center Stage “LS” Series loudspeaker foot, a breakthrough loudspeaker resonance mitigation system, is the culmination of several years of experimentation developed from our groundbreaking Center Stage footer technology. I can say with high confidence that no matter how good your system is, the Center Stage “LS” Series loudspeaker foot will add a new dimension to your listening experience. In systems already using Center Stage, the addition of Center Stage “LS” Series feet nets a remarkable improvement. Center Stage can make any system sound better top to bottom and the addition of Center Stage “LS” Series loudspeaker feet can be breathtaking. The better the system, the better the results.
Feet are priced individually
Otis Redding – The Dock Of The Bay – Analogue Productions Atlantic 75 Series Hybrid Stereo SACD
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.”
Ray Charles – Ray Charles – Analogue Productions Atlantic 75 Series Hybrid Mono SACD
Ray Charles’ self-titled 1957 album was one of the first handful of albums 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 record, its raison d’etre.
