{"title":"Analogue Productions | Authorised Dealer INDIA | The Audio Co","description":"\u003cp\u003eShop Analogue Productions titles in India with Free Shipping, Official Warranty, Customer Support and GST Billing. Explore our complete range of Analogue Productions audio equipment.\u003c\/p\u003e","products":[{"product_id":"miles-davis-kind-of-blue-uhqr","title":"Miles Davis - Kind of Blue [UHQR]","description":"\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eLegends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' \u003cem\u003eKind of Blue\u003c\/em\u003e. The top-selling jazz album of all time, it has been lauded, entered into \"Best Of\" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.\u003c\/h2\u003e\n\u003cp\u003eIt continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian \"Cannonball\" Adderley with Wynton Kelly playing piano on \"Freddy the Freeloader.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003e\u003cstrong\u003eAnalog Productions UHQR 33 1\/3 RPM Clarity Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMiles Davis \u003c\/span\u003e\u003cem style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eKind of Blue\u003c\/em\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eDefinitive handmade limited run reissue Ultra High Quality Record!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e33 1\/3 RPM LP release limited to 25,000 copies\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eBest-selling album in jazz history; mastered directly from the original 3-Track master tapes by Bernie Grundman\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePurest possible pressing and most visually stunning presentation and packaging!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eDream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eNow Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting \u003cem\u003eKind of Blue\u003c\/em\u003e where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.\u003c\/p\u003e\n\u003cp\u003eThe 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKind of Blue\u003c\/em\u003e is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. \"The music has gotten thick,\" Davis complained in a 1958 interview for \u003cem\u003eThe Jazz Review\u003c\/em\u003e. \"... There will be fewer chords but infinite possibilities as to what to do with them.\" \u003cem\u003eKind of Blue\u003c\/em\u003e is, in a sense, all melody — and atmosphere.\u003c\/p\u003e\n\u003cp\u003eNone of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\u003c\/p\u003e\n\u003cp\u003eMiles remained proud of the album, performing at least two of its tracks — \"So What\" and \"All Blues\" — for years after, until his musical path took him in a different direction.\u003c\/p\u003e\n\u003cp\u003eHistory was on the side of \u003cem\u003eKind of Blue\u003c\/em\u003e; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). \u003cem\u003eKind of Blue\u003c\/em\u003e also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\u003c\/p\u003e\n\u003cp\u003eA minor audio complication with \u003cem\u003eKind of Blue\u003c\/em\u003e has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, \"So What,\" \"Freddie Freeloader\" and \"Blue in Green,\" making them a barely perceptible quarter-tone sharp.This issue was finally addressed with the Classic Records reissue in 1995. This UHQR was pressed from the same parts that Bernie Grundman cut directly from the original 3-track masters for Classic in '95.\u003c\/p\u003e\n\u003cp\u003eSixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of \u003cem\u003eKind of Blue\u003c\/em\u003e, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of \u003cem\u003eKind of Blue \u003c\/em\u003emeets the highest audiophile standards and offers the truest sound for the most enjoyment.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable cellspacing=\"0\" cellpadding=\"0\" border=\"0\" width=\"200\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\u003cb\u003eSide A \u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. So What\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. Freddie Freeloader\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. Blue In Green\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide B \u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. All Blues\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. Flamenco Sketches\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003e\u003cstrong\u003eAnalog Productions UHQR 45 RPM Clarity Vinyl (2 LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMiles Davis \u003c\/span\u003e\u003cem style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eKind of Blue\u003c\/em\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eDefinitive limited run reissue Ultra High Quality Record!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e45 RPM double LP release limited to 25,000 copies\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eBest-selling album in jazz history; mastered by Bernie Grundman \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003efrom the original 3-track master tapes\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePressed at Quality Record Pressings using Clarity Vinyl®\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePurest possible pressing and most visually stunning presentation and packaging!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eDream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eNow Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting \u003cem\u003eKind of Blue\u003c\/em\u003e where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record.\u003c\/p\u003e\n\u003cp\u003eThe 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor this 45 RPM 2LP edition we've set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1\/3 RPM is holographic at 45. Four glorious sides of 200-gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. There's also a 20-page booklet with updated session photos and liner notes by Robert Palmer and Ashley Kahn. Plus, we've included photos of legendary mastering engineer Bernie Grundman's mastering notes from this release.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKind of Blue\u003c\/em\u003e is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. \"The music has gotten thick,\" Davis complained in a 1958 interview for \u003cem\u003eThe Jazz Review\u003c\/em\u003e. \"... There will be fewer chords but infinite possibilities as to what to do with them.\" \u003cem\u003eKind of Blue\u003c\/em\u003e is, in a sense, all melody — and atmosphere.\u003c\/p\u003e\n\u003cp\u003eNone of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\u003c\/p\u003e\n\u003cp\u003eMiles remained proud of the album, performing at least two of its tracks — \"So What\" and \"All Blues\" — for years after, until his musical path took him in a different direction.\u003c\/p\u003e\n\u003cp\u003eHistory was on the side of \u003cem\u003eKind of Blue\u003c\/em\u003e; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). \u003cem\u003eKind of Blue\u003c\/em\u003e also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\u003c\/p\u003e\n\u003cp\u003eA minor audio complication with \u003cem\u003eKind of Blue\u003c\/em\u003e has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, \"So What,\" \"Freddie Freeloader\" and \"Blue in Green,\" making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.\u003c\/p\u003e\n\u003cp\u003eSixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of \u003cem\u003eKind of Blue\u003c\/em\u003e, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of \u003cem\u003eKind of Blue \u003c\/em\u003emeets the highest audiophile standards and offers the truest sound for the most enjoyment.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003ctable width=\"200\" border=\"0\" cellpadding=\"0\" cellspacing=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\u003cb\u003eSide A \u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. So What\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide B \u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. Freddie Freeloader\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. Blue In Green\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide C \u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. All Blues\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide D \u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. Flamenco Sketches\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\u003c\/div\u003e\n\u003csection id=\"selections\"\u003e\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"12inch 200g 45RPM UHQR Clarity Vinyl 2LP","offer_id":41550440497235,"sku":"","price":24990.0,"currency_code":"INR","in_stock":false},{"title":"12inch 200g 33-1\/3RPM UHQR Clarity Vinyl","offer_id":41550428012627,"sku":"","price":16990.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/miles-davis-kind-of-blue-uhqr-the-audio-693.webp?v=1717791022"},{"product_id":"analogue-productions-the-ultimate-test-lp","title":"Various - Analogue Productions - The Ultimate Analogue Test LP","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eAnalogue Productions set out to produce the ultimate test record.\u003cstrong\u003e \u003c\/strong\u003e\u003cspan\u003eWe’ve consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about – that being to create the ultimate test record – he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record. \u003c\/span\u003e\u003cspan\u003eMost of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It’s designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways. \u003c\/span\u003e\u003cspan\u003eThis record was \u003c\/span\u003e\u003cspan class=\"blurb\"\u003epressed at Quality Record Pressings on 180 gram vinyl.\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e \u003cstrong\u003eSide 1\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGeneral Reference Level\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003eThis 1 kHz reference tone will allow you to establish a “base level” for all measurements.\u003cbr\u003e\u003cstrong\u003eTrack 1 1Khz reference tone 7cm\/s Mono, in phase (Lateral)\u003cbr\u003e\u003c\/strong\u003eBasic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).\u003cbr\u003eAdjust preamp channel balance for equal output.\u003cbr\u003eAlso used to check the offset angle of the photo cartridge; L\u0026amp;R signals should be exactly in phase as displayed on an oscilloscope.\u003cbr\u003e\u003cbr\u003eAzimuth Adjustment\u003cbr\u003e\u003cstrong\u003eTrack 2 1kHz reference level Left channel only\u003cbr\u003e\u003c\/strong\u003eMeasure Right channel output.\u003cbr\u003e\u003cstrong\u003eTrack 3 1kHz reference level Right channel only\u003cbr\u003e\u003c\/strong\u003eMeasure Left channel output.\u003cbr\u003eThe object is to sit the stylus exactly perpendicular in the groove.\u003cbr\u003eTwist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.\u003cbr\u003e\u003cbr\u003eHigh Frequency Adjustment\u003cbr\u003eTracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe’s phono preamplifier or any phono preamplifier that has these adjustments.\u003cbr\u003e\u003cstrong\u003eTrack 4 1 kHz tone at -20 below reference level, Lateral\u003cbr\u003e\u003c\/strong\u003eReference for High Frequency test.\u003cbr\u003e\u003cstrong\u003eTrack 5 10 kHz reference tone at -20dbu, Lateral\u003cbr\u003e\u003c\/strong\u003eAdjust the high frequency until the output level equals that of Track 4.\u003cbr\u003e\u003cstrong\u003eTrack 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)\u003cbr\u003e\u003c\/strong\u003eThe AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.\u003cbr\u003e\u003cbr\u003eLow Frequency Adjustment\u003cbr\u003eTracks 7 \u0026amp; 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.\u003cbr\u003e\u003cstrong\u003eTrack 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)\u003cbr\u003e\u003c\/strong\u003ePlay Track 7 and measure the output with your AC millivolt meter.\u003cbr\u003eIdeally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.\u003cbr\u003e\u003cstrong\u003eTrack 8 100 Hz reference tone at 0 vu (Lateral)\u003cbr\u003e\u003c\/strong\u003eAdjust LF Eq to reference (which is your reading from Track 1).\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack 9 VTA adjust\u003cbr\u003e\u003c\/strong\u003eThis is an IEC intermodulation distortion (IMD) test signal; 60Hz \u0026amp; 4kHz 4:1 ratio.\u003cbr\u003eUsing an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack 10 Standard Wow \u0026amp; Flutter test signal; 3150Hz\u003cbr\u003e\u003c\/strong\u003eThe Wow \u0026amp; Flutter meter will give dynamic speed variations as a percentage deviation from nominal.\u003cbr\u003eAlso, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45\/33.33) x 3150.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide 2\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTrack 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)\u003cbr\u003e\u003c\/strong\u003eSignal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.\u003cbr\u003eIt is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack 2 Pink noise lateral\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eTrack 3 Pink noise vertical\u003cbr\u003e\u003c\/strong\u003eUsed for cartridge “demagnetizing”\u003cbr\u003eYou can also use this track to loosen up the cantilever’s suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack 4 1kHz @ reference level, vertical\u003cbr\u003e\u003c\/strong\u003eThis out-of-phase signal should cancel to nothing when summed to mono.\u003cbr\u003eAny signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack 5 1kHz to 10Hz sweep @ -20 below\u003cbr\u003e\u003c\/strong\u003ereference level, vertical\u003cbr\u003eResonance anomalies in the tonearm \/ cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.\u003cbr\u003eOnce again, by listening in ‘Mono’ it is easier to hear the distortion artifacts.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTrack 6 Silent groove for bearing rumble and table isolation\u003cbr\u003e\u003c\/strong\u003eDuring playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cdiv\u003e\n\u003ch5\u003e\u003cstrong\u003eTracklist \u003c\/strong\u003e\u003c\/h5\u003e\n\u003ctable cellspacing=\"0\" cellpadding=\"0\" border=\"0\" width=\"200\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. 1kHz Reference Tone (Mono)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. 1kHz Reference Level (Left Only)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. 1kHz Reference Level (Right Only)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e4. 1kHz Reference Tone (-20dB)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e5. 10kHz Reference Tone (-20dB)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e6. 1kHz - 20kHz Sweep (-20dB)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e7. 1kHz - 20kHz Sweep (0VU)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e8. 100Hz Reference Tone (0VU)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e9. VTA Adjust\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e10. Standard Wow \u0026amp; Flutter Test (3150Hz)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e11. Anti-Skate Test (315Hz, Sweep 0dB - +12dB)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e12. Pink Noise (Lateral)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e13. Pink Noise (Vertical)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e14. 1kHz Reference Level (Out-of-phase)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e15. 1kHz - 10kHz Sweep (-20dB)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e16. Silent Groove\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5 id=\"supplier_name\"\u003e\n\u003cstrong\u003eDetails\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eLabel: Analogue Productions\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePressed by: RTI\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003csection id=\"selections\"\u003e\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"180g Vinyl LP","offer_id":42101112373331,"sku":"","price":6990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/analogue-productions-the-ultimate-test-lp-audio-761.webp?v=1776369358"},{"product_id":"dave-brubeck-quartet-time-out-1","title":"The Dave Brubeck Quartet - Time Out [Analogue Productions]","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eAnalogue Productions and Quality Record Pressings present the definitive \u003cem\u003eTime Out\u003c\/em\u003e 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. 180-gram, double LP set cut at 45 RPM by Bernie Grundman and pressed at Quality Record Pressings. Michael Fremer's 100 Recommended All - Analog LP Reissues Worth Owning - Rated 14\/100!\u003c\/h2\u003e\n\u003cp\u003e\"The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today ... at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. You'll hear it right from the familiar piano intro to \"Blue Rondo a la Turk,\" where Brubeck's playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings.\" — Music = 5\/5; Sound = 5\/5 — Wayne Garcia,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, January 2013.\u003c\/p\u003e\n\u003cp\u003e“I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Before\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e, I would have said that some positive trends were apparent from the earlier LPs I've heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year.\u003cspan\u003e \u003c\/span\u003eIt's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here. Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that QRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI.\" — Sound = 4.5\/5; Music = 5\/5 — Marc Mickelson, \u003cem\u003eThe Audio Beat\u003c\/em\u003e, August 2012\u003c\/p\u003e\n\u003cp\u003eVirtually all serious and even casual music lovers ought to be familiar with, or at least are likely to have heard The Dave Brubeck Quartet, even without realizing it — for the quartet's best-known hit \"Take Five\" has graced the soundtracks of multiple films, including \"Mighty Aphrodite,\" \"Pleasantville\" and \"Constantine.\"\u003c\/p\u003e\n\u003cp\u003eThe piece is famous for its distinctive, catchy saxophone melody, as well as its use of unusual 5\/4 time — so distinctive, it's a rare jazz track that became a pop hit.\u003c\/p\u003e\n\u003cp\u003eIncluding the monster hit \"Take Five,\" the Brubeck Quartet's\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a jazz and audiophile classic. Every album collection needs a copy. And now, cut at 45 RPM on 180-gram premium vinyl, pressed at Quality Record Pressings (Acoustic Sounds' own industry-lauded LP manufacturer), Analogue Productions brings you the definitive copy.\u003c\/p\u003e\n\u003cp\u003eWhy definitive? The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. But it's more than just the vinyl that makes this release so special. For the first time in its history,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis presented here packaged in a deluxe gatefold jacket. Inside are eight fantastic black and white images shot during the recording session at Columbia's famous 30th Street Studios. Sony Music supplied the images for use in our SACD reissue, and gave us persmission to use them in our LP reissue as well.\u003c\/p\u003e\n\u003cp\u003eThe jacket is also special — very heavy-duty. It's produced for us by Stoughton Printing featuring a printed wrap mounted to a heavyweight chipboard shell, producing an authentic \"old school\" look and feel. This jacket is a beauty! Never has\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e's colorful iconic cover art looked so vibrant.\u003c\/p\u003e\n\u003cp\u003eThe record label's sales executives didn't want a painting on the cover when\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edebuted in 1959 on Columbia Records, Brubeck told an interviewer.  An entire album of originals? That wouldn't work either, he was told. Some standards and some show tunes were needed in the mix. Fortunately, Brubeck ignored the conventional wisdom and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ebecame the original classic we know it as today. Brubeck became proof that creative jazz and popular success can go together.\u003c\/p\u003e\n\u003cp\u003eThe album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State-sponsored tour of Eurasia. In Turkey, he observed a group of street musicians performing a traditional Turkish folk song that was played in 9\/8 time, a rare meter for Western music.\u003c\/p\u003e\n\u003cp\u003ePaul Desmond, who was Brubeck's alto saxophonist, wrote \"Take Five,\" at Brubeck's urging to try and write a song in quintuple (5\/4) time. \u003c\/p\u003e\n\u003cp\u003e\"I told Paul to put a melody over (drummer) Joe Morello's beat,\" Brubeck explained. As a jazz pianist, Brubeck became a household name in jazz in part due to\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e's success. Demond's cool-toned alto and quick wit fit in well with Brubeck's often heavy chording and experimental playing. Morello and bassist Gene Wright completed the group. The Quartet traveled and performed constantly around the world until breaking up in 1967 to pursue other musical ventures.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003epeaked at No. 2 on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBillboard\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003epop albums chart and was certified platinum by the Recording Industry Association of America. \"Take Five\" became a mainstream hit, reaching No. 25 on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBillboard\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eHot 100, and No. 5 on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBillboard\u003c\/em\u003e's Easy Listening survey, the precursor to today's Adult Contemporary charts. The song was included in countless movies and television soundtracks and still receives significant radio play.\u003c\/p\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003e180g Vinyl\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eDouble LP\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003ePressed at Quality Record Pressings\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eFirst time Gatefold jacket\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eRare black \u0026amp; white photos from Columbia Studios recording sessions\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eHeavy-duty chipboard shell stock by Stoughton Printing\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eCut by Bernie Grundman\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003csection id=\"features\"\u003e\u003c\/section\u003e\n\u003csection id=\"selections\"\u003e\n\u003ch5\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003eLP1 - Side 1\u003cbr\u003e1. Blue Rondo A La Turk\u003cbr\u003e2. Strange Meadow Lark\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLP1 - Side 2\u003cbr\u003e1. Take Five\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLP2 - Side 3\u003cbr\u003e1. Three To Get Ready\u003cbr\u003e2. Kathy's Waltz\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLP2 - Side 4\u003cbr\u003e1. Everybody's Jumpin'\u003cbr\u003e2. Pick Up Sticks\u003c\/p\u003e\n\u003c\/section\u003e\n\u003ch5\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/h5\u003e\n\u003csection\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Label: Columbia\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMade in USA\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"45RPM 180g Vinyl 2LP","offer_id":42115600678995,"sku":"","price":9990.0,"currency_code":"INR","in_stock":false},{"title":"33.3RMP 180g Vinyl 2LP","offer_id":43350039298131,"sku":null,"price":9990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/dave-brubeck-quartet-time-the-audio-863.webp?v=1776368696"},{"product_id":"ry-cooder-v-m-bhatt-a-meeting-by-the-river","title":"Ry Cooder \u0026 V.M. Bhatt – A Meeting By The River","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eAmerican composer, musicologist and guitar legend Ry Cooder teams with North Indian musician Vishwa Mohan Bhatt to create an exquisite musical realm, with both musicians playing exceptional slide guitar. Their collaboration evokes musical elements from many cultures and styles. Percussion by Sukhvindar Singh on tabla and Cooder's 14-year-old son Joachim on dumbek. This recording won a Grammy Award. Michael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 90\/100!\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eA Meeting by the River can best be described as a spontaneous outpouring of music, unhindered by convention or form, brought into being by musicians so supremely capable that the music is never labored, the technique of their craft always subservient to the final product. Cooder and Bhatt are genuine masters of the guitar and mohan vina, respectively. The latter, an instrument created by Bhatt himself, is a sort of hybrid between a guitar and a vichitra vina, and is played with a metal slide. This fact is just one of the many things that connect Bhatt's playing to Cooder's, who plays nothing but bottleneck guitar here.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe musical interplay between Cooder and Bhatt is nothing short of astounding, especially so considering that they met for the first time only a half-hour before the recording of this album. The voices of the two instruments blend marvelously, first alternating melodic statements, then doing so together, each dancing around the other, playing cat and mouse, probing, answering, reflecting. They are ably accompanied by a pair of percussionists: tabla player Sukhvinder Singh Namdhari and Cooder's own son, Joachim, on dumbek.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA Meeting by the River is one of those few cross-genre albums in which the listener never feels for a second that there is some kind of fusion going on; one does not hear the component parts so much as the integrated whole. However, one can theoretically separate guitar from vina, America from India, the Mississippi from the Ganges. Once this is done, the resulting music makes more sense than ever before, the combination of two traditions of stringed instruments that use slides to produce sound and value improvisation and voice-like phrasing. As good as this sounds on paper, the actual results are even more impressive. The splendor of the music is aided in its transmission by the fact that, like all Water Lily Acoustics releases, this album is masterfully recorded; each instrument is clear, distinct, and three-dimensional sounding. A Meeting by the River is a must-own, a thing of pure, unadulterated beauty, and the strongest record in Cooder's extensive catalog. - All Music Guide\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\"...Astonishingly, the four conversational yet adventurous tracks captured on A Meeting by the River were unrehearsed jams between the two masters, who had met only minutes before the session. The lesson is that Cooder and Bhatt not only knew how to play, but how to listen.\"\u003c\/b\u003e\u003cspan\u003e - Daniel Durchholz, Stereophile, February 2007\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\"The quintessential 2 mic Blumlein recording, a musical extravaganza; on 45rpm it destroys the early '90s CD!\"\u003c\/b\u003e\u003cspan\u003e Danny Kaey, Positive-Feedback Online\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\"...Passionate, mysterious, intricate, earthy, ethereal, moody and mystical, the rich musical improvisations on this recording defy categorization. The recording is as astonishing as the music: a harmonically complex, three dimensional, two-microphone purist production that will easily take its place at the top of the sonic heap in your record collection and that's a guarantee. this is among the most spacious, convincing three-dimensional recordings you will ever hear. An essential record in any 21st century vinyl collection.\" Music = 11\/11; Sound = 11\/11\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e Michael Fremer, Music Angle, www.musicangle.com\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\"The sound is about as good as it gets, with almost no sense of recording gear between the listener and musicians, who are laid out in a solid horizontal line. The remarkable air and tangible \"thereness\" will take your breath away.\"\u003c\/b\u003e\u003cspan\u003e - Wayne Garcia, TAS August 2008\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\n\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eFeatures\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003cspan\u003e45rpm 180g Vinyl\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eDouble LP\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003ePressed at Quality Record Pressings\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eGatefold jacket\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003csection id=\"features\"\u003e\u003c\/section\u003e\n\u003csection id=\"selections\"\u003e\n\u003ch5\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003eLP1 - Side 1\u003cbr\u003e1. \u003cspan\u003eA Meeting By The River\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLP1 - Side 2\u003cbr\u003e1. \u003cspan\u003eLonging\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLP2 - Side 3\u003cbr\u003e1. \u003cspan\u003eGanges Delta Blues\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLP2 - Side 4\u003cbr\u003e1. I\u003cspan\u003esa Lei\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/section\u003e\n\u003ch5\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/h5\u003e\n\u003csection\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Label: Water Lily Acoustics, Inc\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003eMastering was done at AcousTech Mastering, Camarillo, California\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ePlated and pressed on 180-gram pure virgin vinyl at Record Technology, Inc., Camarillo, California\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMade in USA\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"45RPM 180g Vinyl 2LP","offer_id":42117191401555,"sku":"","price":9990.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/ry-cooder-v-m-bhatt-a-meeting-by-the-river-audio-159.webp?v=1776368662"},{"product_id":"various-the-wonderful-sounds-of-quality-record-pressings","title":"Various - The Wonderful Sounds Of Quality Record Pressings","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2 class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003eCelebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled! \u003cem\u003eThe Wonderful Sounds Of Quality Record Pressings\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eincludes music handpicked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings. This collection of songs originally appeared on a sampler LP in 2008 celebrating the 125th anniversary of Thorens. That set is long out of print and now in extremely high demand.\u003c\/h2\u003e\n\u003cp\u003e\u003cem\u003e\"I cherry-picked each of these songs to have a variety of great-sounding music. Since the Thorens sampler, many of the records that contain these songs have been pressed by Quality Record Pressings. Because we are celebrating more than 10 years of QRP and all of the hard work of our very talented and qualified team, we thought this would be an excellent opportunity to bring this amazing collection back into circulation,\" \u003c\/em\u003e— Chad Kassem, Acoustic Sounds\/Analogue Productions CEO\u003c\/p\u003e\n\u003cp\u003eEvery song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R\u0026amp;B and female vocal. From now on, you'll only need to carry one demo record around with you.\u003c\/p\u003e\n\u003cp\u003eVinyl expert Michael Fremer, of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrackingAngle\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, gives you a track-by-track tour of the history and production of the songs on this special album.\u003c\/p\u003e\n\u003cp\u003eWhat separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces.\u003c\/p\u003e\n\u003cp\u003eThe craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. The result — more consistency in each LP. The ultimate sonic advantage.\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003ch5 class=\"custom-field--value\"\u003eFeatures\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003e180-gram three LP set!\u003c\/li\u003e\n\u003cli\u003eIncludes track-by-track liner notes by Michael Fremer\u003c\/li\u003e\n\u003cli\u003eCelebrate vinyl record pressing excellence with Quality Record Pressings!\u003c\/li\u003e\n\u003cli\u003eMusic chosen by Acoustic Sounds CEO Chad Kassem and classical music label Reference Recordings!\u003c\/li\u003e\n\u003cli\u003ePerfect demo record captures genres that include blues, jazz, classical, R\u0026amp;B and female vocal\u003c\/li\u003e\n\u003cli\u003eLPs housed in a 3-Pocket Tip-On M-Pack Jacket by Stoughton Printing!\u003c\/li\u003e\n\u003cli\u003eMastered by Kevin Gray!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003csection id=\"features\"\u003e\u003c\/section\u003e\n\u003csection id=\"selections\"\u003e\n\u003ch5\u003eTracklist\u003c\/h5\u003e\n\u003ctable cellspacing=\"0\" cellpadding=\"0\" border=\"0\" width=\"200\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\u003cb\u003eSide 1 - Female Vocalists\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. Show Biz Kids - Rickie Lee Jones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. Nobody's Buying - Nancy Bryan\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. Angel From Montgomery - Susan Tedeshi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e4. The Spider And The Fly - Myra Taylor\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e5. Low Spark Of High Heeled Boys - Rickie Lee Jones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 2 - Classical (Reference Recordings)\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. Rimsky-Korsakov: Dance Of The Tumblers, from The Snow Maiden\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. Mozart: Piano Concerto #21 in C, K. 467\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. Jack End: Blues For A Killed Cat\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e4. Stravinsky: The Firebird Suite, 1919-Finale\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 3 - Blues - APO\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. Driving Wheel - Little Hatch\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. You Had Quit Me - Wild Child Butler\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. I'll Be Around - Jimmie Lee Robinson\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e4. Last Night - Eomot RaSun\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e5. Walking Thru The Park - Big George Brock\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e6. The Sun Is Shining - Harry Hypolite\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 4 - Rhythm \u0026amp; Blues\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. I'll Take You There - The Staple Singers\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. Theme From Shaft - Isaac Hayes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. Mr. Big Stuff - Jean Knight\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e4. Rock Me Right - Susan Tedeschi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e5. Just Won't Burn - Susan Tedeschi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 5 - Jazz\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. Sounds Unheard Of - Shelly Manne\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. The Alternate Blues - Clark Terry, Freddie Hubbard, Dizzy Gillespie\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. September Song - Chet Baker\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e4. My Foolish Heart - Bill Evans\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e5. 'Round Midnight - Wes Montgomery\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 6 - Jazz\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. Abangoma - Hugh Masekela\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. Stimela - Hugh Masekela\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/section\u003e\n\u003ch5\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h5\u003e\n\u003ch5\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/h5\u003e\n\u003csection\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Label: Quality Record Pressings\u003c\/li\u003e\n\u003cli\u003eMade in USA\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"180g Vinyl 3LP","offer_id":42117235441747,"sku":"","price":15990.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/various-the-wonderful-sounds-of-quality-record-pressings-audio-389.webp?v=1776368647"},{"product_id":"diana-krall-when-i-look-in-your-eyes","title":"Diana Krall - When I Look In Your Eyes","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003e\n\u003cem\u003eWhen I Look in Your Eyes\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis 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.\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cp\u003eIf artistry is about growth, then count Krall as one of jazz's consummate artists.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWhen I Look In Your Eyes\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis 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.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen I Look In Your Eyes\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeatures 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.\u003c\/p\u003e\n\u003cp\u003eSeeking 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.\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eAcoustic Sounds Series reissues from Verve\/Universal Music Enterprises!\u003c\/li\u003e\n\u003cli\u003eMastered by Bernie Grundman from the original analog tapes\u003c\/li\u003e\n\u003cli\u003e180-gram LPs pressed at Quality Record Pressings!\u003c\/li\u003e\n\u003cli\u003eStoughton Printing gatefold old-style tip-on jackets\u003c\/li\u003e\n\u003cli\u003eSeries supervised by Chad Kassem CEO of Acoustic Sounds\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e1. Let's Face The Music And Dance\u003cbr\u003e2. Devil May Care\u003cbr\u003e3. Let's Fall In Love\u003cbr\u003e4. When I Look In Your Eyes\u003cbr\u003e5. Popsicle Toes\u003cbr\u003e6. I've Got You Under My Skin\u003cbr\u003e7. I Can't Give You Anything But Love\u003cbr\u003e8. I'll String Along With You\u003cbr\u003e9. East Of The Sun (West Of The Moon)\u003cbr\u003e10. Pick Yourself Up\u003cbr\u003e11. The Best Thing For You\u003cbr\u003e12. Do It Again\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cdiv\u003e\n\u003ch5 id=\"supplier_name\"\u003eNotes\u003cbr\u003e\n\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003e180g heavyweight double vinyl\u003c\/li\u003e\n\u003cli\u003eMade in USA\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003csection id=\"selections\"\u003e\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"33.3RPM 180g Vinyl 2LP","offer_id":42201961955411,"sku":"","price":11990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/diana-krall-when-i-look-in-your-eyes-theaudioco-877.webp?v=1776366246"},{"product_id":"stan-getz-joao-gilberto-getz-gilberto","title":"Stan Getz \u0026 Joao Gilberto - Getz \u0026 Gilberto","description":"\u003ch2\u003e\n\u003cem\u003eGetz\/Gilberto\u003c\/em\u003e is not only a marvelous album, but one which had a profound influence upon the face of jazz and American popular music. This stunning 1964 collaboration between Stan Getz, one of the most popular and respected tenor saxophonists of the era, and the remarkable Brazilian guitarist João Gilberto, launched the bossa nova craze and the career of João's wife Astrud Gilberto with the hugely popular and iconic hit song, \"The Girl from Ipanema (Garota de Ipanema).\" Even more impactful, it introduced the famed Brazilian composer Antonio Carlos Jobim to the English-speaking musical world. In addition to playing piano on the album, Jobim also composed six of the eight compositions, including two of his most popular masterpieces, \"Desafinado\" and \"Corcovado,\" along with the aforementioned \"Garota de Ipanema.\"\u003c\/h2\u003e\n\u003cp\u003eWhile Getz had embraced the music of Brazil prior to this with two outstanding Verve albums —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eJazz Samba\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBig Band Bossa Nova\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e—\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGetz\/Gilberto\u003c\/em\u003e, with multiple Grammy Awards and a permanent place on various Best Albums of All-time lists is the album that launched a revolution. Regardless of that, the collaborative blending of Getz's fluid, muscular virtuosity and João's impeccable acoustic guitar stylings and captivating vocals, Astrud's enchanting almost-whispered singing on two tracks, all backed by Jobim's minimalist subtlety on piano and the flawless support of Sebãstio Neto and Milton Banana on bass and drums, make this an utterly momentous musical experience regardless of its lofty place in musical history.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcoustic Sounds\/Universal Music Group has released a vibrant 180-gram stereo vinyl of \u003cem\u003eGetz\/Gilberto\u003c\/em\u003e. Engineered by George Marino (Sterling Sound) under the supervision of Acoustic Sounds founder Chad Kassem, this is a vibrant analog update of a jazz essential. ... The overall mix of this remastered 180-gram vinyl is excellent. The stereo separation is precise, with double bass\/percussion on one channel and guitar\/piano on the other. Getz' distinctive tenor is centered, as are the vocals. ... The pressing is superior with no hisses or pops.\" — 5 stars \/ Robbie Gerson, \u003cem\u003eAudiophile Audition\u003c\/em\u003e, Aug. 12, 2020. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003eFeatures\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eAcoustic Sounds Series reissues from Verve\/Universal Music Enterprises!\u003c\/li\u003e\n\u003cli\u003eMastered by George Marino at Sterling Sound from the original analog tapes\u003c\/li\u003e\n\u003cli\u003e180-gram LPs pressed at Quality Record Pressings!\u003c\/li\u003e\n\u003cli\u003eStoughton Printing gatefold old-style tip-on jackets\u003c\/li\u003e\n\u003cli\u003eSeries supervised by Chad Kassem CEO of Acoustic Sounds\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003csection id=\"selections\"\u003e\n\u003ch5\u003eTracklist\u003c\/h5\u003e\n\u003cp\u003eSide A\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. The Girl From Ipanema\u003cbr\u003e2. Doralice\u003cbr\u003e3. P'ra Machucar Meu Coracao\u003cbr\u003e4. Desafinado\u003cstrong\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide B\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Corcovado\u003cbr\u003e2. So Danco Samba\u003cbr\u003e3. O Grande Amor\u003cbr\u003e4. Vivi Sohando\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/section\u003e\n\u003ch5\u003eNotes\u003c\/h5\u003e\n\u003csection\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Label: \u003cspan\u003eVerve\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eRecorded March 18 \u0026amp; 19. 1963 in New York City\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"180g LP","offer_id":42292564787283,"sku":"","price":9990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/stan-getz-joao-gilberto-theaudioco-269.webp?v=1776364735"},{"product_id":"various-the-sound-of-jazz","title":"Various - The Sound of Jazz","description":"\u003ch2\u003eThis 180-gram Analogue Productions LP reissue is a magnificent-sounding recording of a historic TV event. For a rare and glorious one-hour nationwide broadcast, CBS brought together 32 towering heavyweight jazz musicians of the swing era for the jam session to end all jam sessions.\u003c\/h2\u003e\n\u003cp\u003eThe one-hour program aired on Sunday, December 8, 1957, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.\u003c\/p\u003e\n\u003cp\u003e\"The Sound Of Jazz\" brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry \"Red\" Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on \"Fine And Mellow\".\u003c\/p\u003e\n\u003cp\u003eColumbia Records released this LP in 1958 that is actually a rehearsal that preceded the telecast (recorded on December 4 at Columbia's 30th Street studios), and is not its soundtrack. The LP was released in 1958 as Columbia CL 1098, with liner notes by Eric Larrabee, and the cover photo is by Tom Yee. The recording doesn't include all of the performers on the TV show (Mulligan refused to participate because no additional payment was involved) and includes several who were not on the show. Bassist Walter Page rehearsed, and is featured on the LP, but collapsed on the way to the studio for the telecast.\u003c\/p\u003e\n\u003cp\u003eFor this Analogue Productions reissue, they started with the original tape and the best mastering available - Ryan K. Smith at Sterling Sound did a stellar job, and naturally, plating at Quality Record Pressings was handled by master plating technician Gary Salstrom. The 180-gram QRP platters serve up an utterly noiseless background that lets the superior sonics shine through.\u003c\/p\u003e\n\u003cp\u003eThe show's performance of \"Fine And Mellow\" reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.\u003c\/p\u003e\n\u003cp\u003eDuring the performance of \"Fine And Mellow\", Webster played the first solo. \"Then\", Hentoff remembered: \"Lester got up, and he played the purest blues I have ever heard, and [he and Holiday] were looking at each other, their eyes were sort of interlocked, and she was sort of nodding and half-smiling. It was as if they were both remembering what had been - whatever that was. And in the control room we were all crying. When the show was over, they went their separate ways.\"\u003c\/p\u003e\n\u003cp\u003eWithin two years, both Young and Holiday had died.\u003c\/p\u003e\n\u003ch5\u003eFeatures\u003c\/h5\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003csection id=\"selections\"\u003e\n\u003cul\u003e\n\u003cli\u003e180g Vinyl\u003c\/li\u003e\n\u003cli\u003eMastered From Original Analog Tapes\u003c\/li\u003e\n\u003cli\u003eMastered By Ryan K. Smith\u003c\/li\u003e\n\u003cli\u003ePlating by Gary Salstrom at QRP\u003c\/li\u003e\n\u003cli\u003ePressed at Quality Record Pressings\u003c\/li\u003e\n\u003cli\u003e\nMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 4\/100!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003eSide A\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWild Man Blues - Henry \"Red\" Allen All-Stars\u003c\/li\u003e\n\u003cli\u003eRosetta - Henry \"Red\" Allen All-Stars\u003c\/li\u003e\n\u003cli\u003eFine And Mellow - Billie Holiday, Mal Waldron All-Stars\u003c\/li\u003e\n\u003cli\u003eBlues - Jimmy Giuffre, Pee Wee Russell, Jo Jones, Danny Barker\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eI Left My Baby - Jimmy Rushing, Count Basie All-Stars\u003c\/li\u003e\n\u003cli\u003eThe Train And The River - Jimmy Giuffre Trio\u003c\/li\u003e\n\u003cli\u003eNervous - Mal Waldron\u003c\/li\u003e\n\u003cli\u003eDickie's Dream - Count Basie All-Stars\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/section\u003e\n\u003ch5\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/h5\u003e\n\u003csection\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Label: \u003cspan\u003eAnalogue Productions\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eMade in USA\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"Gatefold 180g Vinyl LP","offer_id":42415245918291,"sku":"","price":10990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/various-the-sound-of-jazz-theaudioco-372.webp?v=1776362614"},{"product_id":"stan-getz-charlie-byrd-jazz-samba","title":"Stan Getz \u0026 Charlie Byrd - Jazz Samba","description":"\u003ch2\u003eThe words \"bossa nova\" are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer João Gilberto and songwriter Antônio Carlos Jobim - an adaptation of infectious Brazilian samba rhythms with the harmonic structures and \"cool\" surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eJazz Samba\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e- the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America.\u003c\/h2\u003e\n\u003cp\u003eOriginally released in 1962. 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.\u003c\/p\u003e\n\u003ch5\u003eFeatures\u003c\/h5\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003csection id=\"selections\"\u003e\n\u003cul\u003e\n\u003cli\u003eAcoustic Sounds Series Reissue from Verve\/Universal Music Enterprises\u003c\/li\u003e\n\u003cli\u003e180g Vinyl LP\u003c\/li\u003e\n\u003cli\u003eMastered by Ryan K. Smith at Sterling Sound from Original Analog Tapes\u003c\/li\u003e\n\u003cli\u003ePressed at Quality Record Pressings\u003c\/li\u003e\n\u003cli\u003eStoughton Printing Gatefold Old-Style Tip-On Jacket\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003eSide A\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDesafinado\u003c\/li\u003e\n\u003cli\u003eSamba Dees Days\u003c\/li\u003e\n\u003cli\u003eO Pato\u003c\/li\u003e\n\u003cli\u003eSamba Triste\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSamba De Uma Nota So\u003c\/li\u003e\n\u003cli\u003eE Luxo So\u003c\/li\u003e\n\u003cli\u003eBaia\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/section\u003e\n\u003ch5\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/h5\u003e\n\u003csection\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Label: \u003cspan\u003eVerve\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"12inch 180g LP","offer_id":42833499455571,"sku":"","price":7990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/stan-getz-charlie-byrd-jazz-samba-theaudioco-678.webp?v=1774983488"},{"product_id":"roger-waters-amused-to-death","title":"Roger Waters - Amused To Death","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eThe 2LP 180-gram vinyl edition of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efeatures remastered audio completed by longtime Roger Waters \/ Pink Floyd collaborator and co-producer James Guthrie and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters' 2010-2013 \"The Wall Live\" tour and movie.\u003c\/h2\u003e\n\u003cp\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003esounded the alarm about a society increasingly and unthinkingly in thrall to its television screens. Twenty-three years later,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003espeaks to our present moment in ways that could scarcely have been anticipated two decades ago.\u003c\/p\u003e\n\u003cp\u003e\"I'm remembering the record from [over] 20 years ago, that most of what I had to say then sadly still pertains today and is maybe even more relevant to our predicament as people in 2015 even than it was in 1992,\" says Roger Waters.\u003c\/p\u003e\n\u003cp\u003eAn unblinking look at an entertainment-obsessed society,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eaddresses issues that have only grown in complexity and urgency over the past two decades. In 2015 television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view.\u003c\/p\u003e\n\u003cp\u003eProduced by Roger Waters and Patrick Leonard,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a musically ambitious work featuring a stellar lineup of musicians. Guitar legend Jeff Beck figures prominently on the album, bringing his signature virtuosity to eight songs. Guest vocalists include Don Henley (\"It's a Miracle\"), Rita Coolidge (\"Amused to Death\") and soul singer P.P. Arnold (\"Perfect Sense\" Parts I and II).\u003c\/p\u003e\n\u003cp\u003e\"Jeff was hugely important to the making of the record, and it was one of the peaks of my musical life,\" says Waters. \"To have him sitting in my billiard room playing harmonics and then playing the melody on the whammy bar – which he does all the way through the first song, 'The Ballad of Bill Hubbard' – it was absolutely extraordinary.\"\u003c\/p\u003e\n\u003cp\u003eAlso contributing were Waters' longtime collaborators, guitarist Andy Fairweather Low and drummer Graham Broad; percussionist Luis Conte; and Pat Leonard, who played keyboards on several tracks. The album reunited Waters with composer\/arranger Michael Kamen, who supervised orchestral arrangements for\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Wall,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eWaters' semi-autographical concept album with Pink Floyd. Kamen arranged and conducted the National Philharmonic Orchestra Limited's contributions to the songs \"Too Much Rope\" and \"What God Wants, Part III.\"\u003c\/p\u003e\n\u003cp\u003eWith\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eRoger Waters painted a picture of a society serenely tethered to its televisions and increasingly untethered to the realities of an unjust world. Like most of Waters' work, it is a concept-driven album that revisits themes and characters throughout its 14 songs. At its core,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a timeless reflection on the potential dangers of human excess whether it's consumerism, war, religion, or the vapidity of the 24-hour news cycle all inching us closer to becoming \"amused to death.\"\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas inspired by Neil Postman's seminal critique\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmusing Ourselves to Death: Public Discourse in the Age of Show Business.\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ePostman argued that electronic media had transformed all information, including news, into entertainment. In such an image-driven culture, he warned, people were less likely to give close thought to matters of real significance. \"Postman talked about a propaganda machine so powerful human intellect couldn’t resist it,\" Waters remarks. \"Given all the distractions that there are in modern life, it is very easy to take our eye off the ball.\"\u003c\/p\u003e\n\u003cp\u003eWhen\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas originally released, television was king and the digital age was in its infancy. Today, of course, we have an ever-growing menu of potential amusements at our fingertips, while circumstances in the world have grown darker and more dangerous. There are lyrics on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ethat could easily describe recent events. \"The Bravery of Being Out of Range” refers to \"laser-guided bombs\" that \"hit the target\/and win the game\/from bars 3,000 miles away.\" Though written in the wake of the first Gulf War, the song stings in this era of drone strikes. Comments Waters, \"Now that we have drones, I think that song is even more sinister.\"\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a record that rewards close listening, for its sound no less than its lyrical content. The songs are richly layered; sound effects course beneath vocals, instruments, orchestras. The diverse elements work together to enrich meaning and pure musical pleasure.\u003c\/p\u003e\n\u003cp\u003eAll the album's nuances come through clear as a bell in the 5.1 surround mix and remastered stereo mix by James Guthrie, who mixed the original release and has worked with Waters since Pink Floyd’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Wall\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1979). The restoration was no small task, given the fact that\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas written and recorded over a period of nearly five years, using three different formats (one analog, two digital). Guthrie traveled to London to track down the original masters – and found hundreds, with multiple takes of the same song in different formats. He essentially had to rebuild the album before he could begin working on its sound.\u003c\/p\u003e\n\u003cp\u003eThe effort was well worth it, says Guthrie. \"This is such a rich album, conceptually and musically. You have Jeff Beck playing on eight songs. Duets with Don Henley, P.P. Arnold and Rita Coolidge. Orchestral arrangements by Michael Kamen. And you have Roger at his best, writing and singing his arse off. In my opinion, this album contains some of Roger's finest work.\"\u003c\/p\u003e\n\u003cp\u003eContinuing his collaboration with Waters that dates back to 2005, visual artist\/filmmaker Sean Evans created new gatefold and cover art for the re-release. For the gatefold, Evans sourced news footage and photographs from AP, and then used digital tools to achieve the effect of distressed, low-bit images. \"The artwork is meant to complement the lyrics,\" Evans explains. \"We never identify where the images are taken from, but you get a sense of 'Something's not right. We're doing something wrong.'\"\u003c\/p\u003e\n\u003cp\u003eThe updated cover art for\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAmused to Death\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efocuses on a little boy bathed in the glow of a giant TV screen, reflecting the sense of urgency Waters feels about the album's themes. \"In terms of the way we educate young people, I fear we are encouraging our society to amuse itself to death at a greater rate than we ever were,\" he comments. \"What if we spent on the education the money we spend on building weapons? What if children were asked not prepare themselves for lives as consumers and producers, but to prepare themselves to become adults who think about things, who have open minds, and care about the rights of the human being? Can you imagine what the world might be like?\"\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003e\n 180g Vinyl Pressed at Quality Record Pressings\u003c\/li\u003e\n\u003cli\u003eMastered by James Guthrie from Original Analog Tapes\u003c\/li\u003e\n\u003cli\u003ePressed at Quality Record Pressings\u003c\/li\u003e\n\u003cli\u003e\nQSoundTM \"surround sound — Every cricket chirp and dog bark in stellar detail!\u003c\/li\u003e\n\u003cli\u003eGatefold Jacket\u003c\/li\u003e\n\u003cli\u003eMeticulous Test Pressing Evaluation and Quality Control\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/h5\u003e\n\u003ctable width=\"200\" border=\"0\" cellpadding=\"0\" cellspacing=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\u003cb\u003eSide 1\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e1. The Ballad of Bill Hubbard\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e2. What God Wants, Part I\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e3. Perfect Sense, Part I\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e4. Perfect Sense, Part II\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 2\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e5. The Bravery of Being Out of Range\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e6. Late Home Tonight, Part I\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e7. Late Home Tonight, Part II\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e8. Too Much Rope\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e9. What God Wants, Part II\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 3\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e10. What God Wants, Part III\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e11. Watching TV\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e12. Three Wishes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e\n\u003cbr\u003e\u003cb\u003eSide 4\u003c\/b\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e13. It's A Miracle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd nowrap\u003e14. Amused To Death\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cdiv\u003e\n\u003ch5 id=\"supplier_name\"\u003eNotes\u003cbr\u003e\n\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eLabel: Analogue Productions\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003csection id=\"selections\"\u003e\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"180g Vinyl 2LP","offer_id":42843277492307,"sku":"","price":9990.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/roger-waters-amused-to-death-theaudioco-262.webp?v=1774983198"},{"product_id":"diana-krall-the-look-of-love-1","title":"Diana Krall - The Look Of Love","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003e\n \u003cspan\u003eAs part of the Acoustic Sounds series, three of Diana Krall’s most beloved albums will be reissued on vinyl throughout the year, with the first, her dazzling Grammy-winning 2001 album, \u003c\/span\u003e\u003ci\u003eThe Look of Love\u003c\/i\u003e\u003cspan\u003e. The record boasts such standouts as “S’ Wonderful”, “Cry Me A River”, and her bewitching take on the Burt Bacharach-penned title track. Krall’s 1999 album — celebrating its 25th anniversary this year — \u003c\/span\u003e\u003ci\u003eWhen I Look In Your Eyes,\u003c\/i\u003e\u003cspan\u003e will follow July 5th with her 1996 LP, \u003c\/span\u003e\u003ci\u003eAll For You: A Dedication To The Nat King Cole Trio\u003c\/i\u003e\u003cspan\u003e, to come September 27th. The two-time Grammy-winning album, which was also nominated for Album of the Year, When I Look In Your Eyes, features Krall and her excellent ensemble performing a sultry set of updated standards, including highlights like “Let’s Fall In Love”, “I’ve Got You Under My Skin” and “Let’s Face The Music and Dance”. \u003c\/span\u003e\u003ci\u003eAll For You: A Dedication To The Nat King Cole Trio\u003c\/i\u003e\u003cspan\u003e is a superb salute to the mighty Nat King Cole Trio with Krall putting her unique spin on 12 of Cole’s classic cuts like “Frim Fram Sauce”, “Boulevard of Broken Dreams”, “You Call It Madness” and “Hit That Jive Jack”. The albums will be mastered by Bernie Grundman from the original tapes and pressed on 2-LP black vinyl.\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003eDiana Krall's sixth studio album\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLove Of Love\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etopped 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.\u003c\/p\u003e\n\u003cp\u003eJim Santella of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAll About Jazz\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecommented, \"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\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePopMatters\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewrote, \"Simply said, her piano chops are more than adequate to back up her incredible voice.\"\u003c\/p\u003e\n\u003cp\u003eSeeking 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.\u003c\/p\u003e\n\u003ch5\u003eFeatures\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eAcoustic Sounds Series reissues from Verve\/Universal Music Enterprises!\u003c\/li\u003e\n\u003cli\u003eMonthly releases highlighting the world's most historic and best jazz records!\u003c\/li\u003e\n\u003cli\u003e180-gram 2LPs pressed at Quality Record Pressings!\u003c\/li\u003e\n\u003cli\u003eMastered by Bernie Grundman from the original analog tapes\u003c\/li\u003e\n\u003cli\u003e180-gram 2LPs pressed at Quality Record Pressings!\u003c\/li\u003e\n\u003cli\u003eStoughton Printing gatefold old-style tip-on jackets\u003c\/li\u003e\n\u003cli\u003eSeries supervised by Chad Kassem CEO of Acoustic Sounds\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eTracklist\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003eSIDE A\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e01. 'S Wonderful\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. Love Letters\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03. I Remember You\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSIDE B\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e01. Cry Me a River\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. Besame Mucho\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSIDE C\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e01. The Night We Called It a Day\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. Dancing in the Dark\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03. I Get Along Without You Very Well\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSIDE D\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e01. The Look of Love\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. Maybe You'll Be There\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cdiv\u003e\n\u003ch5 id=\"supplier_name\"\u003eDetails\u003cbr\u003e\n\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eLabel: Verve \/ Acoustic Sounds\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cul class=\"list_3ky-r\"\u003e\u003c\/ul\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003csection id=\"selections\"\u003e\u003c\/section\u003e","brand":"Analogue Productions","offers":[{"title":"180g Vinyl 2LP","offer_id":42843368849491,"sku":"","price":10990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/diana-krall-the-look-of-love-theaudioco-844.webp?v=1774983138"},{"product_id":"the-oscar-peterson-trio-we-get-requests","title":"The Oscar Peterson Trio - We Get Requests","description":"The Oscar Peterson Trio - We Get Requests 180g vinyl for audiophile jazz listening.","brand":"Analogue Productions","offers":[{"title":"Gatefold 180g Vinyl LP","offer_id":44542550245459,"sku":null,"price":9990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/The-Oscar-Peterson-Trio-We-Get-Requests-The-Audio-Co.png?v=1777896122"},{"product_id":"ben-webster-king-of-the-tenors-acoustic-sounds-series","title":"Ben Webster - King Of The Tenors","description":"\u003ch2\u003eBen Webster's \u003cem\u003eKing of the Tenors\u003c\/em\u003e is a masterclass in jazz saxophone artistry—a recording that captures the full spectrum of what this legendary tenor saxophonist could accomplish. Originally recorded in 1953 for the Norgran label and issued as \"The Consummate Artistry of Ben Webster,\" the album was re-released in 1957 on Verve Records under its now-famous title, \u003cem\u003eKing of the Tenors\u003c\/em\u003e. The title is no exaggeration. Webster's approach to the tenor saxophone was singular: a sound characterized by warmth, elegance, soulfulness, and an almost vocal quality that made his instrument sing with the directness of a great blues singer. Throughout his career, Webster would become synonymous with ballad mastery, yet this album demonstrates his equal command of uptempo swinging material and blues-soaked grooving.\u003c\/h2\u003e\u003cp\u003eThe album pairs Webster with some of the finest accompanists in jazz: the Oscar Peterson Trio, whose rhythmic precision and harmonic sophistication provide an ideal platform for Webster's explorations. On several tracks, the album is graced by the presence of the legendary Benny Carter (another titan of the saxophone) and the brilliant cornetist and trumpet player Harry \"Sweets\" Edison. The interplay between Webster and these masters reveals a musician equally comfortable as a soloist and as an ensemble player—someone capable of both commanding attention and gracefully sharing the musical conversation. Every solo reveals Webster's maturity as an artist; his phrasing is deliberate, his tone is consistently beautiful, and his musical taste never wavers.\u003c\/p\u003e\u003cp\u003eCritical reception has been unequivocal. AllMusic awarded the album four stars, with reviewer Ron Wynn describing it as \"a series of elegant yet soulful and exuberant small group dates,\" and noting that \"Ben Webster's solos have a freshness and vitality that make them quite relevant to contemporary events.\" This assessment, written decades after the album's release, speaks to the timelessness of Webster's artistry. The musicianship on display is so fundamental, so rooted in the jazz tradition, that it transcends the specifics of any era. This 180g audiophile vinyl pressing captures the warm, analog sound of 1950s jazz recording technology at its finest, allowing contemporary listeners to experience the presence and immediacy of these performances.\u003c\/p\u003e\u003ch4\u003eFeatures\u003c\/h4\u003e\u003cul\u003e\n\u003cli\u003e180g Audiophile-Grade Vinyl\u003c\/li\u003e\n\u003cli\u003eFeaturing Oscar Peterson Trio\u003c\/li\u003e\n\u003cli\u003eGuest Artists: Benny Carter, Harry \"Sweets\" Edison\u003c\/li\u003e\n\u003cli\u003e1953 Recordings Reissued 1957\u003c\/li\u003e\n\u003cli\u003eClassic Verve Records Release\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch4\u003eTracklist\u003c\/h4\u003e\u003col\u003e\n\u003cli\u003eAll or Nothing at All\u003c\/li\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003cli\u003eIn a Sentimental Mood\u003c\/li\u003e\n\u003cli\u003eEverything Happens to Me\u003c\/li\u003e\n\u003cli\u003eSunday\u003c\/li\u003e\n\u003cli\u003eTis Autumn\u003c\/li\u003e\n\u003cli\u003eJumpin' at the Woodside\u003c\/li\u003e\n\u003cli\u003eStardust\u003c\/li\u003e\n\u003c\/ol\u003e\u003ch4\u003eNotes\u003c\/h4\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eLabel:\u003c\/strong\u003e Verve Records\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Recording:\u003c\/strong\u003e 1953 (Norgran Label as \"The Consummate Artistry of Ben Webster\")\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRe-issued:\u003c\/strong\u003e 1957 as \"King of the Tenors\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Ben Webster\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFeatured:\u003c\/strong\u003e Oscar Peterson Trio, with Benny Carter and Harry \"Sweets\" Edison\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMusicians:\u003c\/strong\u003e Ben Webster (tenor saxophone), Oscar Peterson (piano), Ray Brown (bass), Herb Ellis (guitar), with Benny Carter (saxophone) and Harry \"Sweets\" Edison (trumpet\/cornet) on select tracks\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e 180g Audiophile Vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCritical Reception:\u003c\/strong\u003e 4-Star AllMusic Review\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMusical Style:\u003c\/strong\u003e Elegant yet soulful swing with ballad mastery\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Analogue Productions","offers":[{"title":"Limited Gatefold 180g Vinyl LP","offer_id":44545579417683,"sku":null,"price":7990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/Ben-Webster-King-Of-The-Tenors-The-Audio-Co.png?v=1777895694"}],"url":"https:\/\/theaudio.co\/collections\/analogue-productions.oembed","provider":"The Audio Co.","version":"1.0","type":"link"}