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Aja — Steely Dan's landmark sixth studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 30,000 numbered copies
Mastered by Bernie Grundman from an analog, non EQ'd tape copy
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing
The Best "Aja" You Will Ever Hear and It's Not Even Close — Michael Fremer, TrackingAngle.com

"This one is the GOAT (Greatest of All Time). It is the top one. This is clear." — David Bianco, Safe & Sound Texas Audio Excursion. YouTube video 

"Truly, it's the best of all the worlds. … This is clearly superior." — Jason Gorber for 'That Shelf.' Youtube video

"… along with all this amazing new detail there's much more physicality, there's more depth … it's much fuller, the sound stage is broader and deeper than any of these other versions and it's it's like just sitting in front of a stage watching the band play. It is just incredible how wonderful this sounds. It's not rolled off on top but it is very easy on the ears and you can really hear more than the other version of Chuck Rainey's Bass playing. He was just, you know, he's phenomenal of course but you can hear how magic he plays and all these amazing lines — they kind of get lost on all the other versions — they're really prominent here, you can pick out every sound from every instrument. I think it's fantastic work they've done."— Ken Micallef, Jazz Vinyl Audiophile. Watch Micallef's YouTube video here.

"'Deacon Blues' takes up an entire UHQR 45rpm side … The 7:26 epic finally has room to breathe and express all of the tape's wondrous top end and dynamic authority. …Transients are so well defined. You're sure to hear newly resolved detail. Bernie Grundman did not appreciably mess with the EQ compared to his original 1977 cut because there was nothing wrong with what he originally did, but cutting at 45 and not having to cut to near the label has obvious benefits especially on 'Deacon Blues' but really on everything and the bottom end has definitely not been attenuated as it must have somewhat been on the originals. This Aja fulfills the UHQR promise as well if not better than has any in the series and there's plenty of stiff competition!" — Music = 11/11; Sound = 11/11 — Michael Fremer, TrackingAngle.com. Read the entire review here.

If you were an audiophile in the late 1970s, you owned Aja. Rolling Stone, which ranks 1977's Aja at No. 63 on its latest 500 Greatest Albums of All Time list, says "this was Walter Becker and Donald Fagen's no-holds barred stab at becoming a huge mainstream jazz-pop success.

"And sure enough, thanks to sweet, slippery tracks like 'Deacon Blues,' and 'Peg,' this collegiate band with a name plucked from a William Burroughs novel and a songbook full of smart, cynical lyrics became bona fide superstars, shooting to the Top Five and selling platinum. And yes, Aja even won a Grammy for Best Engineeed Album."

This landmark album in the band's career features a sophisticated, polished sound that reflects the band's meticulous attention to detail and the influence of jazz and fusion music.

Fagan and Becker would assemble a revolving cast of almost 40 session musicians to play on the album, consisting of some of the all-time greats, including Joe Sample, Larry Carlton, Wayne Shorter, Steve Gadd, Lee Ritenour, Timothy B. Schmidt — it's a long list. It's a Who's Who of session superstars.

The album name and its title track were inspired by a South Korean woman whom a high school friend's brother had married after serving in the army in her country. The chord progressions and melodies are so unique and so typically Steely Dan. The drum solo at the end of the title track by Steve Gadd is also astounding.

The album's title track, "Aja," opens with a serene piano introduction before building into a complex, multi-layered arrangement that features intricate drum patterns, subtle guitar lines, and a soaring saxophone solo. Other standout tracks include "Deacon Blues," a melancholy ballad with introspective lyrics, and "Peg," a catchy tune with a funky groove and infectious chorus.

Throughout the album, Steely Dan's lyrics explore themes of disillusionment, regret, and the quest for fulfillment. In "Black Cow," the opening track, the narrator laments the loss of a relationship, while in "Josie," the album's closing track, the band celebrates the freedom and excitement of a new love affair.

The album's meticulous production values, including multiple layers of instrumentation and intricate vocal harmonies, showcase Steely Dan's commitment to sonic perfection.

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 30,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Aja represents a high-water mark in Steely Dan's career, showcasing the band's unique blend of jazz, rock, and pop influences in a polished, sophisticated package. The album has become a classic of the 1970s and remains a favorite among music lovers to this day.

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	Side 1
	Lotus Blossom
	My Ideal
	Blue Friday
	Alone Together
	Side 2
	Blue Spring Shuffle
	I Had The Craziest Dream
	Old Folks
	Mack the Knife

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	1. Two Different Worlds
	2. But Beautiful
	3. Skylark
	4. Three Little Words
	5. The Street Of Dreams
	6. You'd Be So Nice To Come Home To
	7. Under A Blanket Of Blue
	8. Three Little Words
	9. I'm Glad There Is You

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	1. The Healer
	2. I'm In The Mood
	3. Baby Lee
	4. Cuttin' Out
	5. Think Twice Before You Go
	6. Sally Mae
	7. That's Alright
	8. Rockin' Chair
	9. My Dream
	10. No Substitute

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180-gram 45 RPM double LP
Mastered at AcousTech Mastering
Plated and pressed at Quality Record Pressings

It's back in stock! Newly repressed at 45 RPM by Quality Record Pressings. This recording was originally mastered at the former AcousTech Mastering facility and the sound is fantastic.

John Lee Hooker himself did not know his exact date of birth. If he hadn't died at around the age of 80, this ageless musician would still be easily pulling the next generation to his gigs. Hooker remains a phenomenon, a mysterious figure of black rhythm and blues, a charismatic king who reigns supreme in rock 'n' roll's Hall of Fame. John W. Peters described his music as a synthesis of scorching emotional ardour, unrelenting rhythmic intensity, and original poetry of a highly personal character. Anyone hearing him for the first time may well be startled at the unfiltered passion and power of his music.

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Cut from the analogue masters by renowned mastering engineer Kevin Gray
180-gram pressing by Quality Record Pressings
Deluxe high-gloss tip-on album jacket

"Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz – such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-50s run) cut lacquers from original analog master tapes.  … the sound has a great sense of 'jump' or energy, and it's warmly textured yet precise and well detailed, with nice body. Coltrane's sax was very nicely recorded, plus this was when he was really coming into his own as a player." — Wayne Garcia, The Absolute Sound, December 2015

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Cut from the analogue masters by renowned mastering engineer Kevin Gray
180-gram pressing by Quality Record Pressings
Deluxe high-gloss tip-on album jacket

"Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz – such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-50s run) cut lacquers from original analog master tapes. … (Cookin') does have a warm, quite intimate perspective, with a fine sense of instrumental textures." – Wayne Garcia, The Absolute Sound, December 2015

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Now with Analogue Production's 45 RPM release, the best-sounding version of this classic double album gives listeners an even richer sonic experience. The dead-quiet 4LP set, with the music spread over four sides of vinyl at RTI, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Along with his work as a solo artist, Lofgren has marked more than 25 years as a member of Bruce Springsteen & The E Street Band as well as a former member of Crazy Horse and Grin. Lofgren joined Neil Young's band in 1968 at age 17, playing piano on the album After the Gold Rush. Lofgren would maintain a close musical relationship with Young, appearing on his Tonight's the Night album and tour among others. He was also briefly a member of Crazy Horse, appearing on their 1971 LP and contributing songs to their catalogue. From '71 to '74 Lofgren was active in Grin, the band he founded in '69. Solo albums and tours followed every year through the 1970s as Lofgren established himself as a top guitarist and live performer earning the respect and acclaim of his peers. Bruce Springsteen made the call in 1984 and Lofgren joined the E-Street Band for the Born in the USA tour. Lofgren was an instant hit with Springsteen's fans through his playing and vibrant on stage persona. Lofgren remains a stalwart of the E-Street Band to the present day.

"Acoustic Live is an interesting and charming album from Nils Lofgren in 1997 as he follow on in the Unplugged tradition that became popular in the 1990s. It was actually recorded at The Barns Of Wolftrap, Vienna in Virginia on January 18th, 1997." — bestlivealbums.com

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180-gram 45 RPM double LP from Analogue Productions!
Mastered by Kevin Gray from the original U.K. Island analog tape
Gold-selling second album was an early turning point for the band!
Plated at Quality Record Pressings and pressed at RTi!
Gatefold old-style "tip-on" jacket by Stoughton Printing with the pop-up (stand up) band image accurately reproduced!

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	1. I'm A Fool To Want You
	2. For Heaven's Sake
	3. You Don't Know What Love Is
	4. I Get Along Without You Very Well
	5. For All We Know
	6. Violets For Your Furs
	7. You've Changed
	8. It's Easy To Remember
	9. But Beautiful
	10. Glad To Be Unhappy
	11. I'll Be Around

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Best-selling album in jazz history; mastered by Bernie Grundman from the original 3-track master tapesPressed at Quality Record Pressings using Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history

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Happily, for this, my first UHQR experience, it feels super-solid. Musically, Can't Buy A Thrill feels more three-dimensional on this UHQR edition than on other versions I've heard. Overall, the sound is super-clear and crisp, but ultimately presents the music more warmly than the standard 180g 1LP edition does. When you compare them side by side, you start noticing the differences between the UHQR and the standard edition — the sizzling cymbals aren't quite as sizzly on the standard version, for one thing, and, comparatively, the vocals take on a bit of that raw edge around them. Plus, the congas feel less natural-sounding on the standard edition. … Can't wait to see, and hear, what comes next — but for now, the 200g 2LP Can't Buy A Thrill serves as one of the best listening experiences you'll have this year." — Music = 8/11; Sound = 9/11 – Mark Smotroff, AnalogPlanet.com. To read Smotroff's full review, click here.

"(Clarity Vinyl) is a very quiet formulation .… This means you can really crank up the UHQR. In fact, to really enjoy it, you must. When you do, the music will come to life on top, the midrange will bloom with detail and the bottom will be firm, deep and satisfying. Vocal clarity and 'body' benefit greatly from Grundman's mastering, yet Victor Feldman's percussive accents remain sharp, clean and present." — Music = 9/11; Sound = 9/11 – Michael Fremer, trackingangle.com. To read Fremer's full review, click here.

Steely Dan's platinum-selling debut studio album Can't Buy A Thrill, released in November 1972, was a commercial success, peaking at No. 17 on the Billboard chart. It later appeared on many professional listings of the greatest albums, including Colin Larkin's All Time Top 1000 Albums (2000) and Rolling Stone magazine's "500 Greatest Albums of All Time" (2003)

The album was written by band members Donald Fagen and Walter Becker, recorded in August 1972 at The Village Recorder in Los Angeles, and produced by Gary Katz. Its music features tight song structure and sounds from soft rock, folk rock, and pop, alongside philosophical, elliptical lyrics. Two songs recorded during the Can't Buy A Thrill sessions were left off the album and released as a single: "Dallas" b/w "Sail the Waterway." This is the only Steely Dan album to include David Palmer as a lead vocalist, having been recruited after Donald Fagen expressed concerns over singing live. Drummer Jim Hodder also chips in lead vocals on one song, "Midnite Cruiser" (sometimes spelled "Midnight Cruiser"), as well as singing the "Dallas" single. By the time recording of the next album began, the band and producer Gary Katz had convinced Fagen to assume the full lead vocalist role.

AllMusic gave the album 4.5 stars, with reviewer Stephen Thomas Erlewine praising the core duo Walter Becker and Donald Fagen as "remarkable craftsmen." Erlewine noted that "there are very few of the jazz flourishes that came to distinguish their (later) albums", but added that the first single from the album, "Do It Again," incorporates a tight Latin jazz beat, while the second single, "Reelin' In the Years," features jazzy guitar solos and harmonies.

Rolling Stone, in its review, said the debut album was a collection of some of the group's best jazz/rock songs.

"Two of Fagen's four (vocal solo) songs were the singles, ‘Do It Again' and ‘Reelin' In The Years,' the later starting off (and continues throughout) with a ripping solo by session player, Elliot Randall, and in fact, was rated by Led Zeppelin's Jimmy Page as his favourite guitar solo of all time. That's quite an endorsement. The song peaked at No. 11 on the Billboard Charts. ‘Do It Again' charted at No. 6, making it their second highest chart for a single. ‘Dirty Work,' another great song from the record features Palmer. The album is tight, with some of the best musicianship money can buy." — Rolling Stone

The album cover features a photomontage by Robert Lockart that includes an image of a line of prostitutes, standing in a red-light area from Rouen in France waiting for clients. The image was chosen because of its relevance to the album title. Walter Becker and Donald Fagen themselves commented on the album art in their liner notes to the reissued The Royal Scam, saying that The Royal Scam album possessed "the most hideous album cover of the seventies, bar none (excepting perhaps Can't Buy A Thrill)." The cover was banned in Francisco Franco's Spain and was replaced with a photograph of the band playing in concert.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

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re You Experienced, debut release by The Jimi Hendrix Experience returns!

Analogue Productions' UHQR, the pinnacle of high-quality vinyl!

Mastered from the original tapes and cut to lacquer by Bernie Grundman

Pressed at Quality Record Pressings using Clarity Vinyl®

Purest possible pressing and most visually stunning presentation and packaging!

Regarded as the greatest, most influential debut release from any artist!

Stereophile's Revinylization Best New LP Reissue for August 2022!

"Analogue Productions and a few other vinyl-oriented labels are indeed pursuing sonic excellence with their reissues. Done right, this requires attention to every facet of the audio and physical-media production chain. (This) new copy of Are You Experienced is immaculately flat — a fully flat profile is one of the virtues of the Clarity Vinyl process — and visually transparent, with a well-centered spindle hole. Surface noise is almost nonexistent, contributing to outstanding detail and texture. Those black backgrounds viscerally enhance the huge dynamic range of this recording and the resulting impact. … I did a three-way vinyl comparison: my original Reprise stereo copy from 1967, the 2010 stereo version remastered by Eddie Kramer, and this new UHQR issue. The tracks on Are You Experienced vary in the amount and depth of bass due to choices made during the recording and mixing. On this new UHQR LP, when the low end is there, it's just beautiful — as at the beginning of 'The Wind Cries Mary.' Another big winner is the sound and definition of Mitch Mitchell's drums; his jazzy attack on 'Third Stone from the Sun' is a shining example. When Jimi leans in, as he does on 'Foxy Lady,' it doesn't sound like he's bending a string; it sounds like he's tying his guitar into knots. … On the system I have now, with this pressing, I can experience at least a heavy echo of the energy I felt when I first encountered the album all those years ago." — Revinylization by Sasha Matson, Stereophile, August 2022

"… the copies that arrived with me were as perfect vinyl pressings as possible. … The booklet is now expanded to 20 pages. … (It) now includes a number of extra photographs along with additional essays from Brad Tolinski and John McDermott to sit with the original Dave Marsh essay. … What was apparent from the off, once the needle hit the clarity vinyl, this vinyl pressing was dead silent. Over all, unquestionably a pressing to the highest standard; as quiet as a physical pressing you could wish for which in turn allowed the vinyl formula's black background to deliver on its part, flat and centered. These points allowed the record to shine in its own right. The flat profile was noticeable once again with no deviation from delivery from start to end of each side. … Grundman's part in bringing this to us as is — well, it's been a long time coming, but worth the wait — 20,000 copies is not many, really. This is unlikely to be presented any better any time soon if ever." — Gordon Johnson, jmhvinyl.co.uk, April 9, 2022. Read the entire review here.

"…sonically (prior editions) can't touch this new Bernie Grundman mastering using the original tapes and pressed UHQR flat profile on 200g Clarity vinyl at QRP. I compared this new version to the original and to all of the other Experience Hendrix reissues and Bernie's got them all beat in terms of dynamics, three-dimensionality and especially transparency — a quality I never thought to assign this recording but one listen will convince you that it's there. I've been playing this record in one version or another since August of 1967 and I knew there was a 'mouth pop' on 'Purple Haze' but nonetheless when it came I jumped and adrenaline flowed so present and 3 dimensional was the 'pop.' This is one of the classic albums from the rock era and it's never sounded this good. This version will most likely never be bettered" —  Music = 10/11; Sound = 10/11 – Michael Fremer, AnalogPlanet.com. Read Fremer's full review here.

Analogue Productions presents another UHQR classic title — Jimi Hendrix's classic Are You Experienced. And working together with Quality Record Pressings, this reissue is a true collector's gem — an Ultra High Quality Record (UHQR) release!

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets.

When it was first released in 1967, Are You Experienced turned the music world upside down, as Hendrix showed everyone exactly what it meant to be "experienced." Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, charting new sonic territories in feedback, distortion, and sheer volume. It wouldn't have meant much, however, without his excellent material, whether psychedelic frenzy ("Foxey Lady," "Manic Depression," "Purple Haze"), instrumental freak-out jams ("Third Stone from the Sun"), blues ("Hey Joe"), or tender, poetic compositions ("The Wind Cries Mary") that demonstrated the breadth of his songwriting talents. Not to be underestimated were the contributions of drummer Mitch Mitchell and bassist Noel Redding, who gave the music a rhythmic pulse that fused parts of rock and improvised jazz.

Jimi's thoughts on the recasting of his debut album in the U.S. by Reprise Records, who added "The Wind Cries Mary," "Purple Haze" and "Hey Joe" to the original 11-track list, aren't entirely known. But Jimi did vocalize his frustration during later stage performances that "Red House," his superb original blues composition, had been pulled from the U.S. album.

The U.S. track version released in August 1967. Included are the group's first three U.K. singles "Purple Haze," "Hey Joe" and "The Wind Cries Mary."

This UHQR is remastered by the legendary Bernie Grundman from the original analog master tapes. Each UHQR will be pressed at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These 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.

More About Clarity Vinyl

As we set out to make the world's best vinyl record, we began by establishing a set of exacting standards to address all of the components that comprise an LP. We call our records made under these strict standards Ultra High Quality Records (UHQR). Most audiophiles would understand that the list of critical components in UHQR includes recording, mastering, plating, pressing and quality control. But some may stop short of considering the raw material used to make the record: the vinyl itself.

We did some research and learned some interesting things about the history of the iconic black vinyl record. The most compelling revelation to us was the fact that LP vinyl is not black in its pure state. The off-white color of the record you are about to listen to is the color of raw vinyl in its purest form (un-tinted vinyl). The black color you're used to seeing is a colorant called "carbon black" that was part of the original compound formulation used in old shellac records. As vinyl compound replaced shellac-based compound, carbon black continued to be used as a colorant. We've expected our records to be black ever since.

To make the ultimate record, we decided to enhance sound quality by removing anything we believed could detract from it. Record styli vibrate (or jitter) on a microscopic level, and any particles of carbon black pigment that happen to be on the surface of the groove could introduce surface noise. By not adding carbon black to our Clarity Vinyl, we eliminate the possibility of noise contamination due to carbon black particles. Instead, your stylus is allowed to effortlessly slide down a glossy and silky smooth groove wall.

When we purchased Classic Records, the brand name Clarity Vinyl® came with it. We're proud to have resurrected, refined and trademarked Clarity Vinyl, the perfect canvas for our masterpiece: vinyl in its purest form.

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	Side A
	1. Tres Palabras
	2. No More
	3. Guilty
	4. Montono Blues
	Side B
	1. I Thought About You
	2. Out of this World
	3. It's Getting Dark

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80-gram gatefold double LP cut at 45 RPM
Mastered by Bernie Grundman from the original analog tapes
Award-winning album includes the hits "Angel," "Adia" and "Building A Mystery"

"Marking the 20th anniversary of this U.S. hit's release (OK, a year-and-a-bit late…), this 45 RPM double LP shows off why it's a hi-fi show standard. Canadian McLachlan's vocals are inviting and intimate, sharing qualities with the likes of Lori Lieberman and Eleanor McEvoy while sounding nothing like them. The recording is sublime too, particularly notable its palpable sense of atmosphere and natural-sounding lower registers. There is a dichotomy in this release, however, which sounds like a pop music version of a Gainsborough Pictures costume drama, but covers much darker topics. That said, if you're a sucker for distaff singer-songwriters, you'll love it." — Sound Quality = 90% — Ken Kessler, HiFi News, January 2019

Three of Sarah McLachlan's biggest pop hits mark her fourth studio album Surfacing. Released in July 1997, just as the first Lilith Fair tour hit the road, McLachlan benefitted enormously from the timing. Her face was on the cover of magazines across America and Canada; Surfacing reached No. 2 on the U.S. Billboard 200 — a remarkable feat considering that its predecessor, Fumbling Towards Ecstasy, peaked at No. 50.

Now, hear Surfacing on its definitive vinyl version — two 180-gram LPs cut at 45 RPM by legendary mastering engineer Bernie Grundman from the original analog tapes. The premium LPs plated and pressed by Gary Salstrom and the crew at Quality Record Pressings are paired with a deluxe gatefold Stoughton Printing tip-on jacket. The 45 RPM pressing gives you four sides with a reduction in groove curvature and decreased distortion as your cartridge nears the center of the record. That's a major sonic advantage!

There's the requisite number of gorgeously melodic and deeply heartfelt songs here, writes reviewer Jeff Bateman — the addictive "Sweet Surrender," the Hollywood-style ballad "I Love You," the sad, profound "Angel," the flat-out spectacular "Witness." "Adia" and "Angel" were Top 5 hits; "Building a Mystery" hit the Top 15 and "Sweet Surrender" became a Top 30 hit.

The album won four Juno Awards including for Album of the Year. "Building a Mystery" was awarded the Grammy Award for Best Female Pop Vocal Performance, while the instrumental-only song "Last Dance" won the Grammy Award for Best Pop Instrumental Performance.

McLachlan's bittersweet album proves again that what she and producer Pierre Marchand release is cut from the finest of cloth. The Analogue Productions/QRP pressing reissue treatment delivers sonics and luxury packaging second to none for discerning collectors.

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Analogue Productions' Blue Note and Nat "King" Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
"…if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out!" – David W. Robinson, Positive Feedback, Issue 52

"…the Nat King Cole LPs are astonishingly beautiful, particularly played through my new Wilson Maxx3's. They make me cry." – Max Paley, Acoustic Sounds customer

Nat "King" Cole and arranger Gordon Jenkins followed their hit album Love Is The Thing with The Very Thought Of You, foraging further into romantic and sensual bliss and creating the audio equivalent of a distillation of romantic ardor in a bottle. The sixteen ballads of The Very Thought Of You, each with their own euphoric tinge, include the title track "The Very Thought of You," "For All We Know," "Paradise," and "But Beautiful." Again orchestrated with the heavenly strings of the distinctive Gordon Jenkins, sympathetically backing the intimately expressive and supremely musical voice of the incomparable Nat "King" Cole, the result again stands among its era's finest, most stylistically defining recordings of popular music and continues to enchant listeners to this day.

Using the original 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning wide-range potential and beauty of these recordings. Original releases contained 14 tracks, omitting two superb tracks recorded for the album, "Don't Blame Me" and "There Is No Greater Love," due to space constraints, but the full 16 tracks are included in this double 45-RPM 180-gram album set.

Originally released in 1958.

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Mastered by George Marino at Sterling Sound
"…these are all truly classic Verve titles that you simply don't want to miss…most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!" Winner of a 2012 Positive Feedback Online Writers' Choice Award – Danny Kaey, Positive Feedback Online, November/December 2011

Arranged by Frank DeVol and enlivened by what the liner notes described as the "sensitive, poignant saxophone solos of Stan Getz" on four tracks, Like Someone In Love was targeted at "people in love." But its real audience, then as now, was anyone who loves timeless songs impeccably sung. What was timeless in 1957 still is.

Originally released in 1957.

Ella Fitzgerald, vocals
Stan Getz, tenor saxophone
Ted Nash, alto saxophone

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Willie's 1978 take on his favorite pop standards
Includes his classic versions of "Stardust" "Georgia On My Mind" and others
Mastered from the original analog tapes by Bernie Grundman
180-gram double LPs plated and pressed by Quality Record Pressings!
Heavyweight gatefold tip-on old-style jacket from Stoughton Printing

"While more expensive, Analogue Productions' 45RPM reissue makes the piano seem more life-sized and restores all the overtones missing from the earlier reissues — all the while delivering enhanced percussion detail and tauter bass. I'm certain that somewhere ahead of the master tape, recording engineers Bradley Hartman and Donivan Cowart slowed down the tape in places for effect. Listen to the opening bars of 'September Song' where the knobs got turned a little too slow. No matter. Analogue Productions' Stardust again earns a super disc designation by today's higher standards." — 5/5 stars, Dennis Davis, vinylreviews.com. Read the whole review here.

"This is a vocal record that even opera lovers treasure. … these were unexpected vocal knockouts from a shaggy source. … The 45 RPM pressing on 180g vinyl shows the impeccable care that Analogue Productions lavishes on all its reissues. The higher speed means shorter sides (in this case, 45 minutes of music spread over two discs), and while it may be an audio mirage, the sound is more alive, more present than on a 33 1/3 RPM LP." — Editor's Pick, Recording Of The Month — Performance = 5/5; Sonics = 5/5 — Robert Baird, Stereophile, March 2018

Willie Nelson has long been honored as a genuine legend, and his songs and concerts are loved worldwide. Though his roots are in country, Willie's musical influences are as broad as the Texas skies, unlimited to any one genre.

"These are my favorite songs. My favorite all-time songs," Willie says. "I knew there were millions of people who liked these songs and would love to hear them again. I grew up with them… they're some of the first songs I learned to play."

Here is the familiar Stardust, yet in a way so striking from any versions that have come before. For starters, for this Analogue Productions reissue we turned to the masters, literally. We insisted on the master tapes and no less a skilled mastering engineer than the award-winning Bernie Grundman to cut the lacquers for this project. Then, naturally, we put Gary Salstrom and his crew at Quality Record Pressings to work to plate and press the finest-sounding 180-gram LPs. We bring them to you housed in a heavyweight tip-on, old style gatefold jacket from Stoughton Printing. Unmatched quality; unmatched sound — that's the way Analogue Productions rolls.

It turned out that Willie had some convincing to do to get his record label on board with Stardust. "Why be predictable?" Willie asked Columbia Records executive Nick Blackburn, after the latter resisted the Red Headed Strangers decision to make an album of classic pop tunes.

Willie ultimately scored big-time with this quintessential addition to his album catalog. The songs — Moonlight in Vermont, All of Me, Don't Get Around Much Anymore — are lovingly arranged here by Booker T. Jones of Green Onions fame and recorded in Nelson's inimitable style in Emmylou Harris' house.

Booker T's trademark sound set the mood for the sessions. Willie and cohorts mine a mellow groove here, sounding as if Willie is at home, sitting on his porch overlooking the beautiful Texas hill country.

Nelson's Stardust remains a genius-level creation as well as the icon's most commercially successful release, a truly gorgeous record infused with ultimate respect for composers and lyrics and many of the finest performances of Willie's career.

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Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer.
Two 45 rpm LPs pressed on 180-gram vinyl at Quality Record Pressings/Also on Hybrid Multichannel SACD
Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings!
The Doors self-titled 1967 release famously contains some incorrect speed and pitch issues. While there have been "corrected" versions made, in the interests of being historically accurate, this Analogue Productions reissue was cut without speed or pitch correction.

"… To be honest, these are better than I ever dreamed rock music from the sixties could sound. I want to thank everyone at Analogue Productions for bringing me such sweet sounds from some of my favorite music ever. My highest recommendation!" — Jack Roberts, dagogo.com, September 2012

One of rock music’s most famous debuts, The Doors self-titled 1967 smash is legend. And now it becomes the kick-off for a positively stunning reissue series from Analogue Productions and Quality Record Pressings!

The Doors was born after Jim Morrison and Ray Manzarek — who'd met at UCLA's film school — met again, unexpectedly, on the beach in Venice, CA, during the summer of 1965. Although he'd never intended to be a singer, Morrison was invited to join Manzarek's group Rick and the Ravens on the strength of his poetry. The group later changed its moniker, taking their name from Aldous Huxley's psychotropic monograph "The Doors of Perception." The band signed to Elektra Records following a now-legendary gig at the Whisky-a-Go-Go on the Sunset Strip.

The Doors' arrival on the rock scene produced a string of hit singles and albums destined to become clasics. Belting out a standard like “Back Door Man” or talk-singing such originals as “The Crystal Ship,” and “I Looked at You,” one reviewer wrote that leather-clad frontman Morrison exuded “both sensuality and menace.”

The Doors reached Billboard’s No. 2 slot and delivered the No. 1 signature smash “Light My Fire” plus “Break On Through,” “The Crystal Ship,” and “The End.”

Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman —  are featured on 180-gram vinyl, pressed at 45 rpm. All six are also available on Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.

A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby!

This is no time to wallow in the mire. The Doors are on Analogue Productions!

Originally released in 1967

Ray Manzarek, keyboards

Jim Morrison, vocals

John Densmore, drums

Robby Krieger, guitar

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Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer.

Two 45 rpm LPs pressed on 180-gram vinyl at Quality Record Pressings/Also on Hybrid Multichannel SACD

Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings!

"… This double 45 offers incredible dynamics, beautiful detail and just comes alive in my room. The drums are so dynamic and alive it is startling on some cuts. Morrison's voice is right there with all its power and gravel. It never breaks up, but simply sounds so right. … To be honest, these are better than I ever dreamed rock music from the sixties could sound. I want to thank everyone at Analogue Productions for bringing me such sweet sounds from some of my favorite music ever. My highest recommendation!" — Jack Roberts, dagogo.com, September 2012

Sinister, beguiling … these were words reviewers used to describe The Door’s melodic psychedelic-era genre-blending sound. A mix of blues, Eastern music, classical and pop fueled hits such as the bluesy “Love Me Two Times” and “People Are Strange” from The Door’s debut follow-up, Strange Days.

Strange Days featured a smattering of edgy recitations (“Horse Latitudes”) and smoky rockers (“My Eyes Have Seen You”). Morrison’s rallying cry “We want the world, and we want it now!” from the ambitious extended track, “When the Music’s Over,” marked a touchstone for that era’s counterculture movement. Rolling Stone described Strange Days as having “all the power and energy of the first LP, but (it’s) more subtle, more intricate and much more effective.”

Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman —  are featured on 180-gram vinyl, pressed at 45 rpm. All six titles are also available on Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.

A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby!

This is no time to wallow in the mire. The Doors are on Analogue Productions!

Originally released in 1967

Ray Manzarek, keyboards

Jim Morrison, vocals

John Densmore, drums

Robby Krieger, guitar

The post The Doors – Strange Days appeared first on ארמה אודיו.

Mastered by Doug Sax and overseen by Bruce Botnick, The Doors producer/engineer.

Two 45 rpm LPs pressed on 180-gram vinyl at Quality Record Pressings/Also on Hybrid Multichannel SACD

Deluxe gatefold jacket

Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings!

The title track from this, the last Doors album recorded with Jim Morrison, who died shortly after it was released, has, said one reviewer, “maybe the best Chuck Berry riffs since the Stones.” And that’s not even mentioning “Love Her Madly,” which became one of the highest charting hits for The Doors.

“Love Her Madly,” was written by Doors guitarist Robbie Krieger, who is said to have penned the song about the numerous times his girlfriend threatened to leave him.  The song peaked at No. 11 on the Billboard Hot 100 singles chart  and reached No. 3 in Canada.

L.A. Woman was still high on the charts when, like in the lyric “actor out on loan” of its closing track — the celebrated “Riders on the Storm,” Jim Morrison died in a Paris bathtub in the summer of 1971.

Via such tracks as “The Changeling,” “Crawling King Snake,” and the frothy, rollicking title track, the collection leaned heavily toward the Blues — in particular, Morrison’s boastful “Lizard King” brand of it. All-in-all, Rolling Stone proclaimed L.A. Woman, “The Doors’ greatest album, including their first,” and “A landmark worthy of dancing in the streets.”

Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman —  are featured on 180-gram vinyl, pressed at 45 rpm. All six are also available on Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.

This is no time to wallow in the mire. The Doors are on Analogue Productions!

Originally released in 1971

Ray Manzarek, keyboards

Jim Morrison, vocals

John Densmore, drums

Robby Krieger, guitar

Technical notes about the recording process by Doors producer/engineer Bruce Botnick:

"Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate.

"If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room.

"When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters."

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Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer.

Two 45 rpm LPs pressed on 180-gram vinyl at Quality Record Pressings/Also on Hybrid Multichannel SACD

Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings!

Waiting For The Sun, The Doors’ third album and its first chart-topper, delivered the No. 1 signature smash “Hello, I Love You” and the Top 40 hit “The Unknown Soldier.”

Slant Magazine proclaims that Waiting For The Sun contains some of The Doors’ prettiest, most genial lilts: “Love Street,” a fictionalized sketch of the Bohemian street where Morrison lived with his wife, Pamela Courson; the wistful “Summer's Almost Gone,” which includes the lovely refrain, “Morning found us calmly unaware/Noon burned gold into our hair”; and the placid piano ballad “Yes, The River Knows.” More and more, says Slant, Morrison was starting to emulate one of his idols, Frank Sinatra — “after all, they had an insatiable taste for women and alcohol in common.”

Waiting For The Sun was also some of The Doors' most combative, political work. "The Unknown Soldier" was a barefaced antiwar attack, a reaction to the Vietnam-era hostilities brewing on the home front.

Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman —  are featured on 180-gram vinyl, pressed at 45 rpm. All six titles are also available on Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.

A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby!

This is no time to wallow in the mire. The Doors are on Analogue Productions!

Originally released in 1968.

Ray Manzarek, keyboards

Jim Morrison, vocals

John Densmore, drums

Robby Krieger, guitar

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Mastered by George Marino at Sterling Sound

"The song selection is incredible, the musicians are world class, and the recording is wonderful. Many feel this was her best studio album and Analogue Productions has taken this great LP to a whole new level. They have given it to us on dynamic 45 RPM LPs and a dead quiet pressing. I really like this album and it's so nice to have such great music sounding so good. My highest recommendation!" — Jack Roberts, dagogo.com, September 2012

"…these are all truly classic Verve titles that you simply don't want to miss…most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!" Winner of a 2012 Positive Feedback Online Writers' Choice Award – Danny Kaey, Positive Feedback Online, November/December 2011

It is undeniable that Billie Holiday's singing changed in her later years. Her voice darkened and shifted to a lower range. Her economy of means distilled her sound to its expressive essence – a kind of heightened speech. The classic LP Songs For Distingue Lovers has also deepened and become burnished with time. Maybe it's that still-arresting word, "distingue"; maybe it's that iconic, tinted image of Lady Day on the cover. But now that legendary LP, with the singer's best studio work of the Fifties, is available at 45 RPM!

Originally released in 1957.

Billie Holiday, vocals
Larry Bunker, drums
Harry "Sweets" Edison, trumpet
Barney Kessel, guitar
Red Mitchell, bass
Joe Mondragon, bass
Jimmy Rowles, piano
Alvin Stoller, drums

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A historic record recorded just four years removed from the dawn of the analog tape era!
180-gram double LP set remastered by Ryan K. Smith at Sterling Sound from the original analog tapes and cut at 45 RPM!

Gatefold old-style "tip-on" jacket by Stoughton Printing

Plated and pressed at Quality Record Pressings!

"…while the 33 was a startler, the new (45 RPM) version — spread out on two LPs, to accommodate the wider grooves — will leave you breathless. There's more sparkle to Ellington's piano, more wood in Wendell Marshall's bass, more breath and reed and romance in Johnny Hodges' alto sax, more force in Jimmy Hamilton's hard-blown clarinet. Each player in the horn sections sounds more distinct; I hear more of Duke's playing, underneath those sections, too. And soloists — palpable enough in 33 1/3 RPM — are holographic at 45. In short, the 45 lets us hear more of the music, more of the detail, more of the human presence; it transports us more completely back in time." — Fred Kaplan, Stereophile.com, June 17, 2017. Read the whole review here.

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200-gram super silent pressing from Quality Record Pressings!
Never before released as a vinyl LP in the U.S.
Mastered by Kevin Gray at Cohearent Audio 

From the moment she first appeared in front of us on "Saturday Night Live" in 1979, Rickie Lee Jones has challenged her listeners and the establishment with an absorbing musical vision that defies border and classification. She rocked the culture of singer-song writerdom with her refusal to conform to the stayed and careful eloquence of the folk rock generation that came before her. Neither punk nor pop, she tottered on a thread of her own device, jazz — the old musical kind, and R&B — the Motown thread that permeates her work.

Her self-titled debut album, released by Warner Bros. in March 1979, had an immediate and profound impact in the music world and the culture at large, ultimately becoming a multi-million selling hit. Jones secured five Grammy Award nominations, including Best New Artist, which she won at the January 1980 ceremony. She won a second Grammy in 1989 for Best Jazz Performance for her duet with long time pal Dr. John on "Making Whoopee."

Traffic from Paradise, released in 1993, features contributions from Leo Kottke, David Hildago and Jim Keltner among others. Now it's being reissued by Analogue Productions as an LP in the U.S. for the first time in its history. Traffic from Paradise, her sixth full-length studio effort overall, was produced, mixed and recorded by an all-female crew and has the energy less of a committed feminist than a woman who has grown comfortable in her skin, and who once said that her vulnerability as an artist, and as a woman, made convention seem like the least of her problems.

The meditative and highly spiritual 10-song set consists of all Jones originals with a lone cover of David Bowie's "Rebel Rebel" being the only exception.

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200-gram gatefold double LP pressed at Quality Record Pressings!

"In some ways, this is even better than The Wall. Waters got a lot of top performers to play on the album, usually behind his singing and speaking of the lyrics …. Guitarist Jeff Beck is heard frequently in the album, with his special virtuosity on eight of the tracks. … (Waters is) certainly at his cynical best here – and without him Pink Floyd — never mind the general doom and gloom — wouldn't have been the top rock group it is and was." — Audiophile Audition, Jan. 12, 2016.

"Despite the bombast and conceit, this long-time audiophile favorite sounds outstanding in this 200-gram vinyl edition. Back in the day you needed some pretty heady drugs to make DSOTM sound this good, and the stellar line-up of musicians, with Jeff Beck on eight tracks, makes for a pharmaceutical-free audiophile amusement ride. The LP surfaces are dead quiet too, allowing you to hear every nuance of cricket chirp and dog bark." Recording = 9.5/10; Music = 8.5/10 – Dennis D. Davis, Hi-Fi +, Issue 128

"I have the original double vinyl issue of this, that until recently went for upwards of $600, and this reissue beats that one in every possible way … The QSound^TM "surround sound" is more intensely drawn, dynamics are staggering, deep bass is monumental and the depth and width of the cinematic soundstage is beyond that of every other record I can think of in my collection. The 200g QRP pressing I got (sealed) was perfectly quiet and flat and after sitting through all four sides I felt as if I'd experienced a 3D IMAX movie, only with greater sonic intensity and dimensionality." — Music = 9/11; Sound = 11/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here.

"Even if you have one of the original issue vinyl LPs, the new version of Amused to Death on the Analogue Productions label is an essential upgrade to your listening experience. Like The Division Bell and The Endless River vinyl LPs before it, Analogue Productions has kept their commitment for quality meticulously high with Amused to Death. The record pressing is uniformly excellent…" Paul Powell Jr., Brain Damage U.K. Pink Floyd News, August 2015.

An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Twenty-three years later, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated two decades ago. 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.

The 2015 2 LP 200-gram vinyl edition of Amused to Death features 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.

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