Search:lacquer

The inaugural chapter of a two-part epic. Get ready for an eclectic and unique modern twist fusion of proto- EBM, New Beat, Electro, Rave Breaks and early UK house, weaving together a tapestry of diverse influences. Experience the raw energy pulsating through potent basslines, driving each track forward with unstoppable force.

Meanwhile, deep and thought-provoking lyrical voice samples captivate the mind, inviting listeners to ponder existential questions and explore the depths of consciousness and creating innovative soundscapes leaving an indelible mark on the listener’s psyche. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid MAGENTA vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Intergalactic Noize Commander’s electrifying new EP blends elements of electro and electro-funk provoking a psycho dive into a cosmic journey. This sonic adventure unveils simple yet mysterious and dark sounds, transporting listeners to uncharted realms where pulsating rhythms collide with enigmatic melodies.

Experience a fusion of retro-futuristic vibes and captivating beats that resonate throughout the cosmos. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid GREEN vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany). Includes inmediate digital download.

Almax und Forte is a side project of Synths Versus Me and India Nardone. The 5 tracks of the debut EP are a puzzle of styles and unexpected disruptive compositions, resulting in an innovative new type of sound. The EP closes with a heavy remix by Ancient Methods, globally known for his banger industrial techno tracks. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany). Includes inmediate digital download.

Recorded in 1961 and released by Contemporary Records the same year, Maggie's Back in Town!! Is the second album released on the label by jazz trumpeter Howard McGhee. Also featured are the players Phineas Newborn Jr, Leroy Vinnegar and Shelly Manne. This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

"Today! is Skip James’ second album, originally released in 1966. The album features James solo on all but one track, “How Long,” which includes Russ Savakus on bass. This 180-gram LP pressed at QRP includes an obi with notes by Scott Billington, a paper-wrapped jacket and (AAA) lacquers cut from the original master tapes by Matthew Lutthans at The Mastering Lab. AllMusic asserts, “wonderful vocals, superb guitar and a couple of tunes with tasty piano make this essential.” "

Rockpile was a short-lived yet highly influential quartet, composed of Nick Lowe, Dave Edmunds, Billy Bremner and Terry Williams. Though Rockpile played together throughout the 1970s, the original 1980 release of Seconds of Pleasure was the only time the band was able to capture their magic on tape. Meshing the sounds of pub rock, power pop and rockabilly all through a blossoming new wave lens, Rockpile were renowned for their blistering live performances, which were brought to national attention on tours supporting Blondie, Bad Company, Van Morrison and Elvis Costello. Seconds of Pleasure has stood the test of time and cemented Rockpile as a one-album-wonder, but what a wonder it is! Featuring classics like Lowe’s pop-perfect “When I Write the Book” and “Play That Fast Thing (One More Time)” and Rockpile’s sole Billboard hit “Teacher Teacher,” Seconds of Pleasure remains a classic that should be found on the turntable of every music collector. Yep Roc is proud to announce a long overdue vinyl reissue of Seconds of Pleasure, pressed on yellow color vinyl and limited to 1,000 copies worldwide. The reissue was pressed at the state-of-the-art facilities of Citizen Vinyl in Asheville, North Carolina and the lacquer was cut by renowned mastering engineer Kevin Gray at Cohearent Audio. Over four decades later, Seconds of Pleasure has brought years of enjoyment and now has never sounded better!

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered from the Analogue Mix-Down Tapes of the Original Digital Recording by Bernie Grundman!
Ultra-Luxe "Monster Pack" Jacket with a Deluxe 16-Page Booklet & Striking Outer Slipcase!

New lacquers cut after each run of 500 pressings!

Strictly Limited to 5,000 Numbered Pressings!

Impex 1STEP #5 celebrates Patricia Barber's 1999 "return" to The Green Mill, Chicago's fabled jazz club. Conceived as a "companion" to her Grammy-winning studio album Modern Cool, Companion finds Barber and her touring band in inspired form, playfully and energetically performing hits and deep tracks from her celebrated oeuvre.

The dynamic interaction between the artist and her reverent audience adds a palpable sense of space and community. At the same time, the fans' hushed attention creates a studio-like sense of precision and detail. The snap and crackle of Barber, her grand piano, and her onstage partners practically leaps off the groove into your listening room!

Companion's fan-favorite reputation is enhanced immeasurably by Jim Anderson's jaw-dropping, lifelike recording. Eschewing the crystalline sterility of digital recordings of the time, Anderson's sound is always warm, natural, and lacking unforced "hype."

Like Anderson, Impex aims to present great recordings that are as natural as possible. And we couldn't wait to put our favorite Patricia Barber release, using Jim's analog mix-down master tapes, on 180 grams of VR900 Super Vinyl. The deep, inky black backgrounds and absence of surface noise will pull listeners right into those three evenings in 1999, capturing a seminal modern jazz artist at a creative and professional peak and reveling in a perfectly rendered and joyous audio time capsule.

Finally, our deluxe Impex Treatment packages the whole party with a lovely outer slipcase, a booklet containing a new note from Patricia, and a dazzling array of photographs from the evenings by frequent Barber collaborator Valerie Booth, exclusive to our 1STEP. Heavy paper stock with spot gloss coating and a faithfully recreated exterior design will satisfy original fans and aesthetes throughout the music-loving world.

True audiophile joy — now cut at 45 RPM 2LP for better tracking, exceptional bass!
Remastered by Kevin Gray at Cohearent Audio from the original master tapes
Plated and pressed on 180-gram vinyl at Quality Record Pressings!
Stoughton Printing gatefold tip-on heavyweight cardboard jacket


Praise for the 33 1/3 version of The Smoker You Drink, The Player You Get:

"(Side one) ends with the appropriately titled 'Happy Ways,' a Latin-tinged guitar-fest with lovely chunky bass lines that sounds absolutely glorious on this Analogue Productions pressing. The zing of steel string guitar almost sounds dead on the CD and tired on my ancient vinyl pressing, so this is clearly not one of those remasters that's based on an umpteenth generation copy of the tapes. ... You owe it to yourself to hear this album — and it will not sound any better than this spectacular pressing." — Recording = 8/10; Music 10/10 — Jason Kenedy, Hi-Fi+, Issue 148

"An outstanding new 180gm LP reissue from Analogue Productions, with improved sound thanks to a sparkling new remaster by Kevin Gray at Cohearent Audio, makes it clear that this 1973 release remains — with the possible exception of 1978's But Seriously, Folks . . . — the undisputed highlight of Walsh's solo career. ... Another week, another beautiful-sounding, wonderfully packaged reissue from Analogue Productions." Read the whole review here. — Robert Baird, May 2017

In between his stints with the James Gang and the Eagles, Joe Walsh tackled his second solo studio album The Smoker You Drink The Player You Get which became his most successful solo outing. The 1973 LP continued the heavy and light rock mix of tracks found on his previous release, Barnstorm.

Analogue Productions has done reissue justice to the album that AllMusic decries "features some of the most remembered Joe Walsh tracks, but it's not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone's standards."

To obtain the best sound possible we turned to Kevin Gray at Cohearent Audio to remaster this superb album from the original analogue tapes. Next we plated the lacquers and pressed LPs on 180-gram audiophile vinyl at the world's best LP maker, Quality Record Pressings. Top it all off with a deluxe Stoughton Printing gatefold tip-on jacket and you've got the makings for audiophile joy.

But would we stop there? Hardly. Now with our 45 RPM release, the best-sounding version of this rock music gem gives listeners an even richer sonic experience. 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.

This amazingly eclectic rock album has Joe's smash "Rocky Mountain Way," his hit "Meadows," plus "Bookends," "Wolf; Dreams" and more! Walsh's ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes.

ora’s most innovative modern exponent bathes in communion with a re-imagined classical guitar, unveiling a new and previously unsuspected musical universe. In a meeting between instruments, not traditions, these maestros emerge from quite different and distant musical worlds. Ballaké Sissoko’s kora tradition and lineage traverse the once powerful West African empire known as Kaabu. South African Derek Gripper’s roots are in European classical guitar but infused with a unique jeli music mastery that takes guitar’s modern history in a captivating new direction.

But we are not hearing these traditions in dialogue: these masters meet on the sonic groundings of the kora, instrument of the griots, resonant vessel of the sacred and profane, sound carrier of history and wisdom. Through two decades of commitment and study, it is to this terrain that Gripper brings his guitar to meet its multi-stringed cousin.

The two men do not share a spoken language, but if it is true that music speaks universally, then they were already involved in profound dialogue long before they met for the series of London concerts which yielded this recording session – a session which matches deep communion with sparkling improvisation, which pushes a living tradition into brand new sonic spaces, and opens a live and direct channel of communication between kora and guitar. In the complex web of theme and variations spun by Sissoko’s twenty-two strings and Gripper’s six, a new African string theory is elaborated.

“Musically we tested each other,” says Sissoko, explaining that the most magical aspect of their encounters are spontaneity. “We have the mastery of our instruments, the technique and a good ear. Derek is very curious, that’s very important.”

“He’s just such a good listener,” says Gripper about Sissoko. “It’s not what he plays, it’s how he plays it. He’s an amazing interpreter, the prime master of timbre.”

Recording by Taylor Pollock at Platoon Studios, London.
Mixed, edited and produced by Derek Gripper.
Mastered by Murray Anderson at Milestone Studios, Cape Town.
Produced for vinyl by Chris Albertyn and Matt Temple at Matsuli Music.
Mastered for vinyl and lacquers cut by Frank Merritt at The Carvery, London.
Vinyl pressed at Pallas GmbH, Germany.
Sleeve notes by Francis Gooding, French translation by Paulo Goncalves.
Cover design by Toby Attwell at Twoshoes, Cape Town.

Celebrating the 50th anniversary of Fania All Stars’ long-out-of-print album Latin-Soul-Rock, this reissue features (AAA) lacquers cut from the original master tapes and 180-gram vinyl. The star-studded roster includes the original line-up of the All Stars, and legends Jorge Santana, Mongo Santamaria, Manu Dibango, Billy Cobham and Jan Hammer. Live tracks are from the ’73 Live At Yankee Stadium and Roberto Clemente Coliseum concerts, including hits “El Ratón,” “Viva Tirado” and “Soul Makossa.”

Hampton Hawes, For Real! was recorded in 1958 but not released on the Contemporary Records label until 1961. Featuring Hawes (piano) alongside Harold Land (tenor sax), Scott LaFaro (bass) and Frank Butler (drums) the album includes a mixture of both jazz standards and originals. This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

"ECHOES PART 1 and 2 scheduled for release on 17th of May is the first of three singles set to introduce the next album project of Ulrich Troyer - TRANSIT TRIBE - to be released later this year.

Featuring the jazz vibes of Flip Philipp of the Vienna Symphony Orchestra, "ECHOES" has all the resonance of pure gamelan in dub, stately, processional and instrumentally rhythmic with its sparser second part isolating contrasting pulses as the complexity unfolds and dazzles.

Twenty years in the making, now the fully developed vision of multi-instrumentalist Vienna-based Ulrich Troyer can be heard coming to its final fruition. The interface of electronics and the unique warmth of human interplay is apparent on this track as well as all the other sounds to be heard on the album where a remarkable array of new and old friends contribute to the proceedings. Thematically the album, as may be gathered from its title, is a clear appeal for humanity to be shown as the people of the world struggle to cope with increasing problems, whether caused by movement or lack of movement."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,

now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Flip Philipp: vibraphone, c-marimba

Ulrich Troyer: analog synthesizers, drum-machine, sampler, field recordings, dub effects

Written & arranged by Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow except Vibraphone, C-Marimba recorded by Ulrich Troyer at Konzerthaus, Vienna

Mixed by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT)

Special Thanks: Steve Barker, Osman Murat Ertel, Eva Kelety & Flip Philipp

Identity Theft is the solo electronic music of Michael Buchanan, commencing in 2011 with the album Night Workers. He has previously released music on labels such as Oráculo Records, Treue Um Treue, Record Label Records, and Katabatik. Rooted in Düsseldorf-school electro with strong leanings towards the more abstract Krautrock origins of the genre, Omnia Vanitas presents the listener with a narrative arc moving beyond the ‘modern problems’ which previous Identity Theft work was concerned with (e.g. themes of surveillance and paranoia).

Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Neon Green Vinyl

Idealism Forever is the reissue of Digitalism's genre defining debut studio album from 2007. Now it will be released as a remastered 3 LP set with 2 x 12 " on coloured vinyl and 1 x 12" LP on etched vinyl with bonus tracks, a poster, spot lacquer paint, as a limited edition. The original album double LP is sold out for years.
To date the album tracks have been used in numerous games and commercials. They have been sampled and used in new song interpretations all around the world. The songs have millions of streams over the different platforms and never lost their appeal. The new analogue master of the album shows the songs in their best outfit and the bonus material, which originally was recorded while making the album back in the days, have never been heard before.

John Wright’s 1960 debut album “South Side Soul” was originally released on the Prestige label and recorded at Van Gelder Studios. Along with Wright (piano), the album features Wendell Robert (bass) and Walter McCants (drums). This new edition of the album is released as part of the OJC Series and is pressed on 180-gram vinyl at RTI with (AAA) lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio. It is presented in a Tip-On Jacket.

High quality lacquer cut LP in reverse board cover. It comes shrink wrapped with EAN sticker on shrink wrap.

After years out of press, Motorpsycho's 2001 masterpiece is back in stock on vinyl! Originally released in 2001, Phanerothyme was a brave sidestep in the band's career. By embracing 60's psychedelic pop sensibilities and turning down their heavier, grungier tendencies, Motorpsycho displays another of their seemingly endless facets. After many years out of press, Stickman Records is proud to finally offer an updated version of this LP! Features include: • 180gr. black vinyl pressed from brand new lacquer cut • reconstructed from the original master files by Helge Sten • revamped cover art • heavy duty inside-out printed cover • printed inner sleeves and color insert

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Of the countless accolades and analyses that surround Blue, no point is more significant than the fact that the 1971 Joni Mitchell album continues to become more popular, revered, referenced, and relevant with each passing day. Such vitality is not only extremely singular; it is the ultimate measure of great art and, in the context of Blue, indisputable proof of the record's accessibility, integrity, and timelessness. If the most brilliant and everlasting music seeks to find truths shared by all of humanity, Blue can be said to be universal doctrine.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl, and strictly limited to 12,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the landmark album with reference-grade detail, tonality, and directness. Marking the first time the beloved LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on definitive-sounding vinyl and SACD sets.

Everything about Blue sounds more intimate, involving, and inescapable on this transparent pressing, which benefits from a virtually non-existent noise floor and superior groove definition. Mitchell's voice, positioned front and center, and primarily accompanied by minimalist acoustic guitar, piano, and dulcimer playing, comes across clearly and prominently. Suspended notes and radiant chords double as question marks, commas, and phrases. The in-the-room presence and spatial dimensionality make absolute the full-range spectrum of introspective emotions — hurt and distress, self-awareness and joy, difficulty and uncertainty, warmth and desire — Mitchell navigates, queries, and contemplates throughout the record. The defencelessness the singer once spoke about is laid bare here like never before.

The packaging of the Blue UD1S set complements its distinguished status. Housed in a deluxe box, both LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. This UD1S reissue exists as a curatorial artifact for listeners who prize sound quality and production, and who desire to engage themselves in everything involved with the album, including the unforgettable cover photograph of a ruminative Mitchell shot by Tim Considine.

Deemed the third Greatest Album of All Time by Rolling Stone; universally celebrated by critics, fans, artists, and educators; and defined by a spell of disarmingly vulnerable songs that are at once confessional, intense, spare, honest, painful, hopeful, and exquisite, Blue charts love, spiritualism, independence, and loss like no record before or since. Widely considered the album that established the singer-songwriter template, the largely autobiographical LP changed everything shortly after its original release in June 1971. Amazingly, it continues to do so more than five decades later.

An incalculable influence on generations of artists, it stands as the through-line from Carole King, Elton John, James Taylor, Joan Armatrading, and Leonard Cohen to Patti Smith, Carly Simon, Emmylou Harris, and Rosanne Cash to 21st century contemporaries like Brandi Carlile, Taylor Swift, Sharon Van Etten, and Courtney Barnett. Teetering between agony and optimism, it is — to borrow a phrase from Mitchell's eternal "A Case of You" — a bottomless "box of paints."

The beauty of the stripped-down arrangements, intoxicating melodies, and Mitchell's wisdom on Blue didn't go unnoticed. Critical acclaim, coupled with the depth of the material and Mitchell's reputation, propelled the album into the Top 20 in the U.S. and Top 10 in the U.K. Yet while so much pop music diminishes with age, Blue has defied norms and headed in the opposite direction. Its 50th anniversary year witnessed an outpouring of tributes, reflections, and testimonials that helped frame the record's escalating importance and symbolism — apt in an age in which women have become the prominent trailblazers in rock, R&B, and hip-hop.

Perhaps most succinctly, in a 2021 article celebrating the LP, the Los Angeles Times declared: "In 1971, nothing sounded like Joni Mitchell's Blue. 50 years later, it's still a miracle." Nothing, indeed. Yet "miracle" suggests Blue partially owes to a divine agent or inexplicable circumstance. And though Mitchell's bracing conviction and forthright sincerity can appear otherworldly, her musical approach and lyrical storytelling is nothing if not personal and human. What we hear is pure truth — no matter how aching, complicated, or stark.

Much has been written about the circumstances that inspired the songs on Blue: Mitchell's romances; her time overseas; her disdain for celebrity; her lingering sense of loss at having given up her daughter for adoption; her treatment by the very same industry that her music made uncomfortable; her prolonged search for resolution. These situations and experiences pushed Mitchell to question everything — especially big-picture concepts that have always obsessed mankind: fulfilment, autonomy, love, honesty, being.

"I wanna make you feel free," Mitchell sings on the record-opening "All I Want." Mission accomplished. Blue is liberation — and the start of a freedom that continues to impact music, culture, and identity today.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

Recorded live at the Black Hawk, San Francisco in September 1959, At The Blackhawk 1 is the first of 4 volumes released in 1960. Featuring six cuts, Manne (drums), is joined by Joe Gordon (trumpet), Richie Kamuca (tenor sax), Victor Feldman (piano) and Monty Budwig (bass). This new edition of the album is released as part of the Contemporary Records Acoustic Sounds series and is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

Know What I Mean?” was originally released in 1960 as a collaboration between jazz saxophonist Cannonball Adderley and legendary pianist Bill Evans, along with the rhythm section of the Modern Jazz Quartet, Percy Heath (bass) and Connie Kay (drums). This new edition of the album is released as part of the OJC Series and is pressed on 180-gram vinyl at RTI with (AAA) lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio. It is presented in a Tip-On Jacket. "

Acoustic Sounds and Contemporary Records present this new reissue of Art Pepper’s 1960 album “Smack Up”. Recorded by legendary engineer Roy DuNann the album also features Jack Sheldon (trumpet), Pete Jolly (piano), Jimmy Bond (bass), and Frank Butler (drums). This new edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

After 10 years of silence, Regimen Galáctico Totalitario is the new release of the Mexican producer Dellarge, reknown as well for his experimental noise project I.N.R.I. (Indústria Nacional del Ruido Infinito). In this mini-album, Dellarge presents his vision of nowadays evolution of EBM towards a futuristic blend of breakbeat, industrial, and electro creating the perfect soundtrack for a futuristic apocalypse. Presented in a ONE-OFF, truly limited edition of 300 copies lacquered pressed on 180 gr. high-quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The third album of the amazing dub duo NORMAL BIAS, consisting of YAC (Piotr Krupiński) and 77 (Tomasz Karczewski). "LP3" is a kind of closure to the trilogy started in 2016. By inviting Dariusz Dudziński (drummer of the legendary Polish indie band Ewa Braun, currently Titanic Sea Moon) to participate in the recordings, the Normal Bias musicians create a symbolic loop centered on the hometown of all three artists - Słupsk - the place where it all began, where Tomek and Darek years ago they shared their bands' rehearsal space in the famous "independent garage" - a city whose spirit naturally became the leitmotif of the entire "LP3".

The album was mixed again by the duo themselves under the reliable supervision of Kwazar, and the mastering (including cutting the lacquer!) was entrusted to Stefan Betke - co-founder of the famouse ~scape label from Berlin, which can also be treated as a symbol. The graphics based on Martiszu's design were completed by a Znajomy Grafik.

The third album of the amazing dub duo NORMAL BIAS, consisting of YAC (Piotr Krupiński) and 77 (Tomasz Karczewski). "LP3" is a kind of closure to the trilogy started in 2016. By inviting Dariusz Dudziński (drummer of the legendary Polish indie band Ewa Braun, currently Titanic Sea Moon) to participate in the recordings, the Normal Bias musicians create a symbolic loop centered on the hometown of all three artists - Słupsk - the place where it all began, where Tomek and Darek years ago they shared their bands' rehearsal space in the famous "independent garage" - a city whose spirit naturally became the leitmotif of the entire "LP3".

The album was mixed again by the duo themselves under the reliable supervision of Kwazar, and the mastering (including cutting the lacquer!) was entrusted to Stefan Betke - co-founder of the famouse ~scape label from Berlin, which can also be treated as a symbol. The graphics based on Martiszu's design were completed by a Znajomy Grafik.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Hello, I Must Be Going! — Phil Collins' second solo studio album
Featuring "You Can't Hurry Love" and "I Cannot Believe It's True"
180-gram 45 RPM double LP release
Mastered by Chris Bellman at Bernie Grundman Mastering and cut to lacquer from a 1/4" EQ'd Dolby tape copy of the original master tape
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing



On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.

"First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)."

This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt, in a review for genesis

Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Impex Records is celebrating the 35th anniversary of this seminal audiophile classic with our final and finest collaboration with long-time partner and raconteur Jennifer Warnes. This ultimate authorized production of Famous Blue Raincoat is getting the complete Impex 1STEP treatment! After Bernie Grundman cuts the last lacquers, Jennifer's analogue master tapes will return to her personal vault for good.

Impex has always treasured our work with Ms. Warnes, from the original Famous Blue Raincoat 45 Box, The Well, The Hunter, and her latest LP, Another Time, Another Place. Each of these releases celebrates Jennifer's singular legacy of musical excellence combined with exceptional craft in coordination with the original production team of Jennifer, C. Roscoe Beck, and Bernie Grundman.

For FBR's ultimate release, Impex returned to Jennifer's first-generation analog "slave" master tapes and let Bernie work his magic within the laborious 1STEP mastering process on BG Mastering's tube-cutting lathe. We will cut as many refs and test pressings as needed to get the quietest surfaces and intimate detailing. Final discs will be pressed at RTI on VR-900 super vinyl, illuminating every note and nuance of this cherished masterwork.

The three 1STEP LPs and the elegant new 24-page booklet are housed in a deluxe four-sleeve Monster Pack tip-on jacket and booklet with metallic accents and spot gloss applications. Even if you have every version of this pop classic, you will find considerable value and new benefits from this unbeatable production!

The 1STEP Process:
The Impex 1STEP process relies on short, tightly controlled runs that require a new lacquer after each run of 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details, and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies, and increases signal integrity from the master tape to your system.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered From The Original Analogue Master Tapes by Bernie Grundman!
Super-Luxe "Monster Pak" Jacket with a Rich 36-Page Booklet & Striking Outer Slipcase!

New lacquers cut for every 500 pressings!

Strictly Limited To 7,500 Numbered Pressings!

There have been more than 40 U.S. releases (and hundreds more worldwide) of Stan Getz's cultural touchstone album and for good reason: few recordings better capture the breezy warmth and easy-going sophistication of Brazilian bossa nova for an American jazz audience. Fewer recordings can replicate the you-are-there presence and flawlessly tight studio acoustics. Only Getz/Gilberto has Billboard Top-10-charting singles like "The Girl from Ipanema." When Impex Records jumps into this densely-populated fray with our own production, we need to bring maximum value and prestige to it. Challenge accepted. We worked directly with Stan's wife Monica Getz and their son Nicolaus to create the most authentic, best-presented Getz/Gilberto ever.

Exclusive to Impex's 1STEP Getz/Gilberto includes an insightful new interview/essay by Charles Granata featuring Monica reminiscences of the making of this record, the subsequent cultural phenomenon, and Stan's battles with some pretty heavy demons. Also unique to this release are two bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" (without the added echo, thank you very much) and a live recording of "Corcovado" from Carnegie Hall. Finally, the large-format, 36-page booklet features dozens of rare photos, the original album notes, and a fascinating personal remembrance from Monica Getz herself, celebrating her late husband's work and an inside look at Stan's family life while making the record!

Using the original analog master tapes and no computers at all, Bernie Grundman at Bernie Grundman Mastering sought to keep the sense of space and tone on the master tape intact without unnecessary embellishment. Impex 1STEPs get you closer to the source, not the ideal.

We know you have many choices when it comes to enjoying this singular album. The Impex 1STEP of Getz/Gilberto cuts above all other releases with added-value content that takes you deeper into Stan Getz's life and process in a way never previously possible.

The 1STEP Process:



The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Features:



The only release of this fundamental jazz classic crafted with the full participation of the Getz family, including never-before-seen photos and notes from Monica and Nick Getz
Exclusive new interview essay about Getz's life and the recording of the album by noted producer and historian Charles L. Granata
Exclusive ultra-luxe Impex 1STEP packaging featuring a deluxe 36-page booklet within a heavy-stock two-sleeve Monster Pack jacket and striking colour-matched slip case
Two all-analogue bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" and a live recording of "Corcovado" from Carnegie Hall
Limited to 7,500 copies

Provocative percussion from the jazz trio Zen Widow!
Recorded live to 2-track analogue tape at Capitol Studios (CAP A)
Produced by Tone Poet's Joe Harley, recorded by Mike Ross
100% analogue mastering* by Kevin Gray at Cohearent Audio
Pressed on 180-gram ultra-quiet vinyl at RTI
Deluxe Old Style Tip-On single pocket gatefold jacket by Stoughton Printing

*Track 8 finished from high-resolution digital for vocal track
Intervention Records presents a special collaborative distribution effort with Italian objet-a records, Zen Widow IV – (from one dark age to another). This AAA 180G vinyl release is the fourth recording of Zen Widow, and it places an emphasis on highly melodic, spacious, and engaging treatments of medieval compositions ranging from Gesualdo Da Venosa, the Burana and Chantilly Codex, Welsh Gower folk melodies and texts, as well as the Bach Cello suites. These rich compositions are then reimagined through the lens of a highly accomplished and adventuresome jazz-improvised music trio.

Zen Widow is an international improvisational music-jazz super group. They have recorded and performed in clubs and festivals throughout the United States and Europe for that last 20 years. The trio consists of Gianni Gebbia (Bb soprano saxophone – cornettophone ) from Sicily, Italy, Matthew Goodheart (grand piano – transducer-actuated gong) from New York, Garth Powell (drums, percussion, and gongs) from Los Angeles, and is joined by special guest Dwight Trible (vocals) for this recording. Their previous release featured trumpet and jazz master Wadada Leo Smith, and like this recording was produced by Joe Harley (Blue Note – Tone Poet Series, Charles Lloyd, and Music Matters Jazz).

Garth Powell is also an audio industry legend, and AudioQuest’s Sr. Director of Engineering. Garth is the driving force behind the company’s multi award-winning line of Niagara series power conditioners and its Mythical Creatures ultra high-performance cables.

As powerful as these performances are, the sonic results created by this production/engineering team is equally stunning – a truly reference quality analogue experience.

This recording is captured live-to-two-track analogue, 30ips tape at Capitol Studios (studio “A”) by Mike Ross and Steve Genewick. 7 of the 8 tracks are AAA, while the last track alone is finished high-res digital to accommodate the vocal track. Mastering and lacquers cut by Kevin Gray at CoHEARent Audio, with 180-gram pressings by RTI (Camarillo, California).

The single-gatefold jacket is a deluxe Old Style “tip-on” from Stoughton, designed by Intervention’s longtime Art Director Tom Vadakan.

Champaign, Illinois band Hum is re-issuing its four-album catalog on vinyl with exclusive distribution by Polyvinyl Records. The band members oversaw every step of the re-mastering, lacquer cutting, and manufacturing stages while working with original designer Andy Mueller/Ohio Girl in updating the artwork. Each album is offered in a double-LP 180g set in black.

Recorded by Mark Rubel at Pogo Studio, Champaign, IL. Mixed by Brian Malouf at Pacifique, LA.
Licensed from Sony Music and re-mastered by Ryan Smith at Sterling Sound, New York.

Champaign, Illinois band Hum is re-issuing its four-album catalog on vinyl with exclusive distribution by Polyvinyl Records. The band members oversaw every step of the re-mastering, lacquer cutting, and manufacturing stages while working with original designer Andy Mueller/Ohio Girl in updating the artwork. Each album is offered in a double-LP 180g set in black.

Recorded and mixed by Brad Wood at Idful Studio, Chicago, IL.
Re-mastered by Ryan Smith at Sterling Sound, Nashville.
Offered in black 180g double LP at 45 rpm.

Champaign, Illinois band Hum is re-issuing its four-album catalog on vinyl with exclusive distribution by Polyvinyl Records. The band members oversaw every step of the re-mastering, lacquer cutting, and manufacturing stages while working with original designer Andy Mueller/Ohio Girl in updating the artwork. Each album is offered in a double-LP 180g set in black.

Recorded by Matt, Tim Lash, and James Treichler at Earth Analog, Tolono, IL.
Mixed by Tim Lash at ELL.
Mastered by Ryan Smith at Sterling Sound, Nashville.
Offered in black 180g double LP at 33 1/3 rpm.

Written, Produced, and Mixed by Jai Paul.
RECORDED AT HOME IN RAYNERS LANE, LONDON, ENGLAND.

Published by BMG Music Publishing Ltd. Except:

Str8 Outta Mumbai contains a sample of Bala Main Bairagan - Vani Jairam. Banner: Suchitra International Productions “Meera”. Music: Ravi Shankar. Lyrics: Meerabi. Licensing courtesy of UNIVERSAL MUSIC INDIA PVT. LTD.

Crush Written by Berny Cosgrove, Kevin Clark, Clifford Mueller and Andy Goldmark. P ublished by Warner/Chappell North America Ltd., Universal Music Publishing Ltd. and Shapiro Bertstein & Co. Ltd.

Baby Beat contains a sample of “All My Life” performed by K-Ci & JoJo. Courtesy of Geffen Records, A Division of UMG Recordings Inc., under license from Universal Music Enterprises.


Chix contains a sample from “Adagio For Strings, Op11.” as recorded by Leonard Bernstein and The New York Philharmonic, used courtesy of Sony Masterworks, a division of Sony Music Entertainment.

Lacquers cut by Scott Stratton at Bernie Grundman Mastering, Hollywood CA.

Released in 1996, A Dave Brubeck Christmas is a solo piano album by the renowned American jazz pianist and composer. Featuring Brubeck originals: “To Us Is Given” and “Run, Run, Run to Bethlehem,” the album also includes versions of the holiday favorites “Santa Claus Is Coming to Town,” “Winter Wonderland,” “Away in a Manger,” “Joy to the World,” “The Christmas Song,” “Jingle Bells” and more. This new 2-LP edition is released on 180-gram vinyl with lacquers cut at 45RPM by Ryan Smith at Sterling Sound.

The sophomore album from The Three O'Clock found the band further blending psychedelic pop with
contemporary sounds. Producer, Earle Mankey, encouraged the band in their experimentation. The
result yielded a college-radio hit, "Jet Fighter," which remains one of the group's most well-known
songs. Other standouts include, "A Day In Erotica," "Stupid Einstein," "Fall to the Ground," and their
version of the Bee Gees "In My Own Time". This album positioned the band at the forefront of the
Paisley Underground scene. Many fans and critics consider this to be their masterpiece. For the
album's 40th anniversary, the album was remastered by Bill Inglot and Dave Schultz. Additionally, the
band decided to update the cover art and give the album two front covers with no back cover. The LP
lacquer was cut at Bernie Grundman Mastering, and pressed at Citizen Vinyl on clear green vinyl

"Acoustic Sounds celebrates Contemporary Records with this new reissue of Curtis Counce’s 1957 album You Get More Bounce With Curtis Counce! Originally released in 1957 the album sees Counce (bass) alongside Jack Shelton (trumpet), Harold Land (tenor sax), Carl Perkins (piano) & Frank Butler (drums). Recorded by Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket. US import. "

As one of Britain's finest songsmiths of the 1960s and 1970s, Peter's voice continues to convey magic and emotion with a lustre of lysergic lyrical lacquer.

His brilliant 60's group Kaleidoscope were one of the great psychedelic groups to emerge from the U.K. during those heady days.

With infectious pop tunes laced with folk- rock jingle- jangle goodness and anapaestic lyrics that set them apart from many of their contemporaries, Kaleidoscope were vital as was too their more progressive folk early '70s incarnation as Fairfield Parlour. The band has often been spoken about with the same reverence reserved for Pink Floyd's Syd Barrett era, despite their lack of mainstream success.

This is a 50-50 collaboration with Mark Mortimer, formerly of DC Fontana and The Sorrows, who has always been a fan of Peter's work. Chelsea is more sonic expressionism from the two musicians; the songs are "psychedelic" in a sense without ever falling into the trap of being shoddy xeroxes of past glories. As Spill Magazine put it:"This is not a retro or throwback album. This is an album that may be ahead of its time." This is modern, forward-looking music that longtime Kaleidoscope fans will enjoy.

The album is produced by Julian Cope producer Donald Ross Skinner in London and Rick Reil in New York.

All Analogue Audiophile 180g Vinyl LP!
Remastered & Cut to Lacquer by Kevin Gray from the Original 1961 Analog Master Tape!

Mastered with the Original Analogue Master Tapes by Kevin Gray at Cohearent Audio!

Impex Records is pleased to announce a new, audiophile HQ-180 LP release of Bud Shank's pivotal 1961 classic, Barefoot Adventure.

Featuring original compositions arranged by Shank for Bruce Brown's surf film of the same name, this is a swinging, hard-driving jazz session by six top-flight musicians at the height of their careers: Bud Shank (alto and baritone), Bob Cooper (tenor), Carmell Jones (trumpet), Dennis Budimir (guitar), Gary Peacock (bass), Shelly Manne (drums).

The original Pacific Jazz recording features excellent sonics and showcases Shank at his most adventurous, playing with an advanced confidence and sophistication.

Remastered and cut to lacquer by Kevin Gray from the original 1961 analogue master tape, this ultimate vinyl edition of Barefoot Adventure will satiate the most demanding audiophile and jazz enthusiast alike!