Format > Classic Records

Dizzy Reese teams up with Hank Mobley, Wynton Kelly, Art Taylor and Paul Chambers to create a truly beautiful recording originally released in 1959. This is the lust Rudy Van Gelder Blue Note sound that makes this record $500 as an original pressing when they come on the market. If you are serious about Be Bop this is a must have on a Classic QUIEX SV-P pressing.

The Rake
I'll Close My Eyes
Groovesville
The Rebound
I Wished On The Moon
A Variation On Monk

Another '59 release, this is one of three official duet dates released on LP by these two. As usual, sparks fly between the dueling alto saxes when the "heir apparent" Woods is joined by the seemingly unknown and definitely under-recorded Quill. Arrangements pay homage to the masters with material from Sonny Rollins, Charlie Parker, Stan Getz and Dizzy Gillespie, none of which is foreign territory for any of the players. Another great Epic "Stereo-Rama" recording from producer Mike Berniker.

Doxie I
A Night In Tunisia
Hymn For Kim
Dear Old Stockholm
Scrapple From The Apple
Doxie II

A Blue Note catalog mainstay from it's debut in 1958, this was another early 12" originally released as "mono only." Now, transferred from the first-generation mono masters, the quintet sound is wide-open and spacious. The phrase "all star" does not begin to describe this recording collective. Complimenting Clark's piano are Art Farmer on trumpet. Jackie McLean handling alto, and a rhythm section consisting of Paul Chambers on bass and Phily Joe Jones behind the drums.

1. Coll Struttin'
2. Blue Minor
3. Sippin' at Bells
4. Deep Night

Originally released in 1955, The Voice is generally considered Sinatra's best full long-playing 12"disc from his Columbia years. Hear the styling that marked his transition from big-band singer to supplanting Bing as the male vocalist for the next 3 dec

I Don't Know Why
Try A Little Tenderness
A Ghost of A Chance
Laura
She's Funny That Way
Fools Rush In
That Old Black Magic
Spring is Here
Lover and Mo

On his first of many to come for Blue Note and what was also his album debut as a leader, trumpeter Hubbard at the tender age of twenty-two, made both a strong statement and lasting impression with Open Sesame. It’s a stunning debut that finds a very interesting mix of cats joining in on old and new but always invigorating tunes, all. Fellow youngster Tina Brooks lends his tenor and fresh ideas (Hubbard would return the favor the following week by joining Brooks on his now infamous bar-setting True Blue session) to the quintet while fast-rising McCoy Tyner, soon off to become a key component of the classic John Coltrane Quartet, makes a rare Blue Note appearance as a supporting player, on piano. Sam Jones’ bass and Clifford Jarvis’ drumming blend perfectly, especially on Hubbard’s original “Hub’s Nub” and the title tune plus a smokin’ version of “All Or Nothing Or All”. Mastered and cut on Classic’s ALL TUBE MONO cutting system and cutter head makes this the definitive version of this LP and possibly better than impossible to find original copies!

1.  Open Sesame
2.  But Beautiful
3.  Gypsy Blue
4.  All or Nothing at All
5.  One Mint Julep
6.  Hub's Nub

Often overlooked due to other tiles also released during Horace Silver’s peak period (1954-1965), Horace-Scope is a solid collection that holds up quite well today. It again features the fine tandem of Junior Cook’s tenor and Blue Mitchell’s trumpet who, by now, found their interplay becoming second-nature, almost telepathic. Other Silver regulars Gene Taylor and Ray Brooks handle bass lines and drum fills, respectively. Arrangements are spot-on, tight in the pocket and surprisingly ultra-soulful in the solo turns. It’s easy to think that the highlight of this album is Silver’s first attempt at his own “Nica’s Dream,” which had been debuted by Art Blakey three years prior, and it just might be. But equally intoxicating are the takes on “Strollin,’” “Without You” and the title tune, all of which Silver and Co. make totally their own. As part of the Classic Blue Note Signature LP Reissue Series this reissue was mastered and cut from the original analog master tapes on Classic’s ALL TUBE MONO cutting system and featuring authentic tip on jackets with film laminate front covers. Great record. Highly recommended!

Horace Silver Horace-Scope Track Listing

1. Strollin'
2. Where You At?
3. Without You
4. Horace-Scope
5. Yeah!
6. Me And My Baby
7. Nica's Dream

Pianist Parlan had found a level of relative comfort during 1960-61, recording with the same four musicians on five distinct Blue Note albums under various leaders’ names; three of them, his. With a front-line of the Brothers Turrentine; Tommy on trumpet (who’s lack of any albums under his own name for Blue Note or any other jazz label at the time is curious if not mind boggling) and his younger sibling Stanley on tenor (who eventually help write the book on Blue Note tenors), the band is rounded out with George Tucker’s bass and Al Harewood on drums. With Parlan’s relaxed but subtly swinging style holding it together and Big Stan’s thick tone, peppered with blues and soul inflections, songs such as “Wadin’”, “Oh So Blue” and the title tune sizzle. An interesting inclusion is a quick revisit by Parlan to his future jazz standard “Up In Cynthia’s Room”, which he had debuted on his trio set, Movin’ And Groovin’, just five months prior. . As part of the Classic Blue Note Signature LP reissue Series this reissue was mastered and cut from the original analog master tapes on Classic’s ALL TUBE MONO cutting system and featuring authentic tip on jackets with film laminate front covers. Great record – highly recommended!

Horace Parlan Speakin' My Piece Track Listing

1. Wadin'
2. Borderline
3. Up in Cynthia's Room
4. Rastus
5. Oh So Blue
6. Speakin' My Piece

Blue Note was very lucky (and astute) to have their Three Trumpeteers; Donald Byrd, Lee Morgan and Freddie Hubbard on the roster at the same time. Other labels were lucky (or dying to) to have one trumpeter of such caliber. Their combined, prolific output of albums, many of which attained classic status, is legendary. One constantly near the top of most lists is Byrd In Flight. Byrd decided to mix it up, with Jackie McLean (alto) on one date and Hank Mobley (tenor) on the second. Duke Pearson’s signature smooth piano work appears across the board as does the reliable drumming of Lex Humphries. Reggie Workman and Doug Watkins split duties on bass. Both sessions resulted in classic be-bop romps, mostly on originals such as Byrd’s Afro-Cuban tinged “Ghana” and “Lex”, a song dedicated to drummer Humphries. Pearson contributes three solids with “Gate City”, “Bo and My Girl Shirl”. The lone standard tackled, “Little Boy Blue” is given an intelligent yet playful injection of the quintet’s personalities. This Classic Blue Note Signature LP Reissue Series release was mastered and cut on Classic’s ALL TUBE MONO cutting system allowing the listener to hear the music as Rudy Van Gelder mixed and intended it to be heard – in PURE MONO with no “faux stereo” artifacts from using a stereo cutter head! As always this release features authentic tip on jackets with film laminate front covers. Try and find an original that looks and sounds this good at any price!

Donald Byrd Byrd In Flight Track Listing

1. Ghana
2. Little Boy Blue
3. Gate City
4. Lex
5. Bo
6. My Girl Shirl
7. Child's Play
8. Carol
9. Soulful Kiddy

MIKE OLDFIELD's TUBULAR BELLS: A quintessential ‘studio production’ in pop music lore, Mike Oldfield conceived an eclectic mix of both standard and odd instruments, along with classical and rock elements, to achieve a steadily building, layered texture, totally unheard of at the time. After being shopped and rejected at other labels, Richard Branson chose it as the first release for his Virgin Records in 1972. Originally tagged with the working title Opus 1, Oldfield, who had been playing and recording professional since his teens, oversaw the entire production and played most of the parts himself, eventually layering over thirty different instruments and sounds. Listeners had fun trying to identify each and remember the order they appeared, as the late Vivian Stanshall (Bonzo Dog Band) ceremoniously announced each as it joined the mix. The original LP eventually sold over 16 million copies and topped the UK charts for weeks. The eerie opening section was famously featured in the soundtrack to the motion-picture The Exorcist, winning the Grammy in 1974 for Best Instrumental Composition. The original master tapes were used to cut both the original issue and this reissue making the original issue hard to best. With Chris Bellman doing the mastering honors using Classic’s “all tube� cutting system and being pressed on Classic’s proprietary Super Vinyl Profile sheds new light on, and a slight nod to the Classic reissue of, this longstanding audiophile favorite.

1. Part One
2. Part Two

Which just about sums up the universal opinion of the first official live recording released by The Who. After repeated failed attempts on their 69-70 UK Tommy tour, the hall on the campus of Leeds University was intentionally scheduled for the main purpose of recording a live album. The results, although only six selections from a much longer performance, were a triumph. Riding the crest of the Tommy album and their monumental appearance at the Woodstock Festival, the original quartet of Townshend, Daltrey, Entwhistle and Moon channeled Mose Allison, Eddie Cochran and Chad Allen with cover versions of Young Man Blues, Summertime Blues and Shakin’ All Over respectively, while delivering expanded and stripped down versions that turned their own Substitute, Magic Bus and My Generation inside-out. A perfect mix, flaunting warts and all; amp noise, feedback and distortion…Who cares! This album ROCKS! All original artwork and packaging including all the "bits" are part of this Classic Records authentic reissue of the original Track UK release. Cut from the original two track master tapes (amp lead pops and all) at Bernie Grundman Mastering by Chris Bellman on Classic's "ALL TUBE" cutting system, this 200g Super Vinyl Profile pressing brings new insight into the genius in the nuance that has previously been obscured - even on original track pressings used for comparison in mastering. Recommendation not need - just buy it!

1. Young Man Blues
2. Substitute
3. Summertime Blues
4. Shakin' All Over
5. My Generation
6. Magic Bus

Considered the very first rock opera, this 1969 breakthrough recording from the genius of Pete Townshend was highly controversial upon its release. Originally banned by the BBC and by some U.S. radio stations, the underlying child abuse and molestation theme in the tale of the deaf, dumb and blind Tommy Walker was a startling, darker side to the former mod-rockers from Shepherds Bush. Highlighted at the Woodstock festival and film, the album peaked at # 4 on the Billboard chart. Townshend proved to himself and the world he could still attempt such a libretto and still rock!. It s pawned such Who staples as "Pinball Wizard," "The Acid Queen," "I'm Free" and "We're Not Gonna Take It / See Me, Feel Me." Ultimate movie, Broadway and concertized versions have kept its imaginative story and music in the forefront for the past three decades. Cut from the original two track quarter inch mater tapes provided by The Who on Classic's all tube stereo cutting system by Chris Bellman at Bernie Grundman Mastering in Hollywood. Pressed on 200g heavy weight vinyl and packaged in authentic tri-fold laminated sleeve including original booklet. This is a masterpiece in every way and an absolute must for all rock fans!

1. Overture
2. Its' A Boy
3. 1921
4. Amazing Journey
5. Sparks
6. The Hawker
7. Christmas
8. Cousin Kevin
9. The Acid Queen
10. Underture
11. Do You Think It's Alright?
12. Fiddle About
13. Pinball Wizard
14. There's A Doctor
15. Go To The Mirror!
16. Tommy Can You Hear Me?
17. Smash The Mirror
18. Sensation
19. Miracle Cure
20. Sally Simpson
21. I'm Free
22. Welcome
23. Tommy's Holiday Camp
24. We're Not Gonna Take It

The most famous bootleg in rock history, with the possible exception of Dylan's own Basement Tapes finally made its official appearance 32 years after the event, and nearly 30 years after it started circulating in the underground. Although often identified as a Royal Albert Hall show, this May 17, 1966, concert, in which Dylan played electric material in front of a British audience, was actually recorded in Manchester (hence the unwieldy title with quotes around "Royal Albert Hall"). Even those who've owned this recording for many a year should be tempted by this official package, as it has been expanded to include the eight electric rock songs from the original bootleg, but also the seven solo acoustic performances that comprised the first half of the show. It's all in great fidelity. More importantly, the electric half in particular is an important document of rock history. It captures the point at which Dylan was at his most controversial and hard rocking as he blazes through mid-'60s classics such as "Like a Rolling Stone" and "Ballad of a Thin Man," radical electric arrangements of songs that had originally been recorded acoustically ("One Too Many Mornings," "I Don't Believe You"), and the hard rocker "Tell Me, Momma," which Dylan never recorded in the studio. On top of everything else there's a 56-page booklet with a fine essay by Dylan's friend Tony Glover (a notable folk musician in his own right). This is not just an interesting adjunct to Dylan's '60s discography; it's as worthy of attention as anything else he recorded during that decade. Originally, transferred from the 1/2" analog mix down masters and cut on Classic's "all tube" cutting system by Bernie Grundman and released on 180g Classic vinyl, this re-release is the first time this, long out of print Classic Record, has been on 140g vinyl as well our proprietary 200 gram Super Vinyl Profile making it sound better than ever!

LP 1
1. She Belongs To Me
2. Fourth Time Around
3. Visions of Johanna
4. It's All Over Now, Baby Blue
5. Desolation Row
6. Just Like A Woman
7. Mr. Tambourine Man
LP 2
1. Tell Me, Momma
2. I Don't Believe You (She Acts Like We Never Have Met)
3. Baby, Let Me Follow You Down
4. Just Like Tom Thumb's Blues
5. Leopard-Skin Pill-Box Hat
6. One Too Many Mornings
7. Ballad of a Thin Man
8. Like A Rolling Stone

Classic live 2 LP album recorded in 1970 at the illustrious Fillmore East. Features an amazing 20-minute version of Whipping Post!

1. Statesboro Blues (McTell) - 4:17
2. Done Somebody Wrong (James/Levy/Lewis) - 4:33
3. Stormy Monday (Walker) - 8:44
4. You Don't Love Me (Cobbs) - 19:15
5. Hot 'Lanta (Allman/Allman/Betts/Johanson/Oakley/Trucks) - 5:17
6. In Memory of Elizabeth Reed (Betts) -13:04
7. Whipping Post (Allman) - 22:56

Put Thad Jones on trumpet supported by Billy Mitchell on tenor sax, Kenny Burrell on guitar, Tommy Flanagan on piano, Oscar Pettiford on bass and Shadow Wilson on drums and you get a great recording session. This sextet swings through tunes such as "Blue Room", "Little Girl Blue" and "Scratch" among others. This impossible to find Blue Note Mono has been faithfully reproduced and transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Another in the Classic Blue Note Signature Mono LP reissue series pressed with the authentic "deep groove" on Classic's proprietary 200g Super Vinyl Profile.

1. Blue Room
2. Tarriff
3. Little Girl Blue
4. Scratch
5. Zec

Kenny Dorham on trumpet, Hank Mobley on tenor Sax, Doug Watkins on bass and Art Blakey on Drums are the jazz Messengers supporting Horace Silver playing piano on tunes like "Creepin' In", "To Whom it May Concern" and "Doodlin'" to name three of seven tunes written by Silver for this the first Jazz Messengers Sessions recorded by Rudy Van Gelder. Another incredibly rare record that is worth hearing as a "True MONO" transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Another in the Classic Blue Note Signature Mono LP reissue series pressed with the authentic "deep groove" on Classic's proprietary 200g Super Vinyl Profile.

1. Room 608
2. Creepin' In
3. Stop Time
4. To Whom It May Concern
5. Hippy
6. The Preacher
7. Hankerin'
8. Doodlin'

Why do this title in STEREO when the MONO is generally the way the Classic Blue Note Signature Series titles are released and given that we've made such a big deal about how Van Gelder intended his recordings to be listened to in Mono? The answer is simply that the 2 - track tape sounds great and like "Somethin' Else" and "Blue Train" deserves its own treatment in addition to the mono release. The transfer by Bernie Grundman was done on Classic's "All Tube" Stereo cutting system from the original 2 - track master tape (the same tape used for the MONO release). Midnight Blue is one of those records that you just put on, sit back and relax. Burrell and a great band including Stanley Turrentine on tenor sax, Bill English on drums, Ray Barretto on conga and Major Holley Jr. on bass lay down tunes including "Mule", "Soul Lament", "Wavy Gravy", "Gee Baby Ain't I good for You" and "Midnight Blue" among others. Burrell is quoted as saying to Alfred Lion "I have always had a Love for the blues. In my earliest days in Detroit, I worked with groups that concentrated a great deal on the blues. And I wanted to get a group together for this session that can feel the blues the way I do." Pressed on Classic's own Quiex Super Vinyl Profile, this release, as part of the Classic Blue Note Signature LP Series is a must have. Also available in MONO cut from the same 2 - channel master tapes - summed into MONO per Rudy's instructions!

1. Chittlins Con Carne
2. Mule
3. Soul Lament
4. Midnight Blue
5. Wavy Gravy
6. Gee Baby Ain't I Good To You
7. Saturday Night Blues

Arguably one of Hank Mobley's biggest Blue Note releases and another in the Classic Blue Note Signature Series. Art Blakey, Freddie Hubbard, Wynton Kelly, and Paul Chambers sit in on "Roll Call", "My Groove Your Move", "Take Your Pick", "A Baptist Beat", "The More I see You", and "The Breakdown". This Van Gelder recording was transferred from the original two track master tape (same as for the mono) with cutting as usual done by Bernie "Be Bop" Grundman using Classic's "all tube" stereo cutting system and pressed on Quiex 200g Super Vinyl Profile.

1. Roll Call
2. My Groove Your Move
3. Take Your Pick
4. A Baptist Beat
5. The More I See You
6. The Breakdown

Midnight Blue is one of those records that you just put on, sit back and relax. Burrell and a great band including Stanley Turrentine on tenor sax, Bill English on drums, Ray Barretto on conga and Major Holley Jr. on bass lay down tunes including "Mule", "Soul Lament", "Wavy Gravy", "Gee Baby Ain't I good for You" and "Midnight Blue" among others. Burrell is quoted as saying to Alfred Lion "I have always had a Love for the blues. In my earliest days in Detroit, I worked with groups that concentrated a great deal on the blues. And I wanted to get a group together for this session that can feel the blues the way I do." Recorded by Rudy Van Gelder, this MONO release employs the original 2 - track master tapes with the channels "folded 50/50" per instructions on the tape box used and cut on Classic's "all tube" MONO cutting system (including MONO cutting amp and cutter head) at Bernie Grundman Mastering with Bernie "Bebop" Grundman doing the set-up and cutting. Pressed on Classic's own Quiex Super Vinyl Profile, this release, as part of the Classic Blue Note Signature LP Series is a must have. Also available on stereo cut from the same 1/4" 2-track master tapes!

1. Chittlins Con Carne
2. Mule
3. Soul Lament
4. Midnight Blue
5. Wavy Gravy
6. Gee Baby Ain't I Good To You
7. Saturday Night Blues

Arguably one of Hank Mobley's biggest Blue Note releases and another in the Classic Blue Note Signature Series. Art Blakey, Freddie Hubbard, Wynton Kelly, and Paul Chambers sit in on "Roll Call", "My Groove Your Move", "Take Your Pick", "A Baptist Beat", "The More I see You", and "The Breakdown". This Van Gelder recording was transferred from the original two track master tape heeding the instructions on the box to combine the two tracks 50/50 for the Mono. Cutting was by as usual done by Bernie "Be Bop" Grundman using Classic's "all tube" pure mono cutting system and pressed on Quiex 200g Super Vinyl Profile.

1. Roll Call
2. My Groove Your Move
3. Take Your Pick
4. A Baptist Beat
5. The More I See You
6. The Breakdown

Another in the series of Classic's Blue Note Signature Series, this Tina Brooks effort featuring Freddie Hubbard on trumpet, Duke Jordan on piano, Sam Jones on bass and Art Taylor on drums accompanying Brooks on Tenor Sax is phenomenal and features five tunes of the six written by Tina. The Rudy Van Gelder recorded full track mono tape was used for the mastering and transfer by Bernie "Be Bop" Grundman using Classic's "all tube" pure mono cutting system and pressed on Quiex 200g Super Vinyl Profile.

1. Good Ole Soul
2. Up Tight's Creek
3. Theme For Doris
4. True Blue
5. Miss Hazel
6. Nothing Ever Changes My Love For You

Classic reissued this title a few years ago in stereo from the original two track master tapes cut on our all tube cutting system by Bernie "Be-Bop" Grundman and pressed on a conventional 180g profile. Now we've gone back and cut it in Mono on our all tube MONO cutting system. Why? Because many argue persuasively that Van Gelder really recorded to two channels not for the stereo effect but for more control in the final MONO mix of the two channels. This recording features Tommy Turrentine on trumpet, Stanley Turrentine (brother) on tenor Sax, Horace on piano, George Tucker on bass and Al Harewood on drums. Tunes include the title track, and "Shoo Chee", "And that I am so in Love", "Al's Tune", "Ray C." (for Mr. Charles) and "Pyramid". Cut in Mono cut from the same two track master tape with the channels folded 50/50 as per Rudy's original notes to do so on the tape box. Also available in stereo from the same tapes. Both Pressed on Classic's uniquely better sounding 200g Super Vinyl Profile.

1. On The Spur of The Moment
2. Skoo Chee
3. And That I Am So In Love
4. Al's Tune
5. Ray C.
6. Pyramid

Classic reissued this title a few years ago in stereo from the original two track master tapes cut on our all tube cutting system by Bernie "Be-Bop" Grundman and pressed on a conventional 180g profile. Now we've gone back and cut it in Mono on our all tube MONO cutting system. Why? Because many argue persuasively that Van Gelder really recorded to two channels not for the stereo effect but for more control in the final MONO mix of the two channels. This recording features Tommy Turrentine on trumpet, Stanley Turrentine (brother) on tenor Sax, Horace on piano, George Tucker on bass and Al Harewood on drums. Tunes include the title track, and "Shoo Chee", "And that I am so in Love", "Al's Tune", "Ray C." (for Mr. Charles) and "Pyramid". Cut in Mono cut from the same two track master tape with the channels folded 50/50 as per Rudy's original notes to do so on the tape box. Also available in stereo from the same tapes. Both Pressed on Classic's uniquely better sounding 200g Super Vinyl Profile.

1. On The Spur of The Moment
2. Skoo Chee
3. And That I Am So In Love
4. Al's Tune
5. Ray C.
6. Pyramid

"Lou Takes Off" is not just one of the big money collectible Blue Notes for no reason. With a line up including Lou Donaldson on Sax, Curtis Fuller on trombone, Art Taylor on drums, Sonny "Cool Struttin'" Clark on piano and Donald Byrd on trumpet. The tunes on the LP include "Sputnik", "Dewey Square", Srollin' IN" and "Groovin' High". The Stereo version of this release was cut on the Classic "ALL Tube" stereo cutting system from the original "Stereo Master" tapes which were run simultaneously with the original "Mono Master" tapes in 1956 by Rudy Van Gelder used to cut the Mono version of this release on Classic's ALL TUBE MONO cutting system. The comparison is very interesting - buy both in the Classic Blue Note Signature LP reissue series and decide for yourself which you prefer.

1. Sputnik
2. Dewey Square
3. Srollin' In
4. Groovin' High

"Lou Takes Off" is not just one of the big money collectible Blue Notes for no reason. With a line up including Lou Donaldson on Sax, Curtis Fuller on trombone, Art Taylor on drums, Sonny "Cool Struttin'" Clark on piano and Donald Byrd on trumpet. The tunes on the LP include "Sputnik", "Dewey Square", Srollin' IN" and "Groovin' High". The Stereo version of this release was cut on the Classic "ALL Tube" stereo cutting system from the original "Stereo Master" tapes which were run simultaneously with the original "Mono Master" tapes in 1956 by Rudy Van Gelder used to cut the Mono version of this release on Classic's ALL TUBE MONO cutting system. The comparison is very interesting - buy both in the Classic Blue Note Signature LP reissue series and decide for yourself which you prefer.

1. Sputnik
2. Dewey Square
3. Srollin' In
4. Groovin' High

You to can be "Back on the Scene" with Bennie Green accompanied by Charlie Rouse on tenor sax, Louis Hayes on drums, Joe Knight on piano and George Tucker on Bass. As part of the Classic Blue Note Signature LP reissue Series, this title was cut on Classic's All Tube Mono cutting system from the original full track Mono master tapes by Bernie Grundman, pressed on Classic's exclusive 200g Super Vinyl Profile and packaged in an authentic tip-on cover making this a must have. Tunes include: "I Love You", "Melba's Mood","Just Friends", "You're Mine You", "Bennie Plays The Blues", and "Green Street".

1. I Love You
2. Melba's Mood
3. Just Friends
4. You're Mine You
5. Bennie Plays The Blues
6. Green Street

This is Harry Belafonte's favorite recording according to the liner notes and rightly so. The blues are close to Belafonte's heart and it shows in the way he delivers such tunes as "One for my Baby", "Cotton Fields" and "God Bless the Child" among others. This long out of print Classic Record is now back as a 200g Super Vinyl Profile re-release.

1. A Fool For You
2. Losing Hand
3. One For My Baby
4. In The Evenin' Mama
5. Hallelujah I Love Her So
6. The Way That I Feel
7. Cotton Fields
8. God Bless' The Child
9. Mary Ann
10. Sinner's Prayer
11. Fare Thee Well

Another of the famous and Ultra Rare 1500 series Blue Note titles that fetches over a thousand dollars as a mint original - good luck finding one! This installment in the Classic Blue Note Signature LP reissue series was cut on Classic's All Tube "Mono" cutting system by Bernie "Be Bop" Grundman and is authentically packaged in a tip on jacket with film laminate on the cover to replicate the original Blue Note gloss look and feel.

1. Cool Eyes
2. Shirl
3. Camouflage
4. Enchantment
5. Senor Blues
6. Virgo
7. For Heaven's Sake

Another installment in Classic's now famous Blue Note Signature LP Series. McLean is joined by Art Taylor on drums, Walter Bishop Jr. on piano, and Jimmy Garrison on Bass and delivers a great session of tunes including "What's New", "Let's Face the Music and Dance", "Stable Mates, "I'll Remember You", "I Love You", "I'll Take Romance", and "11th and Lenox". Recorded by Rudy Van Gelder and transferred from the original analog master tapes on Classic's All Tube MONO cutting system. You can try and buy one on eBay for $2000. Or get this authentic reissue for about 1.5% of that price - a bargain by any calculation.

1. What's New
2. Let's Face The Music And Dance
3. Stable Mates
4. I'll Remember You
5. I Love You
6. I'll Take Romance
7. 116th And Lenox

When Cannonball Adderley scheduled the 1958 recording of what was to be his only Blue Note LP, he called on his old employer from their days as quintet members on Columbia, Miles Davis. The reunion resulted in one of the greatest and most revered Jazz LPs ever: "Somethin' Else." The quintet delivers beautiful strong renditions of Autumn Leaves, Love For Sale, One For Daddy-O, Dancing In The Dark, and the title tune. Cut from the original first generation analog masters, it sizzles. Now Available in STEREO.

1. Autumn Leaves
2. Love For Sale
3. Somethin' Else
4. One For Daddy-O
5. Dancing In The Dark

Another of the fantastic Hank Mobley Blue Note recordings featuring Donald Byrd, John Jenkins (BN 1573), Bobby Timmons, Wilbur Ware and "Philly" Joe Jones. As part of the Classic Blue Note Signature Series this LP was cut from the original full track mono master tapes on an all tube mono cutting system and pressed on Classic's 200g Super Vinyl Profile. Tunes include "Fit for a Hanker", "Hi Groove, Low Feed-Back", "Easy to Love", "Time after Time" and "Dance of the Infidels".

1. Fit For A Hanker
2. Hi Groove, Low Feed-back
3. Easy To Love
4. Time After Time
5. Dane Of The Infidels
5. Where Am I?
6. D's Fink

Ironically, this album entitled: "Introducing Johnny Griffin" does not have tenor saxophonist Johnny, as a leader , but it gained Griffin a great deal of attention. Soon billed as "the world's fastest saxophonist," Griffin was also a superior ballad interpreter with a fairly distinctive tone of his own. With strong support given by pianist Wynton Kelly, bassist Curly Russell, and drummer Max Roach, Griffin romps through: Mil Dew (Griffin) Chicago Calling (Griffin), These Foolish Things, The Boy Next Door, Nice and Easy, It's Alright With Me and Lover Man. Recorded April 17, 1956 by the legendary Rudy Van Gelder directly to 1/4" Mono analog tape which was used at Bernie Grundman Mastering on Classic's all tube Mono cutting system. This is as close to the original as you'll ever likely get and it is pressed on Classic's proprietary 200g QUIEX SV- P (SUPER VINYL PROFILE).

1. Mil Dew
2. Chicago Calling
3. These Foolish Things
4. The Boy Next Door
5. Nice And Easy
6. It's All Right With Me
7. Lover Man

Originally released November 4, 1956 this album showcases some amazing sidework from Jo Jones and Horace Silver. Mastered from the original mono tapes.

1. Roccus
2. Reggie of Chester
3. The Lady
4. Little T
5. Gaza Strip
6. Stand By

Containing the monster hit "Take Five", Time Out firmly establishes the Dave Brubeck Quartet outside of the jazz world. This seminal recording is highlighted by the moody arrangements and saxophone work of Paul Desmond.

1. Blue Rondo A La Turk
2. Strange Meadow Lark
3. Take 5
4. 3 To Get Ready
5. Kathy's Waltz
6. Everybody's Jumpin'
7. Pick Up Sticks

Arguably one of the most influential titles from Coltrane and one of the greatest Blue Note releases ever. In 1957, right at the very start of his prestige recording period, 'Trane did this one-off set in New Jersey with Rudy Van Gelder with historic results. The recent reissue abundance of the title, re-packaged and enhanced in many ways, reveals the reverence put upon these sides. Transferred from the first-generation full track mono masters.

1. Blue Train
2. Moment's Notice
3. Locomotion
4. I'm Old Fashioned
5. Lazy Bird

Dial "S" for Sonny, Sonny Clark first session for Blue Note Records and his first session as a leader, is a terrific set of laidback bop, highlighted by Sonny Clark liquid, swinging solos. Sonny Clark leads a first-rate group -- Art Farmer (trumpet), Curtis Fuller (trombone), Hank Mobley (tenor sax), Wilbur Ware (bass), Louis Hayes (drums) -- through four originals and two standards, balancing the selections between swinging bop and reflective ballads. There are traces of Bud Powell in Sonny Clark style, but he's beginning to come into his own, developing a style that's alternately edgy and charmingly relaxed. Hank Mobley, Art Farmer and Curtis Fuller have their moments, but Sonny Clark steals the show in this set of fine, straight-ahead bop.

1. Dial S For Sonny
2. Bootin' It
3. It Could Happen To You
4. Sonny's Mood
5. Shoutin' At A Riff
6. Love Walked In

This is a particularly strong set from trumpeter Kenny Dorham, for it has the debut versions of "Lotus Flower," "Minor Holiday," and "La Villa," three of his most rewarding compositions. The first half of the set is Afro-Cuban in nature due to the inclusion of Carlos "Potato" Valdes' conga; also on the album are trombonist J.J. Johnson, Hank Mobley on tenor, baritonist Cecil Payne, pianist Horace Silver, bassist Oscar Pettiford, and drummer Art Blakey. Dorham has an all-star group of young hard boppers eager to play his challenging and memorable originals. Transferred from the first-generation full track mono masters.

1. Afrodisia
2. Lotus Flower
3. Minor's Holiday
4. Basheer's Dream
5. K.D.'s Motion
6. The Villa
7. Venita's Dance

Jutta Hipp, a talented German pianist, came to the United States in the mid-'50s and quickly gained some attention. Hipp's boppish music on the set is very enjoyable and swinging. Oddly enough, soon after this now impossible LP to find, she left the jazz world. Teamed up with great tenor Zoot Sims (who dominates the music), somewhat hesitant trumpeter Jerry Lloyd (who briefly came out of retirement), bassist Ahmed Abdul-Malik, and drummer Ed Thigpen, Hipp sounds excellent on a couple of basic originals and such standards as "Violets for Your Furs," "Almost Like Being in Love," and J.J. Johnson's "Wee Dot." This rare set is well worth picking up by straight-ahead jazz collectors. The Classic reissue was cut from the original full track mono master on our vintage "all tube" mono cutting system by Bernie "Bebop" Grundman.

1. Just Blues
2. Violets For Your Furs
3. Down Home
4. Almost Like Being in Love
5. Wee-Dot
6. Too Close for Comfort

1. Fuego
2. Bup A Loup
3. Funky Mama
4. Low Life
5. Lament
6. Amen

1. Witchcraft
2. Here I Am
3. Devil Whip
4. Bronze Dance
5. Clarion Calls
6. The Injuns

Maybe not exactly the first ‘Dizzy’ that comes to mind when discussing jazz, this Jamaican-born, British-raised trumpeter overcame whatever burdens that nickname may have wrought, to become a highly respected player in the New York scene. He enhanced that rep by recording some truly excellent albums for the Savoy, Blue Note and Prestige labels among others. Christened Alphonso Son Reece, his robust and passionate playing styles always seemed to inspire other musicians in his company. The contributions by the esteemed trio invited; pianist Walter Bishop, Jr., bassist Doug Watkins and drummer Art Taylor unilaterally match the front-man’s fire and bold approach to each tune. Straight-ahead bop versions of American Song Book greats “Our Love Is Here To Stay”, “Once In A While” and “(I Don’t Stand A) Ghost Of A Chance” standout, as does the Reece’s original composition, “ Blue Streak”. Another installment in the Classic Blue Note Signature LP reissue Series featuring authentic tip on jackets with film laminate front covers. Mastered and cut on Classic’s ALL TUBE MONO cutting system and cutter head makes this the definitive version of this LP and possibly better than impossible to find original copies!

1. I Don't Stand a Ghost of a Chance With You
2. Blue Streak
3. Once in a While
4. Eb- Pop
5. Yesterdays
6. Love Is Here to Stay

An overlooked gem at the time of release, Lee-Way has rocketed in status among jazz aficionados and is now considered one of Morgan’s finest outings. The stalwart quartet of Jackie McLean-alto, Bobby Timmons-piano, Paul Chambers-bass and the mighty Art Blakey on drums join forces with Lee on four elongated arrangements. Each is a tour-de-force in its own right, with everyone given a chance to really stretch out. The Lion And the Wolff is a playful tribute to two of the founding principals of Blue Note, Alfred Lion and Francis Wolff, with the other highlight being what could be, a definitive version of Cal Massey’s classic “These Are Soulful Days”. As part of the Classic Blue Note Signature LP reissue Series this reissue was mastered and cut from the original analog master tapes on Classic’s ALL TUBE MONO cutting system and featuring authentic tip on jackets with film laminate front covers. Great record – highly recommended!

1. These Are Soulfoul Days
2. The Lion and the Wolff
3. Midtown Blues
4. Nakatini Suite

This John Jenkins sessions as a leader features the altoist in a quintet with guitarist Kenny Burrell, pianist Sonny Clark, bassist Paul Chambers, and drummer Dannie Richmond. Sounding at times like Charlie Parker (with touches of Phil Woods and Jackie McLean), Jenkins easily keeps up with his better-known sidemen and plays the boppish music with plenty of creativity, emotion, and excitement. As part of The Classic Blue Note Signature Series, this release features authentic artwork, labels and non-groove guard 200g pressing. The lacquers were cut from the original full track, Rudy Van Gelder mono master tape by Bernie Grundman on Classic's all tube Mono cutting system which includes a custom full track mono tape head, mono cutting amp and specially modified and rebuilt lateral cutting only Westrex 3A cutting head. As Ron Rambach of Music Matters, our Blue Note Consultant would say - It doesn't get any better than this.

1. From This Moment On
2. Motif
3. Everything I Have Is Yours
4. Sharon
5. Chalumeau
6. Blues For Two

Another giant Van Gelder Blue Note Mono recording that is now part of the Classic Blue Note Signature Series. Cut from the original MONO masters on an all tube MONO cutting system and pressed on Classic's proprietary 200g Quiex Super Vinyl Profile. Griffin, on Tenor Sax is joined by Sonny Clark on piano, Paul Chambers on Bass, and Kenny Dennis on drums.

1. The Congregation
2. Latin Quarter
3. I'm Glad There Is You
4. Main Spring
5. It's Your or No One

This 1960 trio date was pianist Parlan’s first of many great releases for Blue Note. The Pittsburgh native, who overcame polio as a child that left his right hand crippled, had gained some serious props with his contributions on two of Charles Mingus’ best albums the year prior (Mingus Ah Um, Blues And Roots), and was now ready to step out on his own. Choosing to tackle mostly standards, Parlan channels his idol Bud Powell’s classic trio dates with the able assistance of Blue Note regulars Sam Jones, bass, and drummer Al Harewood. The result is an eclectic mix, interpreting the works of Tadd Dameron, Duke Ellington, Milt Jackson, and Burke-Van Heusen plus a Parlan original, “Up In Cynthia’s Room�, which became one of his signature pieces. This Classic Blue Note Signature LP Reissue Series release was mastered and cut on Classic’s ALL TUBE MONO cutting system allowing the listener to hear the music as Rudy Van Gelder mixed and intended it to be heard – in PURE MONO with no “faux stereo� artifacts from using a stereo cutter head! As always this release features authentic tip on jackets with film laminate front covers. Try and find an original that looks and sounds this good at any price!

1. On The Spur of The Moment
2. Skoo Chee
3. And That I Am So In Love
4. Al's Tune
5. Ray C.
6. Pyramid

Full Specifications: Audio-Technica AT-LP2D-USB

Turntable Features Drive Type Belt drive
Speeds 33.3rpm, 45rpm
Turntable Operation Full Automatic
Cartridge Type Dual Magnet
Features Hinged Detachable Dust Cover, Built-in Usb Audio Adapter
Signal To Noise Ratio 50 dB
Wow & Flutter 0.25 % WRMS

General Product Info Weight 7.5 lbs
Manufacturer Part No. AT-LP2D-USB
UPC 042005150076
Dimension 3.8 in x 14.2 in x 14.1 in (HxWxD)

-Portable turntable with protective dustcover and integrated carrying handle
-Fits inside a standard 12" record case
-Battery powered by 6 "D" cells (not included) or AC wall adapter (included)
-Built-in speaker
-33, 45, and 78 RPM settings w/ +/- 10% pitch control, ton and volume controls
-Plays all standard sized records up to 12"
-Line outputs and 1/4" and 1/8" headphone outputs
-Removable stylus
-45 RPM adapter included

With a backing band comprised of GiGi Gryce, Benny Golson, Wynton Kelly, Paul Chambers and Charlie Persip, Lee Morgan trumpets his way through one of the famed and highly desirable 1500 series Blue Note records. As part of the Classic Blue Note Signature Series this LP was cut from the original full track mono master tapes on an all tube mono cutting system and pressed on Classic's 200g Super Vinyl Profile. Tracks include: "Nasaan's Dream", "Domino" "I remember Clifford", "Mesabi Chant" and "Tip-Toeing". Not to be missed!

1. Hasaan's Dream
2. Domingo
3. Tip-Toeing
4. I Remember Clifford
5. Mesabi Chant

The third and final of the great Miles Davis-Gil Evans collaborations of 1957-59 was also their most ambitious. This set finds Davis in the forefront improvising on two numbers associated with Spanish music and three Evans compositions in that idiom. Much of the music is quite dramatic and emotional (notably Saeta) and plays at his best throughout, really stretching the boundaries of jazz.

Miles Davis Sketches of Spain Track Listing

1. Concierto De Aranjuez
2. Will O' The Wisp
3. The Pan Piper
4. Saeta
5. Solea

Sadly burdened with the trivia of being the last studio recording to feature drummer Keith Moon and thus closing the chapter on the band's original line-up, this 1978 release was also a major progression, not unlike what The Beatles and The Beach Boys undertook as they matured from their simple, rudimentary but still freakin' great early years.

In the three years since the release of Who By The Numbers, The Who foursome had undertaken solo projects and other individual interests. Finally reuniting after such an unusualy long hiatus, they recorded Who Are You between late 1977 and early '78, in a variety of London-area studios. Without a doubt, everyone in the world would have welcomed recycled Who akin to their first decade of hits. But simple, catchy rock riffs were to be superceded in more complex subjects and daring arrangements. Pete Townshend's observations of moving on and saying farewell (Sister Disco), the creative process (Guitar and Pen), FM radio and its banal recycled music (Music Must Change) and battles with alcohol (Who Are You) are some of his most poignant writings. Bassist John Entwistle contributes three songs, the most in any one Who album. 905, Had Enough and Trick Of The Light reflect some of his finest, often-overlooked, work.

The album peaked at No. 2 on the Pop chart in the U.S., most likely prevented from going No. 1 by to the Grease soundtrack. The lone single released, the title song Who Are You would become a concert staple, often expanded into a jam for Townshend's guitaristics, and then be licensed out in 2000 for the opening theme to the hit television show CSI: Crime Scene Investigations. This venerable Classic was re-mastered by Chris Bellman at Bernie Grundman Mastering in Hollywood from the original analog master tapes provided by The Who.

Track Listing

1. New Song
2. Had Enough
3. 905
4. Sister Disco
5. Music Must Change
6. Trick of the Light
7. Guitar and Pen
8. Love Is Coming Down

Sadly burdened with the trivia of being the last studio recording to feature drummer Keith Moon and thus closing the chapter on the band's original line-up, this 1978 release was also a major progression, not unlike what The Beatles and The Beach Boys undertook as they matured from their simple, rudimentary but still freakin' great early years.

In the three years since the release of Who By The Numbers, The Who foursome had undertaken solo projects and other individual interests. Finally reuniting after such an unusualy long hiatus, they recorded Who Are You between late 1977 and early '78, in a variety of London-area studios. Without a doubt, everyone in the world would have welcomed recycled Who akin to their first decade of hits. But simple, catchy rock riffs were to be superceded in more complex subjects and daring arrangements. Pete Townshend's observations of moving on and saying farewell (Sister Disco), the creative process (Guitar and Pen), FM radio and its banal recycled music (Music Must Change) and battles with alcohol (Who Are You) are some of his most poignant writings. Bassist John Entwistle contributes three songs, the most in any one Who album. 905, Had Enough and Trick Of The Light reflect some of his finest, often-overlooked, work.

The album peaked at No. 2 on the Pop chart in the U.S., most likely prevented from going No. 1 by to the Grease soundtrack. The lone single released, the title song Who Are You would become a concert staple, often expanded into a jam for Townshend's guitaristics, and then be licensed out in 2000 for the opening theme to the hit television show CSI: Crime Scene Investigations. This venerable Classic was re-mastered by Chris Bellman at Bernie Grundman Mastering in Hollywood from the original analog master tapes provided by The Who.

Track Listing

1. New Song
2. Had Enough
3. 905
4. Sister Disco
5. Music Must Change
6. Trick of the Light
7. Guitar and Pen
8. Love Is Coming Down

Seemingly snake-bit from the start, Big Star's pure innovation and creativity exploded onto the music scene with their first two albums, both of which would eventually become iconic in the American power pop lexicon. The Memphis quartet, originally founded by Chris Bell in 1971 and joined shortly thereafter by the legendary chameleon Alex Chilton, unfortunately would suffer due to personnel issues and distribution problems by their label, delaying their place in musical history. One of the ultimate cult bands in popular music, #1 Record and Radio City influenced countless ‘80s and ‘90s artists on both sides of the Atlantic, from Tom Petty to the Replacements and R.E.M. to England’s Primal Scream and Scotland’s Teenage Fanclub among others. Both titles placed within Rolling Stone magazine's poll of The 500 Greatest Albums of All Time. Big Star’s sophomore effort Radio City (1974) does feature a few uncredited contributions by Chris Bell but for the most part, this is Alex Chilton's baby. Critically acclaimed almost unanimously upon release, Radio City is now considered the band's masterpiece. The stop-and-start recording history, including the actual break-up and then reuniting of its members, only makes it that much more incredible. Features two of the group's most memorable songs with the infectious "Back Of A Car" and "September Gurls." Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood California directly from the original ¼” 2 track analog master tapes and pressed on Classic Records proprietary 200g Clarity Super Vinyl Profile II for maximum fidelity in playback!

Track Listing:

1. O My Soul
2. Life Is White
3. Way Out West
4. What's Going Ahn
5. You Get What You Deserve
6. Mod Lang
7. Back of a Car
8. Daisy Glaze
9. She's a Mover
10. September Gurls
11. Morpha Too
12. I'm in Love With a Girl

As part of the numerous compilations issued in conjunction with the major television documentary series The Blues, this is a collection of blues-oriented Hendrix recordings. There is a previous compilation of Hendrix's blues-oriented work in 1994, simply titled Blues. There is little repetition between Martin Scorsese Presents the Blues and Blues, though, and it works as a decent grouping of some of his bluesiest recordings for those listeners who want to plunge especially deeply into one facet of his repertoire. "Red House" and "Voodoo Chile" are by far the most celebrated tracks here. The fine Earl King cover "Come On (Let the Good Times Roll)" (from Electric Ladyland) is the only other song that came out in Hendrix's lifetime The other selections vary from inspired ("Hear My Train a Comin'," recorded in early 1969 with the original Jimi Hendrix Experience lineup, and a solo "Midnight Lightning") to straight ahead jams, with Hendrix's imaginative virtuosity and affinity for the blues evident. This being a posthumous Hendrix release, it couldn't be complete without a couple of previously unissued tracks to tempt the completists, Those are the 1969 outtakes "Georgia Blues," on which Hendrix is actually more like a backing musician for Lonnie Youngblood (who takes lead vocals), and "Blue Window," a nearly 13-minute outing that gives vent to his jazzier tendencies, the arrangement also featuring organ, three saxophones, and two trumpets. The liner notes about Jimi's blues record collecting habits by mid-'60s girlfriend Faye Pridgon are pretty cool. A must for Hendrix LP lovers.

Track Listing:

Side 1

Red House
Voodoo Chile

Side 2

Come On (Let The Good Times Roll)
Georgia Blues*
Country Blues

Side 3

Hear My Train A Comin'
It's Too Bad

Side 4

My Friend
Blue Window*
Midnight Lightning

*previously unreleased

Seemingly snake-bit from the start, Big Star's pure innovation and creativity exploded onto the music scene with their first two albums, both of which would eventually become iconic in the American power pop lexicon. The Memphis quartet, originally founded by Chris Bell in 1971 and joined shortly thereafter by the legendary chameleon Alex Chilton, unfortunately would suffer due to personnel issues and distribution problems by their label, delaying their place in musical history. One of the ultimate cult bands in popular music, #1 Record and Radio City influenced countless ‘80s and ‘90s artists on both sides of the Atlantic, from Tom Petty to the Replacements and R.E.M. to England’s Primal Scream and Scotland’s Teenage Fanclub among others. Both titles placed within Rolling Stone magazine's poll of The 500 Greatest Albums of All Time.

Big Star's brilliant debut #1 Record (1972) sustains a '60's British feel mixed with a Memphis edge and it's the band's only full album to feature founding member Chris Bell. The layered twin alpha-male harmonies are slightly reminiscent of Lennon and McCartney's early Parlophone sides. The two singles, "When My Baby's Beside Me" and "Don’t Lie To Me" reveal surprisingly elegant songwriting from talented young songwriters while the track, "In The Streets," would later be resurrected and slightly reworked as the theme to the television sitcom That 70's Show. Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood California directly from the original ¼” 2 track analog master tapes and pressed on Classic Records proprietary 200g Clarity Super Vinyl Profile II for maximum fidelity in playback!

Track Listing:

1. Feel
2. The Ballad of El Goodo
3. In the Street
4. Thirteen
5. Don't Lie To Me
6. The India Song
7. When My Baby's Beside Me
8. My Life Is Right
9. Give Me Another Chance
10. Try Again
11. Watch the Sunrise
12. ST 100/6

Arguably one of the most influential titles from John Coltrane and one of the greatest Blue Note releases ever. In 1957, right at the very start of his prestige recording period, 'Trane did this one-off set in New Jersey with Rudy Van Gelder with historic results. The recent reissue abundance of the title, re-packaged and enhanced in many ways, reveals the reverence put upon these sides. Transferred from the first-generation two track masters. Now available on Classic Records Clarity Vinyl SVP-II 200g as a Single Sided 45RPM Deluxe Box Set Release.

Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% of the highest quality co-polymer available, a key component in vinyl pellets used for manufacturing vinyl records. Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP’s. Carbon Black contains trace metals that become magnetized and cause “electrical distortions” in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the “electrical distortions” and thus bring more “Clarity” to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.

45RPM records have long been recognized as providing a higher fidelity musical experience resulting purely from the cartridge being able to extract more of the nuance from the complex vertical and horizontal groove modulations in stereo LP’s. Further, Classic Records 45RPM “single sided” pressings dramatically reduce the mechanical resonances created by the cartridge during playback by allowing these resonances to be more fully transmitted to and absorbed by the turntable platter. Classic Records Clarity Vinyl 45RPM pressings are designed and manufactured to provide the “LOWEST DISTORTION” in every aspect of LP playback resulting in putting the listener as close to the music as possible.

This title is not eligible for further discount.

Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% of the highest quality co-polymer available, a key component in vinyl pellets used for manufacturing vinyl records. Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP’s. Carbon Black contains trace metals that become magnetized and cause “electrical distortions” in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the “electrical distortions” and thus bring more “Clarity” to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.

45RPM records have long been recognized as providing a higher fidelity musical experience resulting purely from the cartridge being able to extract more of the nuance from the complex vertical and horizontal groove modulations in stereo LP’s. Further, Classic Records 45RPM “single sided” pressings dramatically reduce the mechanical resonances created by the cartridge during playback by allowing these resonances to be more fully transmitted to and absorbed by the turntable platter. Classic Records Clarity Vinyl 45RPM pressings are designed and manufactured to provide the “LOWEST DISTORTION” in every aspect of LP playback resulting in putting the listener as close to the music as possible.

This title is not eligible for further discount.

Gounod: Faust
Bizet: Carmen

Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% of the highest quality co-polymer available, a key component in vinyl pellets used for manufacturing vinyl records. Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP’s. Carbon Black contains trace metals that become magnetized and cause “electrical distortions” in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the “electrical distortions” and thus bring more “Clarity” to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.

45RPM records have long been recognized as providing a higher fidelity musical experience resulting purely from the cartridge being able to extract more of the nuance from the complex vertical and horizontal groove modulations in stereo LP’s. Further, Classic Records 45RPM “single sided” pressings dramatically reduce the mechanical resonances created by the cartridge during playback by allowing these resonances to be more fully transmitted to and absorbed by the turntable platter. Classic Records Clarity Vinyl 45RPM pressings are designed and manufactured to provide the “LOWEST DISTORTION” in every aspect of LP playback resulting in putting the listener as close to the music as possible.

This title is not eligible for further discount.

By 1969, after releasing a 'mother lode' of Mothers of Invention classics, leader Frank Zappa was ready to breakthrough other musical barriers that were still holding popular music in a conservative headlock. Being one if not the first album to be recorded using 16 tracks (twice the number being used at the time on both sides of the Atlantic), Hot Rats became a leading edge in both modern recording technology and the evolution of jazz/rock-fusion. Mostly instrumental, it features six original compositions; three loose jam pieces, the remainder being tight ensemble arrangements. Some of the finest players around come together in varying combinations, all-the-while showcasing Frank Zappa's guitar virtuosity. Among others, Lowell George of Little Feat-fame lends guitar, jazz violinists extraordinaire Don 'Sugarcane' Harris and Jean-Luc Ponty plus fellow Mother Ian Underwood's keyboard and woodwind work, complete the leader's advanced vision. Last but not least, the legendary Captain Beefheart brings his unique pipes to the infamous "Willie The Pimp." Soon to become a concert staple and fan favorite thereafter, "Peaches En Regalia" is truly a modern jazz standard, eventually covered by the likes of Phish and The Dixie Dregs. Also included are "Son of Mr. Green Genes," "Little Umbrellas," "The Gumbo Variations" and "It Must Be A Camel." Mastered and cut directly from the original analog master tape by Bernie Grundman under the supervision of Gail Zappa.

Frank Zappa Hot Rats Track Listing

1. Peaches en Regalia
2. Willie the Pimp
3. Son of Mr. Green Genes
4. Little Umbrellas
5. The Gumbo Variations
6. It Must Be a Camel

A must have two-sided 12" single of Roy Orbison's legendary "Pretty Woman" cut from the original analog master tapes on an all tube cutting system in stereo at 33 and 45 RPM and pressed on Classic Records Clarity Vinyl SVP-II 200g.

Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% of the highest quality co-polymer available, a key component in vinyl pellets used for manufacturing vinyl records. Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LPs. Carbon Black contains trace metals that become magnetized and cause electrical distortions in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the electrical distortions and thus bring more clarity to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.

Track Listing:

1. Pretty Woman (33 RPM)
2. Pretty Woman (45 RPM)

Fronted by Dee Snider, Twisted Sister rocked the clubs of New York and Long Island for over a decade before they hit the big time in 1984 with their Billboard Top 20, triple-platinum release Stay Hungry. The group’s signature mix of hard rock, heavy metal, pop, and outrageous theatrics fully connected with audiences on the album’s pair of fist-pumping Top 40 anthems and MTV staples “I Wanna Rock” and “We’re Not Gonna Take It.” Features the hit album’s original nine-song sequence, remastered from the original multi-track tapes to sound hungrier and better than ever. Also includes a limited-edition bonus poster.

Track Listing:

1. Stay Hungry
2. We’re Not Gonna Take It
3. Burn In Hell
4. Horror-Teria/Captain Howdy/Street Justice
5. I Wanna Rock
6. The Price
7. Don’t Let Me Down
8. The Beast
9. S.M.F.