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  • Beethoven: Violin Sonata Op. 96 & Op. 25 Beethoven: Violin Sonata Op. 96 & Op. 25 Quick View

    $34.99
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    Beethoven: Violin Sonata Op. 96 & Op. 25

    200-Gram Vinyl Plated And Pressed At Quality Record Pressings


    Mastered By Kevin Gray At Cohearent Audio


    Stereophile's Recording of the Month For February 1984


    Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984


    David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.


    Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.


    The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.


    David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.


    Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.


    The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.

    1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
    2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
    3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
    4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
    5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
    6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
    7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso
    David Abel & Julie Steinberg
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue Light 'Til Dawn (Pure Pleasure) Blue Light 'Til Dawn (Pure Pleasure) Quick View

    $49.99
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    Blue Light 'Til Dawn (Pure Pleasure)

    Cassandra Wilson started out as a jazz singer, doing gigs with several innovative bands (including Brooklyn's experimental M-Base collective) and at the same time recording typical jazz-singer let-me-entertain-you stuff - Night and Day and Blue Skies and shooby dooby dooby. Eventually the Mississippi-born New York-based vocalist, who reigned among the elite jazz singers of the 1980s, became restless, and began to look beyond torch songs for inspiration.




    Musicians:



    • Cassandra Wilson (vocal)

    • Don Byron (clarinet)

    • Olu Dara (cornet)

    • Brandon Ross, Chris Whitley (guitar)

    • Charlie Burnham (violin, mandocello)

    • Kenny Davis, Lonnie Plaxico (bass)

    • Tony Cedras (accordion)

    • Lance Carter, Bill McClellan (drums, percussion)



    Format: 2 LPs 33rpm / gatefold sleeve



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. You Don't Know What Love Is
    2. Come On In My Kitchen
    3. Tell Me You'll Wait For Me
    4. Children of the Night
    5. Hellhound On My Trail
    6. Black Crow
    7. Sankofa
    8. Estrellas
    9. Redbone
    10. Tupelo Honey
    11. Blue Light 'Til Dawn
    12. I Can't Stand The Rain
    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Center Stage (200 Gram Vinyl) Center Stage (200 Gram Vinyl) Quick View

    $34.99
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    Center Stage (200 Gram Vinyl)

    200-Gram Vinyl Plated And Pressed At Quality Record Pressings


    Mastered By Kevin Gray At Cohearent Audio


    Lowell Graham Conducts The National Symphonic Winds


    Recorded To 2-Track, Half-Inch 30 Inch-Per-Second Tape Via Modified Studer Tape Deck


    Selections From The Stage, Screen And Olympic Fanfare


    New from Wilson Audiophile Recordings, Center Stage, featuring Lowell Graham conducting the National Symphonic Winds


    These recordings were made in a historic concert hall on the campus of Hampton University in Hampton Roads, Va. The history of the hall parallels somewhat New York's Carnegie Hall. The musicians in the National Symphonic Winds come from the premier military bands of the United States as well as the Virginia Symphony Orchestra. The result was a superb mix of seasoned and assured professionals for this single, five-hour recording session.


    Lowell Graham, a graduate of the University of Northern Colorado, was also the first to be awarded the Doctor of Musical Arts degree in orchestral conducting from the Catholic University of America. He has led orchestras and bands in performances throughout the world, and he's the current conductor and commander of the United States Air Force Tactical Air Command Band.


    Recorded with minimal miking (Sennheiser), directly to 2-track half-inch, 30 ips tape using arguably the finest 2-track analog recorder in the world - the Wilson Ultramaster - a highly-modified Studer tape deck with custom-designed electronics designed by John Curl. To accomplish this difficult, time pressure recording, the recording engineering skills of the renowned Bruce Leek were employed.


    The extreme dynamic range of the music remains intact as well as the soundstage and timbre of the ensemble remaining completely natural. There is no added enhancement to the concert hall's natural reverberation. When raising the volume, be careful as these real world dynamics can be harmful to playback equipment if care is not taken.


    The musical repertoire was chosen to be user-friendly, vivid, colorful and impactful. Selections from Tony-winning stage classics Barnum, West Side Story and Oklahoma are joined by compositions from John Williams, including Olympic Fanfare composed for the 1984 Olympic Games. Selections from the Walt Disney favorite Mary Poppins include Spoonful of Sugar, Chim Chim Cheree and more. These significant recordings hold a distinctive place in the audio and musical world.

    1. Olympic Fanfare, Bugler's Dream
    2. The Cowboys (arr. J. Curnow for wind ensemble)
    3. Oklahoma! (excerpts) (arr. W. Barker for wind ensemble)
    4. Barnum (excerpts) (arr. B. Lowden for wind ensemble)
    5. Mary Poppins (excerpts) (arr. I. Kostal and A. Reed for wind ensemble)
    6. West Side Story (excerpts) (arr. W.J. Duthoit for wind band)
    Lowell Graham & National Symphonic Winds
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Little Deuce Coupe Little Deuce Coupe Quick View

    $34.99
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    Little Deuce Coupe

    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Released just one month after the Surfer Girl album, Little Deuce Coupe was, incredibly, the Beach Boys' fourth album in less than a year. Brian Wilson and the band responded by turning in arguably their most consistent effort to date - and a concept album, to boot.


    Little Deuce Coupe expanded the band's subject matter to encompass 1963 America's burgeoning love affair with hot rods, surrounding previously released cuts such as the title track, 409, and others with strong new material (much of it cowritten by Wilson and a DJ, Roger Christian). A highpoint: the a cappella James Dean tribute A Young Man Is Gone (a reworking of Bobby Troup's beautiful Their Hearts Were Full of Spring), a prime example of Wilson's arranging genius and the band's vocal prowess. Their Hearts Were Full Of Spring had been a standard for the vocal group The Four Freshmen, whose lush and distinctive jazz-based vocal arrangements had a huge influence on Brian's musical development.


    Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.


    Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.


    The Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines!


    All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.

    1. Little Deuce Coupe
    2. Ballad Of Ole' Betsy
    3. Be True To Your School
    4. Car Crazy Cutie
    5. Cherry, Cherry Coupe
    6. 409
    7. Shut Down
    8. Spirit Of America
    9. Our Car Club
    10. No-Go Showboat
    11. A Young Man Is Gone
    12. Custom Machine
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Debussy / Brahms / Bartok: Sonatas For Violin And Piano Debussy / Brahms / Bartok: Sonatas For Violin And Piano Quick View

    $34.99
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    Debussy / Brahms / Bartok: Sonatas For Violin And Piano

    200-Gram Vinyl Plated And Pressed At Quality Record Pressings


    Mastered By Kevin Gray At Cohearent Audio


    This is perhaps the most exquisitely natural recording ever made. All in all, this Wilson record is a triumph of the analog recording art. - International Audio Review


    David Abel, violin. Julie Steinberg, piano. Perhaps the most transcendent of David Wilson's brilliant recordings, this remarkable album of solo violin accompanied by piano comes as close to putting the two performers in the listening room as any ever made, writes The Absolute Sound, of Sonatas for Violin & Piano.


    Recorded on Wilson's Ultramaster Recorder, built by John Curl, and using a spaced pair of Schoeps microphones driving vacuum tube electronics, the recording has a close perspective that heightens transparency and engagement as well as wonderfully capturing the beautiful tonality of Abel's Guarnerius violin and Steinberg's Hamburg Steinway without exaggerating their size.


    The duo performs these works as if they are one. - The Absolute Sound, July/August 2013

    1. Violin Sonata No. 1 in G Major, Op. 78_ I. Vivace ma non troppo play
    2. Violin Sonata No. 1 in G Major, Op. 78_ II. Adagio play
    3. Violin Sonata No. 1 in G Major, Op. 78_ III. Allegro molto moderato play
    4. Violin Sonata in G Minor_ I. Allegro vivo play
    5. Violin Sonata in G Minor_ II. Intermede_ Fantastique et leger play
    6. Violin Sonata in G Minor_ III. Finale play
    7. Roman nepi tancok (Romanian Folk Dances), BB 68 (arr. for violin and piano)
    David Abel & Julie Steinberg
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sound Of Wilson Pickett (Speakers Corner) The Sound Of Wilson Pickett (Speakers Corner) Quick View

    $34.99
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    The Sound Of Wilson Pickett (Speakers Corner)

    Wilson Pickett's best years were those when he recorded for Atlantic Records, and he remained convinced of this even after changing to other labels in his later career. Atlantic boss Jerry Wexler took the promising young Gospel singer under his wing and launched him on his rapidly developing career as an unruly soul man. Pickett's aggressiveness, which in his mature years occasionally resulted in him having backstage fights with musicians and managers, are expressed here in strong words and are given further bite by his antagonistic band. Although he lashed out to the full in his emotional, crackling vocal attacks, he never lost control and even his strongest outbursts remained highly musical. His unique, breathless sound and his ferocious efforts to express himself succinctly do not make for easy listening on this superb hit record and for white people, who according to Pickett would never understand soul music anyway, could well present a real challenge. Is this such fascinating music that you become dumbstruck? Very possibly, as critic Joachim von Mengershausen writes: »His voice is hard, aggressive and strained; it hardly binds the tones together, chops up the phrases, blurts out the essentials - Pickett has eliminated all the Uncle-Tom warmth in soul and has virtually rocked it away.«

    Musicians:



    • Wilson Pickett (vocal)

    • Spooner Oldham (piano, organ)

    • Andrew Love (tenor saxophone)

    • Floyd Newman (bassoon)

    • Gene Miller, Wayne Jackson (trumpet)

    • Jimmy R. Johnson, Chips Moman (guitar)

    • Junior Lowe (bass)

    • Roger Hawkins (drums)





    Recording: 1967 at Fame Recording Studios, Muscle Shoals (Alabama, USA), by Rick Hall & Tom Dowd

    Production: Jerry Wexler





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    1. Soul Dance Number Three

    2. Funky Broadway
    3. I Need A Lot Of Loving Every Day
    4. I Found A Love, Part 1
    5. I Found A Love, Part 2
    6. You Can't Stand Alone
    7. Mojo Mamma
    8. I Found The One
    9. Something Within Me
    10. I'm Sorry About That
    11. Love Is A Beautiful Thing
    Wilson Pickett
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Frogtown Frogtown Quick View

    $40.99
    Buy Now
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    Frogtown

    Anthony Wilson, best known as a jazz guitarist, has released an organic, occasionally 'noir-ish'-sounding album on which he sets up and sings within cinematic musical landscapes, proving himself to be an equally compelling story teller. Frogtown is an area of Los Angeles, whose official name is Elysian Valley. People live there but other than a lush stretch of the L.A. riverbed, there's not much there, which is how the people like it. The same can't be said of this record, which will have you wondering from where came this Anthony Wilson? ... the album's sound and the deftly drawn arrangements (for some reason uncredited) perfectly compliment Wilson's dreamy, rural intentions (producer Joe Harley gets a 'audio consultation' credit). The sound achieves a rare level of transparency, delicacy and three-dimensionality in today's hard-edged audio world. Bernie Grundman cut lacquers from what I assume were high resolution files. I doubt you'll ask yourself 'why buy the vinyl?' after your first listen. - Music = 10/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com.


    Frogtown, a new album of original instrumental and vocal songs, is guitarist Anthony Wilson's widest-ranging work to date, and his debut as a vocalist. Wilson enlisted Grammy-winning producer/bassist Mike Elizondo (Gary Clark Jr., Kimbra, Ry Cooder), a longtime friend and musical colleague, to help him realize this collection of layered and personal sonic stories.


    Featuring a cast of renowned musicians - drummers Jim Keltner and Matt Chamberlain, violinist Petra Haden, and keyboardists Patrick Warren and Josh Nelson - each song on Frogtown evokes a distinct feeling and landscape, and takes the listener someplace new. Virtuosic guitar and ensemble work, well-made songs and detailed arrangements, and intimate vocals are the driving forces of the album.


    An album highlight is the song Your Footprints - written by Wilson with songwriter Dan Wilson (Adele, Taylor Swift, Semisonic) - featuring a special guest appearance from iconic jazz saxophonist Charles Lloyd. The collaboration with Lloyd alludes to Wilson's deep jazz roots, and evokes memories of his father, the late, great composer/bandleader Gerald Wilson. Other songs summon varied musical influences - FM radio of the 1970's, Ry Cooder's diverse body of work, children's rhymes, guitar styles from the 1920's to the present day.


    Frogtown travels into, through, and beyond genres; the album's melodies and lyrics guide the listener through tender and complex emotional landscapes. Anthony Wilson steps confidently into the center of the frame for this musical and personal portrait.

    1. She Won't Look Back
    2. Frogtown
    3. Your Footprints
    4. Occhi di Bambola
    5. Silver and Flint
    6. Our Affair
    7. The Cares of a Family Man
    8. Mopeds
    9. Arcadia
    10. The Geranium
    11. Shabby Bird
    12. I Saw It Through The Skylight
    13. Downtown Abbey
    Anthony Wilson
    $40.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • California Feeling Featuring the Words and Music of Stephen Kalinich and Friends (On Sale) California Feeling Featuring the Words and Music of Stephen Kalinich and Friends (On Sale) On Sale Quick View

    $17.99 $14.21 Save $3.78 (21%)

    Buy Now
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    California Feeling Featuring the Words and Music of Stephen Kalinich and Friends (On Sale)

    Featured artists:

    Carnie & Wendy Wilson

    The Honeys

    Rachel & The Reindeerz

    Carl B. Wilson

    Stephen Kalinich

    and many more


    Plus A Special Tribute To The California Music Sound By Stephen Kalinich

    Side 1

    1. Intro - Chaos Band

    2. California Feeling - The Honeys

    3.III Crestmont Rd - Stephen Wrigley featuring Glen Richardson

    4. Contemplating Life - Dan Knutson

    5. Everything's Exploding - John Tiven

    6. A Time TO Live In Dreams - Probyn Gregory

    7. Touch Your Skin - Carl B. Wilson


    Side 2

    1. Rainbows - Jez Graham

    2. Little Bird - Carnie & Wendy Wilson

    3. A Friend Like You - Stephen Wrigley with Glen Richardson

    4. Child of Winter - Rachel & The Raindeerz

    5. You're The Beautiful - Alan Boyd

    6. I Feel God- Dane Conover / Popgems

    7. Stevie Nobody - MC Kalinich

    8. Be Still - Chaos Band

    Various Artists
    $17.99 $14.21 Save $3.78 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • But Beautiful (Pure Pleasure) But Beautiful (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    But Beautiful (Pure Pleasure)

    A highly successful and respected jazz and soul singer, Nancy Wilson bridges the gap between the classic pop vocal era of Peggy Lee, Frank Sinatra and Ella Fitzgerald and the belting R&B divas of today. Though Nancy Wilson has always cited the emotionally naked, androgynous vocal style of Jimmy Scott as her primary influence, her voice carries definite echoes of Dinah Washington and Sarah Vaughan. Yet Wilson also has always had a strong feeling for post-Sam Cooke soul and the tartness of her delivery carries more than an echo of the sometimes-icy Lena Horne. Young and heart-stoppingly beautiful, Wilson was discovered singing in a N.Y.C. jazz club in the late 1950s by Cannonball Adderley, who told his management at Capitol Records that they needed to scoop her up before another label did. Wilson was immediately signed and started recording for Capitol, the premier vocal label of the 1950s and '60s.




    Musicians:



    • Nancy Wilson (vocal)

    • Hank Jones (piano)

    • Gino Bertachini (guitar)

    • Ron Carter (bass)

    • Grady Tate (drums)




    Recording: November 1969 in New York City

    Production: David Cavanaughdeutsch




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Happiness Is A Thing Called Joe
    2. Oh! Look At Me Now
    3. Glad To Be Unhappy
    4. Do It Again
    5. But Beautiful
    6. Easy Living
    7. Prelude To A Kiss
    8. I Thought About You
    9. For Heaven's Sake
    10. Supper Time
    11. I'll Walk Alone
    12. Darn That Dream
    13. In A Sentimental
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Son Of A Preacher Man (Pure Pleasure) Son Of A Preacher Man (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Son Of A Preacher Man (Pure Pleasure)

    Nancy Wilson, one of the most stylish and sultry singers in jazz. Here we have an exciting mix of influences from the music of Nat King Cole, the romanticism of Billy Eckstine, the emotional delivery of Dinah Washington and the genius of Little Jimmy Scott.



    Nancy Wilson signed with Capitol Records in 1959, and recorded 37 albums over a period of 20 years, a period in which many of her album sales were second only to the Beatles, surpassing even Sinatra, Peggy Lee, the Beach Boys and Nat King Cole.



    This exhilarating album features the legendary bassist Chuck Rainey on this previously hard to find gem of an album. Produced by David Cavanaugh and with musical arrangements from Jimmy Jones, Phil Wright and Joe Parnello. Of Jimmy Jones, Nancy Wilson says one of the greatest arrangers there ever was. Very sparse, nothing overdone.



    Musicians:



    • Nancy Wilson (vocal)

    • Jimmy Jones (piano, arranger, conductor)

    • Phil Wright, Joe Parnello (arranger, conductor)

    • Chuck Rainey (bass)




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Son of a Preacher Man
    2. By the Time I Get to Phoenix
    3. Mr. Walker It's All Over
    4. I Made You This Way
    5. Almost Persuaded
    6. Got It Together
    7. Make the World Go Away
    8. Husbands and Wives
    9. Little Green Apples
    10. Trouble in Mind
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • This Mother's Daughter (Pure Pleasure) This Mother's Daughter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    This Mother's Daughter (Pure Pleasure)

    This Mother's Daughter remains the most soulful record cut by Nancy Wilson during her Capitol tenure -- producer Eugene McDaniels proves an inspired if surprising choice to helm the session, and his subtle but ingenious jazz-funk flourishes are essential to the project's immediacy and appeal. McDaniels couches Wilson in settings as smooth and rich as velvet, crafting a series of mellow, gently propulsive grooves that flirt with contemporary soul but pay heed to the singer's roots in jazz. Wilson responds with a performance that's sophisticated yet saucy, commanding the spotlight with an intensity that's missing from her lesser Capitol efforts.



    Musicians:



    • Nancy Wilson (vocal)

    • Blue Mitchell (fluegel horn)

    • Hugh McCracken, Jeff Miranoy (guitar)

    • Dave Gruisin, George Duke (piano, organ)

    • Chuck Rainey (bass)

    • Steve Gadd (drums)

    • Oliver Brown (percussion)



    Recording: 1976 at The Record Plant, Los Angeles, by Phil Boogie Schier

    Production: Eugene Daniels



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. From You To Me To You
    2. Love Has Smiled On Us
    3. I Don't Want A Sometimes Man
    4. Tree Of Life
    5. China
    6. Now
    7. This Mother's Daughter
    8. He Never Had It So Good
    9. When We Were One
    10. Stay Tuned
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Moon Daughter (Pure Pleasure) New Moon Daughter (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    New Moon Daughter (Pure Pleasure)

    This is no easy listen ... sparse, complex, often brooding arrangements coupled with Cassandra Wilson's deep, earthy voice and complicated phrasing demand your attention. Waver and you're lost. But ... give this album the listening time & space it deserves and reap the rewards. Unusual, highly atmospheric tracks that combine superb singing and marvellously 'distant' musical backings to weave real magic.


    Cassandra Wilson's own excellent, jazz tinged compositions sit alongside a stunning set of ingenious covers from a highly diverse spectrum of composers. Last Train To Clarksville is transformed from a catchy pop song into a stripped-down and genuinely effective jazz vocal work-out. Harvest Moon slows down Neil Young's already wistful ballad to an almost painful level and, in so doing, takes it to an even higher level of gentle reflection. Hank Williams' I'm So Lonesome I Could Cry & U2's Love Is Blindness are transformed into three in the morning jazz club classics.
    The vocals and backing to Robert Johnson's 32-20 are simplified to the point where only the essence of the blues is allowed to shine and, Lewis Allan's Strange Fruit becomes as desolate and challenging as it's horrific lyrics.


    Clever, very effective and worth the required effort!

    Musicians:



    • Cassandra Wilson (vocal)

    • Graham Haynes (cornet)

    • Chris Whitley, Brandon Ross, Kevin Breit (guitar)

    • Charlie Burnham (violin)

    • Tony Cedras (accordion)

    • Gary Breit (organ)

    • Lonnie Plaxico (bass)

    • Dougie Bowne (drums, percussion)

    • Cyro Baptista (percussion)



    Recording: 1995 at the Turtle Creek Barn, Bearsville, NY / Sound on Sound, New York City / Beartracks, Suffern, NY / Bearsville Studio B , Bearsville, NY.

    Production: Craig Street




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    LP 1

    1. Strange Fruit

    2. Love Is Blindness

    3. Solomon Sang

    4. Death Letter

    5. Skylark

    6. Find Him
    7. I'm So Lonesome I Could Cry


    LP 2

    1. Last Train to Clarksville
    2. Until
    3. A Little Warm Death
    4. Memphis
    5. Harvest Moon
    6. 32-20

    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Belly of the Sun (Pure Pleasure) Belly of the Sun (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Belly of the Sun (Pure Pleasure)

    Cassandra Wilson continues to move down a highly eclectic path on Belly Of The Sun, the somewhat belated follow-up to Traveling Miles. While displaying a jazz singer's mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms -- roots music, rock, Delta blues, country, soul -- to create a kind of earthy, intelligent pop with obvious crossover appeal. Her core band includes guitarists Marvin Sewell and Kevin Breit, who blend marvelously, Sewell mostly on mellow acoustic and Breit adding atmospheric touches on electric, 12-string, and slide guitars, as well as mandolin, banjo, and even bouzouki. Bassist Mark Peterson and percussionists Jeffrey Haynes and Cyro Baptista provide a superbly sensitive rhythmic foundation. But because Wilson returned to her home state of Mississippi to record most of this album, she made sure to book some time with local musicians. Thus guitarist Jesse Robinson guests on (and co-writes) the funky Show Me a Love, and the octogenarian pianist Boogaloo Ames plays an unpolished yet utterly heartfelt duet with Wilson on the classic Darkness on the Delta. Other guests include drummer Xavyon Jamison, trumpeter Olu Dara, pianist and vocalist Rhonda Richmond (who penned the slowly swaying Road So Clear), guitarist Richard Johnston, backup vocalists Patrice Monell, Jewell Bass, Henry Rhodes, and Vasti Jackson, and the children of New York's Middle School 44. Wilson delves into vintage blues with Mississippi Fred McDowell's You Gotta Move and a brief yet dynamic rendition of Robert Johnson's Hot Tamales. But the best tracks are the rock/pop covers: the Band's The Weight, Bob Dylan's Shelter From the Storm, James Taylor's Only a Dream in Rio, Jobim's Waters of March, and Jimmy Webb's Wichita Lineman (a 1968 hit for Glen Campbell). Wilson and band are in peak interpretive form on these ethereal reinventions. While her own lyrics may not rise to the level of a Robbie Robertson or a Bob Dylan, her versatility and focus come through clearly on the originals Justice, Just a Parade (a collaboration with neo-soul rookie India.Arie), and the Caribbean-tinged Cooter Brown.



    Musicians:



    • Cassandra Wilson (guitar)

    • Kevin Breit (vocal, mandolin, guitar, banjo, bouzouki)

    • Olu Dara (trumpet)

    • Rhonda Richmond (vocal, piano)

    • Mark Peterson (bass)

    • Xavyon Jamison (drums)

    • Jeffrey Haynes (percussion)




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. The Weight
    2. Justice
    3. Darkness On the Delta
    4. Waters of March
    5. You Gotta Move
    6. Only A Dream In Rio
    7. Just Another Parade
    8. Wichita Lineman
    9. Shelter From the Storm
    10. Drunk As Cooter Brown
    11. Show Me A Love
    12. Road So Clear
    13. Hot Tamales
    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Surfer Girl (Mono) Surfer Girl (Mono) Quick View

    $34.99
    Buy Now
    x

    Surfer Girl (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    Bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Surfer Girl, the Beach Boys' third album for Capitol Records, was the first produced by Brian Wilson on his own (the previous two, Surfin Safari and Surfin Usa (Mono & Stereo Remasters), were co-produced by the late Capitol A&R man, Nik Venet). This album was The Boys' first really great effort; there's not a bad track in the lot, including the title song, Catch A Wave, In My Room, Hawaii, Our Car Club, Little Deuce Coupe, Your Summer Dream, and more.

    1. Surfer Girl
    2. Catch A Wave
    3. The Surfer Moon
    4. South Bay Surfer
    5. The Rocking Surfer
    6. Little Deuce Coupe
    7. In My Room
    8. Hawaii
    9. Surfer's Rule
    10. Our Car Club
    11. Your Summer Dream
    12. Boogie Woodie
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • All Summer Long (Mono) All Summer Long (Mono) Quick View

    $34.99
    Buy Now
    x

    All Summer Long (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    Bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    All Summer Long was notable not only for racheting up the Beach Boys' standards and essentially bidding farewell to the surf songs that inspired both their name and reputation, but also for going toe-to-toe with one of rock's most explosive phenomena - Beatlemania - and coming away victorious, with the single 'I Get Around' soaring to No. 1 in the spring of 1964. Essentially another loose concept record (revolving around the innocent hedonistic pursuits of an idyllic SoCal summer) that takes its cue from the effervescent title track, it also documents Brian's restless creativity pushing the band toward its performing peak. - Amazon.com

    1. I Get Around
    2. All Summer Long
    3. Hushabye
    4. Little Honda
    5. We'll Run Away
    6. Carl's Big Chance
    7. Wendy
    8. Do You Remember?
    9. Girls On The Beach
    10. Drive-In
    11. Our Favorite Recording Sessions
    12. Don't Back Down
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Little Deuce Coupe (Mono) Little Deuce Coupe (Mono) Quick View

    $34.99
    Buy Now
    x

    Little Deuce Coupe (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    Bottom line, the mono mixes were where Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputiing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themseleves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Released just one month after the Surfer Girl album, Little Deuce Coupe was, incredibly, the Beach Boys' fourth album in less than a year. Brian Wilson and the band responded by turning in arguably their most consistent effort to date - and a concept album, to boot. Deuce Coupe expanded the band's subject matter to encompass 1963 America's burgeoning love affair with hot rods, surrounding previously released cuts such as the title track, 409, and others with strong new material (much of it cowritten by Wilson and a DJ, Roger Christian). A highpoint: the a cappella James Dean tribute A Young Man Is Gone (a reworking of Bobby Troup's beautiful Their Hearts Were Full of Spring), a prime example of Wilson's arranging genius and the band's vocal prowess. Their Hearts Were Full Of Spring had been a standard for the vocal group The Four Freshmen, whose lush and distinctive jazz-based vocal arrangements had a huge influence on Brian's musical development.


    This title is not eligible for discount.

    1. Little Deuce Coupe
    2. Ballad Of Ole' Betsy
    3. Be True To Your School
    4. Car Crazy Cutie
    5. Cherry, Cherry Coupe
    6. 409
    7. Shut Down
    8. Spirit Of America
    9. Our Car Club
    10. No-Go Showboat
    11. A Young Man Is Gone
    12. Custom Machine
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Shut Down Vol 2 (Mono) Shut Down Vol 2 (Mono) Quick View

    $34.99
    Buy Now
    x

    Shut Down Vol 2 (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.


    Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.


    All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.


    Still, bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    The first Shut Down was a hugely successful Capitol Records Various Artists compilation LP that had included a pair of Beach Boys tracks. Whereas their previous album Little Deuce Coupe had been a full-on car themed concept album, the Beach Boys' Shut Down Volume 2 was pretty much evenly split between songs with car themes and various high school and summertime-themed tunes. The album sought to further the Beach Boys beyond its ironic sea-and-sun fetish (none but Dennis Wilson ever surfed) into the burgeoning hot-rod subculture. ... the high points remain nothing short of spectacular, including the Mike Love-propelled 'Fun, Fun, Fun,' Wilson's knowing nod to Phil Spector, 'Don't Worry Baby,' and the (hit) 'The Warmth of the Sun.' - Amazon.com

    1. Fun, Fun, Fun
    2. Don't Worry Baby
    3. In The Parkin' Lot
    4. "Cassius" Love Vs "Sonny" Wilson
    5. The Warmth Of The Sun
    6. This Car Is Mine
    7. Why Do Fools Fall In Love
    8. Pom, Pom Play Girl
    9. Keep An Eye On Summer
    10. Shut Down, Part II
    11. Louie, Louie
    12. Denny's Drums
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Smiley Smile (Mono) Smiley Smile (Mono) Quick View

    $34.99
    Buy Now
    x

    Smiley Smile (Mono)

    33 1/3 Rpm Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Brian Wilson - famed co-founder, songwriter and arranger - who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    After the much-discussed, uncompleted Smile project - which was supposed to take the innovations of Pet Sounds to even grander heights - collapsed, the Beach Boys released Smiley Smile in its place. (To clarify much confusion: Smiley Smile is an entirely different piece of work than Smile would have been, although some material that ended up on Smiley Smile would have most likely been used on Smile. Also, much of Smiley Smile was in fact recorded after the Smile sessions had ceased.), writes AllMusic.com


    For fans expecting something along the lines of Sgt. Pepper (and there were many of them), Smiley Smile was a major disappointment, replacing psychedelic experimentation with spare, eccentric miniatures. Heard now, outside of such unrealistic expectations, it's a rather nifty, if rather slight, effort that's avant garde in the extreme. 'Wind Chimes,' 'Wonderful,' 'Vegetables,' and much of the rest is low-key psychedelic quirkiness, with abundant fine harmonies and unusual arrangements. The standouts, nonetheless, were two recent hit singles in which Brian Wilson's ambitions were still intact: The inscrutable mini-opera 'Heroes and Villains,' and the number one hit 'Good Vibrations,' one of the few occasions where the group managed to be recklessly experimental and massively commercial at the same time. - AllMusic.com

    1. Heroes And Villains
    2. Vegetables
    3. Fall Breaks Back To Winter (W. Woodpecker Symphony)
    4. She's Goin' Bald
    5. Little Pad
    6. Good Vibrations
    7. With Me Tonight
    8. Wind Chimes
    9. Getting' Hungry
    10. Wonderful
    11. Whistle In
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Pet Sounds (Mono) Pet Sounds (Mono) Quick View

    $34.99
    Buy Now
    x

    Pet Sounds (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-gram Vinyl Pressing By Quality Record Pressings!


    It was Pet Sounds that blew me out of the water I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album. - Paul McCartney


    All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one. - Eric Clapton


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

    1. Wouldn't It Be Nice
    2. You Still Believe Me
    3. That's Not Me
    4. Don't Talk (Put Your Head On My Shoulder)
    5. I'm Waiting For The Day
    6. Let's Go Away For Awhile
    7. Sloop John B
    8. God Only Knows
    9. I Know There's An Answer
    10. Here Today
    11. I Just Wasn't Made For These Times
    12. Pet Sounds
    13. Caroline No
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Today! (Mono) Today! (Mono) Quick View

    $34.99
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    x

    Today! (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themseleves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Put simply, this is the Beach Boys at their mid-'60s prime. Ironically, the band's greatest evolutionary leap was spurred by its leader, Brian Wilson, who decided to drop out of the band's live performances after a December 1964 nervous breakdown to concentrate on honing the Beach Boys' studio sound. With Wilson's productions gaining a significant new depth and confidence (note the innovative modulations on 'Dance, Dance, Dance'), the first half of Today seems a logical, upbeat step forward from its predecessors. But it's the album's second act that steals the show, setting the stage for the triumph of Pet Sounds. Indeed, it's easy to imagine gorgeous, introspective tracks such as 'Please Let Me Wonder,' 'She Knows Me Too Well,' and 'In the Back of My Mind' intertwined with the best of Sounds. - Amazon.com

    1. Do You Wanna Dance?
    2. Good To My Baby
    3. Don't Hurt My Little Sister
    4. When I Grow Up
    5. Help Me, Ronda
    6. Dance, Dance, Dance
    7. Please Let Me Wonder
    8. I'm So Young
    9. Kiss Me, Baby
    10. She Knows Me Too Well
    11. In The Back Of My Mind
    12. Bull Sessions With The "Big Daddy"
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Surfin' Safari (Mono) Surfin' Safari (Mono) Quick View

    $34.99
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    x

    Surfin' Safari (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. in those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today was the first LP for which they only delivered a mono master.


    Bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    With this quiet QRP pressing of Surfin' Safari you'll enjoy the smash hit title cut as well as 409,Summertime Blues and more as the fledgling Beach Boys proudly display their garage band roots in this, their debut album for Capitol Records.


    Their classic songs epitomize the spirit of the California lifestyle and The Beach Boys have become an American icon to a worldwide audience. The Beach Boys' first hit Surfin' (1961) launched a string of chart-topping songs that spans nearly forty years and includes eternal anthems of American youth: Surfin' USA, Surfer Girl, Fun, Fun, Fun, I Get Around, California Girls, Help Me Rhonda, Barbara Ann, Good Vibrations, Wouldn't It Be Nice, Rock and Roll Music, Kokomo and more.


    Their chart success alone would have earned The Beach Boys their spot in The Rock and Roll Hall of Fame (they were inducted in 1988), not to mention 32 RIAA Platinum and Gold record awards and worldwide sales estimated at more than 100 million. But The Beach Boys' story is one of not only commercial but also artistic success. Their unique blend of harmonies, musical arrangements and timeless lyrics still place the music of The Beach Boys among the All-Time Favorites of today's music critics. As an example, VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. The Beach Boys were honored at the 2001 Grammy Awards, receiving The Lifetime Achievement Award from the Recording Academy.

    1. Surfin' Safari
    2. County Fair
    3. Ten Little Indians
    4. Chug-A-Lug
    5. Little Miss America
    6. 409
    7. Surfin'
    8. Heads You Win - Tails I Lose
    9. Summertime Blues
    10. Cuckoo Clock
    11. Moon Dawg
    12. The Shift
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Beach Boys Party! (Mono) Beach Boys Party! (Mono) Quick View

    $34.99
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    x

    Beach Boys Party! (Mono)

    Stereo Mixes Produced By Mark Linett And Alan Boyd / Mixed By Mark Linett


    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-gram Vinyl Pressing By Quality Record Pressings!


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory! But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themseleves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.
    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Capitol Records, which had already released ten Beach Boys albums in three years, was bugging the group for product that it could release in time for the 1965 Christmas season. To buy time while Brian Wilson began conceiving the Pet Sounds masterpiece, the group issued a set of covers, mostly of the '50s rock and R&B they had listened to as schoolboys. Packaged as if it had been recorded at an actual party, it was in fact recorded in the studio, with friends and romantic partners adding sounds and vocals to create an informal atmosphere. With the exception of a bass guitar, all the instruments were acoustic; the acoustic guitar-and-bongo arrangements, in fact, give this a hootenanny campfire feel. In recent years, this album has gone up a few notches in critical esteem, praised for its loose, casual feel and insight into the group's influences. ... It does have the massive hit 'Barbara Ann,' which actually features Dean Torrence (of Jan & Dean) on much of the lead vocals; other highlights include 'Mountain of Love,' an unexpected version of 'The Times They Are a-Changin',' and three Beatles covers. - AllMusic.com

    1. Hully Gully
    2. I Should Have Known Better
    3. Tell Me Why
    4. Papa-Oom-Mow-Mow
    5. Mountain Of Love
    6. You've Got To Hide Your Love Away
    7. Devoted To You
    8. Alley Oop
    9. There's No Other (Like My Baby)
    10. Medley: I Get Around/ Little Deuce Coup
    11. The Times They Are A-Changin'
    12. Barbara Ann
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Surfin' USA (Mono) Surfin' USA (Mono) Quick View

    $34.99
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    x

    Surfin' USA (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.


    Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.
    All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.
    Still, bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputiing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themseleves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Surfin' USA was the Beach Boys' real breakthough album, showing Brian Wilson asserting himself in the studio as both a premier songwriter and arranger.


    Besides the hit title track and its popular drag-racing flip side (Shut Down), AllMusic.com notes that Surfin' USA has a lovely, heartbreaking ballad (Lonely Sea) and a couple of strong Brian Wilson originals (The Noble Surfer and Farmer's Daughter).


    There are also a surprisingly high quotient of instrumentals (five) that demonstrate that ... the Beach Boys could play respectably gutsy surf rock as a self-contained unit. Indeed, the album as a whole is the best they would make, prior to the late '60s, as a band that played most of their instruments, rather than as a vehicle for Brian Wilson's ideas. The LP was a huge hit, vital to launching surf music as a national craze, and one of the few truly strong records to be recorded by a self-contained American rock band prior to the British Invasion. - AllMusic.com

    1. Surfin' U.S.A.
    2. Farmer's Daughter
    3. Misirlou
    4. Stoked
    5. Lonely Sea
    6. Shut Down
    7. Noble Surfer
    8. Honky Tonk
    9. Lana
    10. Surf Jam
    11. Let's Go Trippin'
    12. Finders Keepers
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Summer Days (And Summer Nights!!) (Mono) Summer Days (And Summer Nights!!) (Mono) Quick View

    $34.99
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    x

    Summer Days (And Summer Nights!!) (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    One Of 10 Titles Featuring 33 1/3 Mono And Stereo Remastered Editions: Surfin' Usa, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (and Summer Nights!!), Beach Boys Party!, Pet Sounds And Smiley Smile


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.


    Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.


    All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.


    Still, bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Summer Days features another Wilson world-beater production, California Girls, and the band's second No. 1 single, Help Me, Rhonda. Ever pressured by commercial concerns, Wilson and the band created what was in essence the true follow-up to the All Summer Long album. Still, there's a level of musical sophistication to tracks such as Salt Lake City, the Phil Spector tribute Then I Kissed Her, Summer Means New Love and Let Him Run Wild.

    1. The Girl From New York City
    2. Amusement Parks U.S.A.
    3. Then I Kissed Her
    4. Salt Lake City
    5. Girl Don't Tell Me
    6. Help Me, Rhonda
    7. California Girls
    8. Let Him Run Wild
    9. You're So Good To Me
    10. Summer Means New Love
    11. I'm Bugged At My Ol' Man
    12. And Your Dream Comes True
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
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