1xLP 180g Black vinyl - limited edition numbered pressings of 3,000. Audiophile / SuperFan Pressings. One-Step vinyl is the ultimate vinyl pressing. Hybrid Theory was recorded in the digital domain, it was then mixed through an analog electronic chain onto tape. Those original master tapes were then carefully transferred to 192/24 wav files that ended up being our audio source for the One-Step pressing. We used Neotech VR900-D2 180g vinyl compound which is the same as what is known as Super Vinyl or Clarity Vinyl – the best in the world. Levi Seitz at Blackbelt Mastering (Metallica, Pearl Jam, Beyonce etc) cut the multiple sets of lacquers required – crucially all from the same lot of lacquers. Being a massive Linkin Park fan himself – Levi already knew every little sound on this iconic album! Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Hybrid Theory ever. Record Technology, Inc did the pressing – using the exact pressing machine used for so many Mobile Fidelity One-Step releases. Our slipcases, “Old Style” tip on original art jackets, and inserts were printed by world renowned Stoughton Printing Company.

Special edition 180-gram vinyl LP with one 45rpm track and one 78rpm track. Etched. Jack White has long congratulated himself for being a musician who blends the lines between the past and the present. "Lazaretto," the follow-up to his gold-certified debut album, "Blunderbuss," does exactly this. There's blues influences here; there's ballads. There's hip-hop rhythms and then there's sprightly melodies. Drama seems to be key in describing this album, and it makes itself known in the fury essential to each track. The 180-gram LP includes two bonus tracks hidden under the center labels. One hidden track plays at 78 RPM, and one plays at 45 RPM, making this a 3-speed record. Side A plays from the outside in. Dual-groove technology: plays an electric or acoustic intro for 'Just One Drink' depending on where the needle is dropped. The grooves meet for the body of the song. Matte finish on Side B, giving the appearance of an un-played 78 RPM record. Dead wax area on Side A contains a hand-etched hologram by Tristan Duke of Infinity Light Science, the first of it's kind on a vinyl record.

An Original Jackets treasury of analogue-era pianism by legendary and lesser-known names from the catalogues of American Decca and Westminster.

One of the first recordings that earned Ivan Moravec acclaim and secured him a position among the finest pianists of the 20th century was the album of the complete Chopin Nocturnes made in 1965 in New York (Steinway) and at Vienna's Konzerthaus (Bösendorfer) for the Connoisseur Society label. Many critics have branded this recording a benchmark and consider it the ultimate account of the Nocturnes; in the words of Henry Fogel (Fanfare): "This is playing that draws the listener deeply into the music-you are not drawn into Moravec's achievement, but Chopin's." Ivan Moravec presents the Nocturnes in an admirable scale of colours and dynamics (down to astonishingly tender, barely touched tones), with the music flowing so naturally that it seems as though there are no bars or individual notes.

Superb individual players yet perfectly integrated tonally. They are also thoroughly at home in Cherubini's sound-world. In short these modern-instrument performances could hardly be bettered.

Michel Jean Legrand (1932–2019) was a French musical composer, arranger, conductor, and jazz pianist. Legrand was a prolific composer, having written over 200 film and television scores, in addition to many songs. His scores for two of the films of French New Wave director Jacques Demy, The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), earned Legrand his first Academy Award nominations. Legrand won his first Oscar for the song "The Windmills of Your Mind" from The Thomas Crown Affair (1968), and additional Oscars for Summer of '42 (1971) and Barbra Streisand's Yentl (1983).

The peal of church bells, the scent of Christmas trees and gleaming lights in every window: now all that's missing to complete the Yuletide mood is Christmas by great Baroque composers. This CD contains the most moving arias and resplendent choruses from Bach's Christmas Oratorio and Handel's Messiah - the perfect music to celebrate Christmas with.

Révélé à la faveur de sa victoire dans la onzième saison du télécrochet Star Academy de TF1, c'est dès lors signé chez Sony Music que l'auteur-compositeur-interprète et multi-instrumentiste français Pierre Garnier s'emparait de la première position des charts en 2024 avec "Ceux qu'on était", premier single certifié single de diamant en l'espace de quatre mois, le temps pour lui d'enfoncer le clou avec Chaque seconde, premier opus studio le voyant continuer de creuser un sillon à la croisée de la chanson et de la pop au fil de douze titres amendés de deux versions alternatives de "Ceux qu'on était".

At the Mountains of Madness is a 2005 double live album by American composer and saxophonist John Zorn's Electric Masada featuring performances recorded in Moscow and Ljubljana. It is the second release by Electric Masada. The Allmusic review by Sean Westergaard awarded the album 4 stars noting that "the band is at the top of their game after all the touring, and everyone seems to have kicked up the energy a notch or two. There's a lot more conducted improvisation than on the previous Electric Masada release… Thanks to their improvisational skills, you hardly notice that the program is much the same on both discs. Score another one for John Zorn and company. At the Mountains of Madness is a winner."

A pop artist who made his name in Belgium with a career that spanned four decades, Frédéric François (born Francesco Barracatto in June 1950) was born in Italy and relocated with family to Belgium while still a toddler. He began his career very early in life, singing songs at local establishments at the age of 12. His first single saw the light of day in 1971, the first of many released over the next two decades. While collections of his work were available throughout that time, his first "official" album release came in 1993. A string of full-lengths followed, with 2007 seeing his album Merci la Vie achieve European chart success, success, that over the years, François had become quite accustomed to.

Le CD regroupe de nombreuses versions instrumentales, alternatives et singles inédites : une plongée dans les archives qui a permis de remonter à la surface les les bases musicales du "Petit gars", de la "Señorita" et de la "Drôle de vie". Le DVD est une sélection des prestations télévisées de Christophe entre 1965 et 1992. On retrouve les chansons de Christophe en images : «Les mots bleus» et «Les paradis perdus» bien sûr, mais aussi "L’Italie", "Succès fou", "Merci John d’être venu" : plus de 2 heures d’archives émouvantes, pour la plupart inédites.

This is an excellent “traditional” version of the Opus 10 Concertos. I Musici returned three times to that cycle, all for Philips. The first was in 1958 with Gastone Tassinari (who had already recorded the complete flute concertos for Vox in 1956 with an ensemble called “I Musici Virtuosi di Milano”, not the same as “I Musici”… ).

Rhino's 1993 collection The Very Best of Wilson Pickett remains the best single-disc anthology of the fiery soul singer's work, choosing 16 of his best tracks for Atlantic and presenting them in excellent remastered sound quality. Pickett never departed all that much from the rough, swaggering vocals that first made his name, but he was utterly electrifying within that style, setting the standard for Southern soul singers behind Otis Redding. All of Pickett's early signature hits – "In the Midnight Hour," "634-5789 (Soulsville, U.S.A.)," "Land of 1,000 Dances," "Mustang Sally," and "Funky Broadway" – lead off the disc in quick succession, capturing the emergence of Southern soul as a viable commercial style. But Pickett is just as charismatic on the rest of the material, nearly all of which made the R&B Top Ten and went under appreciated on the pop charts – he was just too much for white audiences to handle. Pickett did his best to shake up his formula – he cut a near-psychedelic soul tune, "Engine No. 9," with future Philly soul architects Kenny Gamble and Leon Huff; he helped bring Bobby Womack back into the music business by covering his "I'm in Love" and "I'm a Midnight Mover"; and he made some unpredictable cover choices in the Beatles' "Hey Jude," the Archies' bubblegum tune "Sugar Sugar," and Free's "Fire and Water."

The tuba is associated with numerous prejudices branding it as comical, clumsy and incapable of singing. Anyone who has heard Øystein Baadsvik play will know better, however, as witness reviews from his previous recordings: ‘Baadsvik's playing combines sweetness with strength, intensity with perception’ (International Record Review), he ‘conjures a wonderfully mellifluous baritonal tone from his instrument’ (MusicWeb International), and demonstrates ‘a lissome fluencysuggesting that anything a violin can do, a tuba can do too’ (Daily Telegraph).

One of Joe Bonamassa's primary influences was Eric Clapton, so the idea behind Royal Tea makes some sense: he spends the 2020 album saluting British blues. This may seem like a distinction without a difference, since Bonamassa has never shied away from Zeppelin nods on his albums, but Royal Tea does indeed sound different than his other studio albums. Working with his longtime producer Kevin Shirley, the guitarist conjures the spirit of the Jeff Beck Group and Free, relying on heavy, churning riffs but also opening up the jams so there are elastic, soulful accents that help give the record a bit of period authenticity.