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Wayne Shorter (who composed four of the five originals) picked an all-star cast (trumpeter Freddie Hubbard, altoist James Spaulding, trombonist Grachan Moncur III, pianist Herbie Hancock, bassist Ron Carter, and drummer Joe Chambers, along with brother Alan Shorter on flügelhorn for the final song) to perform and interpret the dramatic selections, and their brand of controlled freedom has plenty of subtle surprises. 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After dropping out of Howard University in 1967, Hathaway moved to Chicago, his birthplace, and started working on music for Curtis Mayfield's Curtom Records label where he was a songwriter, producer, arranger, composer, conductor and session player.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEverything Is Everything\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas produced by Hathaway and Ric Powell, who plays drums and percussion on the album; Hathaway wrote or co-wrote five of the album's nine songs. Hathaway had met Powell while at Howard University, as well as the future Impressions lead singer, Leroy Hutson, who jointly wrote the hit song that would eventually make it on the album, \"The Ghetto.\"\u003c\/p\u003e\n\u003cp\u003eThe track was mostly an instrumental, except for Hathaway's vocal ad-libs and his singing of the chorus. 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This was his final record to feature the entire original band, pulling out no stops, making this 1973 release a grand finale. The best tracks are certainly the most well known including the rollicking title track, plus the Top 20 anthem “Teenage Lament '74,” featuring Liza Minnelli, Ronnie Spector, Labelle and the Pointer Sisters on backing vocals. Returning to a simple basic rock sound, the album climbed to #10 on the Billboard 200 charts.\u003c\/p\u003e\n\u003cp\u003eUnfortunately, the controversial album title and artwork caused issues in various countries such as South Africa where authorities intercepted the album and removed the inserts of the ‘nude wrestling’ emporium before allowing them to be sent to record shops. Also label management in North America had to negotiate with a number of retailers to carry the album, however the Muscle of Love cardboard box and ‘water stain’ packaging still presented issues in certain places. So forget about the sound, maybe you’ll just want this disc for the included miniature replica of the Institute of Nude Wrestling book cover, which includes the nude wrestling insert, plus sleeve pics with the booklet, although the lyrics are missing. More likely though, you’ll want it for both.\u003c\/p\u003e\n\u003cp\u003eThe quad layer of the Audio Fidelity SACD serves up plenty of zest with gritty guitars, punchy horns, and a brightly balanced mix. The four corner separation is excellent, with wonderful use of the quad soundstage. The Alice Cooper Group has added some sweet layering, which includes riffing and rhythmic guitar parts placed in the rear channels.\u003c\/p\u003e\n\u003cp\u003eDon’t expect an all out rockin’ album, as there are hints of Dixieland and ballots tossed in among the rockers. Crazy Little Child opens with acoustic piano in the rear channels and Alice’s vocals reverberating from the front. There is a real club performance aural feel which gives the horns and guitars plenty of space as they reverberate between the front and back channels.\u003c\/p\u003e\n\u003cp\u003eThe title track Muscle of Love starts with a sizzling guitar riff from the rear left channel, which is quickly answered with bass and drums centered up front and an alternate guitar from the rear right channel. This straight forward triangle use of the quad stage is only added to with vocals yet effectively provides for a fantastic surround feel.\u003c\/p\u003e\n\u003cp\u003eWhile I find it hard to get over the lack of warmth on the quad layer, the immersive mixes make up for this shortcoming. 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This 1971 gem shot to No. 17 on the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBillboard\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ealbum charts.\u003c\/p\u003e\n\u003cp\u003eThis recording is a prime example of Russell's instrumental dexterity and ability to produce some energetic rock 'n' roll. Poignant and expressive tracks such as \"Of Thee I Sing,\" \"Home Sweet Oklahoma,\" and \"She Smiles Like a River\" all lay claim to Russell's soulful style and are clear-cut examples of the power that he musters through his spirited piano playing and his voice. His Dylan covers, \"It Takes a \"Lot to Laugh,\" \"It Takes A Train To Cry\" and \"A Hard Rain's A Gonna Fall\" are especially strong and have him sounding so forceful, they could have been his own compositions.\u003c\/p\u003e\n\u003cp\u003eA hearty, full-flavored gospel sound is amassed thanks to both the Shelter People and the Tulsa Tops, who back Russell up on most of the tracks, but it's Russell alone that makes \"The Ballad of Mad Dogs and Englishmen\" such an expressive piece and the highlight of the album. George Harrison's \"Beware Of Darkness\" closes the album and is as good a read as the original.\u003c\/p\u003e\n\u003cp\u003eLeon Russell's accolades are monumental in a number of categories, from songwriting to session playing, to his solo work. Leon Russell and the Shelter People is the second solo album by the singer-songwriter and multi-instrumentalist. This 1971 gem shot to No. 17 on the Billboard album charts.\u003c\/p\u003e\n\u003cp\u003eThis recording is a prime example of Russell's instrumental dexterity and ability to produce some energetic rock 'n' roll. Poignant and expressive tracks such as \"Of Thee I Sing,\" \"Home Sweet Oklahoma,\" and \"She Smiles Like a River\" all lay claim to Russell's soulful style and are clear-cut examples of the power that he musters through his spirited piano playing and his voice. His Dylan covers, \"It Takes a \"Lot to Laugh,\" \"It Takes A Train To Cry\" and \"A Hard Rain's A Gonna Fall\" are especially strong and have him sounding so forceful, they could have been his own compositions.\u003c\/p\u003e\n\u003cp\u003eA hearty, full-flavored gospel sound is amassed thanks to both the Shelter People and the Tulsa Tops, who back Russell up on most of the tracks, but it's Russell alone that makes \"The Ballad of Mad Dogs and Englishmen\" such an expressive piece and the highlight of the album. 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This superbly crafted 1975 classic was produced by legendary Beatles producer George Martin and is a musical treasure filled with great harmonies and hooks!\u003c\/p\u003e\n\u003cp\u003eAchieving significant popularity in the 1970’s, Gerry Beckley, Dan Peek and Dewey Burnell made up the band that became famous for their close vocal harmonies and light acoustic folk sound. With a string of hit singles and albums, often played on pop\/soft rock radio stations, Hearts boasts three top selling hits. High Resolution Audio fans can now experience the original quad LP mix on SACD with a stereo layer and includes the #1 hit \"Sister Golden Hair,\" their Top 20 ballad, \"Daisy Jane\" and \"Woman Tonight.\"\u003c\/p\u003e\n\u003cp\u003eAlthough Hearts didn’t receive the modern 5.1 mix, it still strongly holds the surround magic embedded on this classic quad version. In fact, the mix is very modern, keeping the rhythm section up front, with lead vocals placed in the center. As is common with current day surround mixes, the back channels sing out the secondary parts, which primarily include guitars, keyboards, strings and backup vocals, along with reflections from instrumentation heard in the front channels. I wouldn’t expect anything less from George Martin.\u003c\/p\u003e\n\u003cp\u003eAmerica was always well recorded, and the overall mix easily shows the expertise of the recording engineers. There is a wonderful openness to the mix, with a very pleasing shimmer and sparkle to the guitars. Vocals sound extremely natural, and the drums really sound lively with a fantastic snap and shine. It simply seems evident to me that the recording process kept improving with each album.\u003c\/p\u003e\n\u003cp\u003eWhile there was a moderate difference between the surround and stereo mixes for the Homecoming release, that simply isn’t true for Hearts. Given Homecoming was mixed for surround 30 years later, it is understandable there were obvious differences between the two versions. However, Hearts was mixed at Air Studios in London, likely during the same sessions, leading to literally an identical mix, albeit one is quad and the other stereo. The instrument balances and tones seem to mirror each other between the two codecs, thus for listeners of the stereo layer, I imagine this would be one of the best, if not the best transfer available. The album truly sounds wonderful.\u003c\/p\u003e\n\u003cp\u003eRecommended for fans of America, and advised for surround sound and quad collectors. 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Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\u003c\/p\u003e\n\u003cp\u003ePut simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, this LP is a demonstration record for the ages — the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\u003c\/p\u003e\n\u003cp\u003eThe beautiful presentation of the numbered, limited-edition UD1S\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eI Robot\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003epressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\u003c\/p\u003e\n\u003cp\u003eInspired by and loosely based around the Isaac Asimov stories of the same name,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eI Robot\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edelves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as \"The Voice\" call into question human behavior-and their relationship to increasing robotic supremacy-in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\u003c\/p\u003e\n\u003cp\u003eThe absorbing tunes on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eI Robot\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ealso continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. \"Some Other Time\" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace \"Don't Let It Show.\" The origins of \"Nucleus\" stem from a unique analog keyboard concoction dubbed \"the Projectron,\" devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with \"Total Eclipse\" arriving as a frightening track that presages the climactic \"Genesis Ch. 1 V. 32.\"\u003c\/p\u003e","brand":"ALAN PARSONS PROJECT","offers":[{"title":"Default Title","offer_id":43672674402548,"sku":null,"price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0395\/2040\/3623\/files\/AMOBUD_041__169668__05242022104801-9443.jpg?v=1784718657"},{"product_id":"los-lobos-kiko-original-master-recording","title":"LOS LOBOS - KIKO (MFSL) VINYL","description":"\u003cp\u003e\u003cstrong\u003eLos Lobos\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eKiko\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eon numbered limited edition 180-gram LP\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1\/4\" \/ 15 ips analog master to DSD 256 to analog console to lathe\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDistinguished band's ambitious 1992 album stands as peak moment in a career filled with high-water marks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOnly a few years removed from breaking through with their cover of Ritchie Valens' \"La Bamba,\" Los Lobos turned even more heads with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKiko\u003c\/em\u003e, a beautifully textured and flawlessly executed musical statement that reveals the group taking on ambitious musical challenges and surmounting every one. In pairing with producer Mitchell Froom, the band yielded this critically acclaimed 1992 set that remains the apex of its distinguished career.\u003c\/p\u003e\n\u003cp\u003eThe material, too, ravishes the senses. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e's original review of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKiko\u003c\/em\u003e, David Okamoto remarks \"the music sounds more created than contrived, thanks to the compassionate touch of the group's main songwriters, singer-guitarist David Hidalgo and drummer Louis Pérez.\" Indeed, the Los Angeles ensemble tackles tough-minded social issues such as alcoholism, suicide, abuse, homelessness, death, and rape without coming across as preachy or melodramatic. The record's power relates to that possessed by the most timeless albums-the emotional and metaphysical capacities to transcend problems, overcome adversity, and deliver catharsis.\u003c\/p\u003e\n\u003cp\u003eSpanning rollicking blues and dreamy pop balladry to snarling rock and traditional Mexican-inspired waltzes,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKiko\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eseemingly knows no bounds. Lullabies such as \"Saint Behind the Glass\" claim mellifluous elegance while the cabaret-laced jazz of work like \"Kiko and the Lavender Moon\" glows with a dark majesty, thanks to both the skilled performance and Froom's illuminating production. Los Lobos seldom, if ever, drifted so far outside of the roots-rock box as they do on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKiko\u003c\/em\u003e. And yet, the collective's binding connection to folklore remains in tact. Native American, Hispanic, and Catholic elements surface in the lyrics and arrangements, the characteristics expressing a multicultural reach that parallels the songs' multidimensional construction.\u003c\/p\u003e\n\u003cp\u003eAnd still, it remains impossible to ignore the use of the studio as the record's secret-weapon instrument. Imaginative tricks such as noise gates, filters, and psychedelic devices help establish a surrealism that never lets up. 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