Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
Reissue, Remastered, 180 Gram
Ummagumma is the fourth album by the English rock band Pink Floyd. It is a double album and was released on 7 November 1969 by Harvest Records.
The first disc consists of live recordings from concerts at Mothers Club in Birmingham and the College of Commerce in Manchester that contained part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded at Abbey Road Studios.
The stereo remastered album on heavyweight 180ɢ vinyl
Remastered By – Bernie Grundman, James Guthrie, Joel Plante
Lacquer Cut - Bernie Grundman
Original UK release date: October 1969
[ NME ] Is ‘Blackstar’ vintage Bowie? No, but nor is that the intention. Actually, one of the few certainties we can take from this restless, relentlessly intriguing album is that David Bowie is positively allergic to the idea of heritage rock.
As recorded live at Madison Square Garden, the June 10th 1972 Saturday evening performance.
[LouderSound] For sheer impact, immediacy, concision, endurance, influence and intrinsic Zep-ishness, Led Zeppelin IV is unbeatable. Of all their records, Zep’s fourth album, released in late 1971, remains their most admired work. From Page’s unimpeachable riffs, through Jones musical invention and Plant’s clarity of vocal to that titanic John Bonham drum sound, IV still emits a freshness that belies its age.
45 RPM
Compilation, Reissue, Remastered, Gatefold, 180g
Mastered At Gateway Mastering
Mastered At Abbey Road Studios
Reissue, Remastered, 180g heavyweight vinyl
Rolling Stone : "Despite its occasional lapses. Peter Gabriel is a tremendous record. At the very least, Gabriel has discarded the florid hedging that’s dominated his work since Genesis. He’s not backing off from anything now, including his excesses. He flinches, it’s true, but he never yields. For once, you get an idea of where the artist stands and what he’s afraid of. In such songs as “Intruder” and “Games without Frontiers,” in which the booming, almost disco-style bass drum slows to an ebbing pulse while the guitars and synthesizers jangle like wracked nerves and the vocals crackle with detached doom, Gabriel’s music resembles his cover portrait: features in disintegration, slowly melting away, all distinctions disappearing and not a damn thing anyone can do about it. Peter Gabriel has seen a hellish future, and there’s no exit."
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