• You'll find outstanding Double Plus (A++) sound from first note to last on this wonderful copy of one of our favorite Cannonball Adderley albums
• 1961 recording technology coupled with the mastering technology used by the gifted George Horn results in top quality sound
• These guys are playing live in the studio and you can really feel their presence on every track -- assuming you have a copy that sounds like this one
• 4 stars: "It's hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording."

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• With outstanding Double Plus (A++) sound from start to finish, this was one of the better copies we played in our recent shootout - exceptionally quiet vinyl too
• Big, rich, smooth, open, natural, with plenty of tight bass - what's not to like? This copy is killin' it
• Some of the best jazz guys of the day back up Chet on this one: Zoot Sims, Pepper Adams, Bill Evans, Herbie Mann and more
• "...the timelessness of the melodies, coupled with the assembled backing aggregate, make Chet Baker Plays the Best of Lerner and Loewe (1959) a memorable concept album."

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• A STUNNING sounding copy of Yellow Submarine with Shootout Winning Triple Plus (A+++) sound or close to it from first note to last
• This is the place to find Hey Bulldog, All Together Now and It's All Too Much, and with this Shootout Winner you will not believe how good those songs can sound
• Hands down, the toughest Beatles album to get good sound for, especially on side two, which is why top copies like this one so rarely hit the site

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• An excellent original pressing of this classic collaboration: Double Plus (A++) sound from start to finish
• When heard on our best Hot Stamper pressings, the album clearly belongs near the top of the All Time Great Male Vocal Records
• Waltz for Debby is the best thing here. You want to hear the Bennett-Evans Magic? Go right to that track
• 4 1/2 stars on Allmusic: "... one of the best albums of either's career... an excellent jazz-pop hybrid in which both musicians were shown off to advantage."

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• An insanely good sounding copy with Triple Plus (A+++) sound from start to finish - exceptionally quiet vinyl too
• Both the two big jammers are on this killer side one: Should I Stay or Should I Go and Rock the Casbah - you've never heard them sound like this!
• Glyn Johns produced and mixed Combat Rock, so its sonic credentials are certainly in order
• If you're a fan of meaty bass, grungy guitars and punchy drums, this is the copy for you
• ...its finest moments — "Should I Stay or Should I Go," "Rock the Casbah," "Straight to Hell" — illustrate why the Clash were able to reach a larger audience than ever before with the record."

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• With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout
• With its presence, clarity, space and timbral accuracy, this is sure to be one of the best sounding jazz records you've heard
• Not quite as 'out there' as some others - those of you with a taste for adventurous jazz will still find much to love
• 4 1/2 stars:"... the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene."

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• Insanely good Classic Jazz sound for this wonderful Miles Davis collection, with both sides rating Triple Plus (A+++)
• The nine minute plus Green Dolphin Street that opens side two has some of the coolest jazz you will ever hear, on any record, at any price
• If you want to know what the best copies of Kind of Blue sound like, this pressing will tell you, because it has that sound
• We're talking Bill Evans, John Coltrane and Cannonball Adderley in their prime, 1958, with top 1958 sound to match

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• Demo Disc Jazz sound for this wonderful collection, with side two earning a nearly Triple Plus (A++ to A+++) grade, mated with a side one that's not far behind - exceptionally quiet vinyl too
• The 9+ minute On Green Dolphin Street that opens side two has some of the coolest jazz you will ever hear, on any record, at any price
• If you want to know what the best copies of Kind of Blue sound like, this pressing will tell you, because it has that sound
• We're talking Bill Evans, John Coltrane and Cannonball Adderley in their prime, 1958, with top 1958 sound to match

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• An outstanding pressing with Double Plus (A++) sound on both sides - exceptionally quiet vinyl too
• The pure embodiment of the big-as-life, spacious and timbrally accurate 30th Street Studio Sound Fred Plaut was justly famous for
• Space, clarity, transparency, and in-the-room immediacy are some of the qualities to be found on this pressing - it's guaranteed to beat any copy you've ever heard
• 5 stars: "KOB isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence."

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• An outstanding pressing with Double Plus (A++) sound on both sides - exceptionally quiet vinyl too
• The pure embodiment of the big-as-life, spacious and timbrally accurate 30th Street Studio Sound Fred Plaut was justly famous for
• Space, clarity, transparency, and in-the-room immediacy are some of the qualities to be found on this pressing - it's guaranteed to beat any copy you've ever heard
• 5 stars: "KOB isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence."

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• An outstanding vintage Columbia pressing with Double Plus (A++) sound on both sides - absolutely guaranteed to beat any copy you've ever heard
• The pure embodiment of the big-as-life, spacious and timbrally accurate 30th Street Studio Sound Fred Plaut was justly famous for
• Space, clarity, transparency, and in-the-room immediacy are some of the qualities to be found on this pressing
• 5 stars: "KOB isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence."

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• This epic live jazz recording finally returns to the site with two excellent Double Plus (A++) sides - exceptionally quiet vinyl too
• A killer pressing, with a very strong bottom end, lovely richness and warmth, real space and separation between the instruments and wonderful immediacy throughout
• Recorded at the Montreux Jazz Festival in Switzerland, this 1970 release showcases Evans stylings alongside the brilliant talents of Eddie Gomez and Marty Morell
• "Bill Evans' second recording at the Montreux Jazz Festival in 1970 was a highly anticipated concert, finding the pianist in peak form, accompanied by bassist Eddie Gómez and drummer Marty Morell. "

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• Evan's Classic Live album from the Montreux Jazz Festival returns to the site with outstanding Double Plus (A++) sound or BETTER from first note to last
• A killer Verve stereo pressing, with lovely richness and warmth, real space and wonderful immediacy throughout
• Recorded live in 1968, this superb release pairs Evans' unique piano improvisations with bandmates Eddie Gomez and Jack DeJohnette
• 4 stars: "Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions."

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Not in our experience. We think that's just another Record Myth.

Some of you may have discovered that the original Bill Evans records on Riverside are mostly awful sounding -- I can't recall ever hearing a good one -- so we are not the least bit worried that this OJC won't beat the pants off of the original, as well as any other reissue you may have, and even the new Analogue Productions 45.

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A stereo recording reissued in mono for no apparent reason? What were they smoking over there at Milestone?

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• A stunning copy, with Triple Plus (A+++) sound or very close to it on all four sides; 11 pluses out of 12 -- one of the highest rated copies to ever hit the site
• There's real Tubey Magic on this album, along with breathy vocals, in-your-listening-room midrange presence and no shortage of rock and roll energy
• Overflowing with great songs, way too many to list - Candle In The Wind, Bennie And The Jets, and GYBR all sound killer here
• A Top 100 Title: "...its individual moments are spectacular and the glitzy, crowd-pleasing showmanship that fuels the album pretty much defines what made Elton John a superstar in the early '70s."

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• With a Triple Plus (A+++) shootout winning side one and a better than Double Plus (A++ to A+++) side two, this vintage UK EMI pressing is practically as good as it gets
• There is very little chance that you have ever heard any of the first five albums sound as good as this one does, especially on side one
• It's incredibly difficult to find big, bold, lively sound like this for Queen with surfaces that play as quietly as these do (with just a few minor issues on side one, see below)
• "Its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they're globe-conquering titans instead of underdogs on the make."

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• Superb Double Plus (A++) sound or BETTER on both sides and only the second copy to ever hit the site
• A shockingly well recorded album, with Oliver Nelson's arrangements exploding from the speakers with all the brilliant energy and color we've come to expect from the man
• "For this date, the group decided to emphasize its pop side, recording the record with the lush Oliver Nelson Orchestra and choosing to cover such pop hits as "The Look of Love" and "Last Train to Clarksville"... the glossy production has its appealing moments..."

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Liner Notes for the Remix by Richard Barnes

In 1966, three years before the original release of this album, Pete Townshend played a tape of a spoof song called 'Gratis Amatis' to Who manager Kit Lambert. The 10-minute aria consisted of high-pitched Goon Show voices singing 'Gratis Amatis' over and over for what seemed like an hour. As they fell about laughing, a friend said, "It's a rock opera", which caused more laughter. Suddenly Lambert stopped laughing and looked thoughtful. "Now there's an idea," he said.

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