Unplugged (Two-disc set on 180-gram vinyl; Bernie Grundman Mastering)
Eric Clapton's Unpluggedwas responsible for making acoustic-based music, and "unplugged" albums in particular, a hot trend in the early ‘90s. Clapton's concert was not only one of the finest Unplugged episodes, but was also some of the most genuine, heartfelt music the guitarist has ever committed to tape.
And some of his most popular: The album sold more than 10 million copies in the U.S. and won several Grammy Awards, including "Album Of The Year."
The Beatles' acclaimed original studio album remasters, released on CD in 2009, make their long-awaited stereo vinyl debut
Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper's Lonely Heart Club Band's cut-outs, and special inner bags for some of the titles
The titles include The Beatles' 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group's core catalogue, and Past Masters, Volumes One & Two, first released individually in 1988, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles' first four albums make their North American stereo vinyl debuts
There has always been demand for The Beatles' albums on vinyl. Indeed, 2011's best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles' acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI's Abbey Road Studios should create new versions of The Beatles' vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.
The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl
A 'blind' listening test was arranged to choose between a 'lacquer' or 'copper' cut. Using both methods, A Hard Day's Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having 'blank' discs of a consistent quality when cutting lacquers
The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone 'limiting' - a procedure to increase the sound level, which is deemed necessary for most current pop CDs
Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any 'sibilant episodes' - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of 'inner-groove distortion' was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a 'mushy' sound particularly noticeable on vocals. Using what Magee has described as 'surgical EQ,' problem frequencies were identified and reduced in level to compensate for this
The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli
An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the 'lock-groove' at the end of side two of Sgt. Pepper's Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.
The Beatles - Sgt Pepper's Lonely Hearts Club Band [2017 Stereo Mix]
Sgt. Pepper’s Lonely Hearts Club Band’s 2017 stereo mix as a 1-LP 180-gram black vinyl. Produced by Giles Martin for this year’s universally heralded ‘Sgt. Pepper’ Anniversary Edition releases, the album’s new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles’ father, George Martin. Praised by fans and music critics around the world, The Beatles’ ‘Sgt. Pepper’ Anniversary Edition is 2017’s most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.
Slowhand was recorded at Olympic Studios in South West London in May 1977 and was produced by Glyn Johns. Released in November 1977, Slowhand was the most successful album of Clapton's 70s studio recordings. It reached No.2 on the Billboard chart, where it stayed for five weeks, spending a total of seventy-four weeks on the American album chart.
Slowhand features "Wonderful Tonight," "Lay Down Sally" and "Cocaine" songs that are still heard regularly on radio and at Eric Clapton's live shows. So long after its release is a great recommendation and testimony to its place in Clapton's canon. The album includes cover versions of songs written by some of his favorite songwriters (JJ Cale, John Martyn, Don Williams, Arthur Crudup) along with original compositions by Eric Clapton.
The new Abbey Road release features the new stereo album mix, sourced directly from the original eight-track session tapes. To produce the mix, Giles Martin working with Sam Okell, was guided by the album’s original stereo mix supervised by his father, George Martin.
For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn. The Beatles have now released a suite of lavishly presented ‘White Album’ packages, including a 180-gram 2LP vinyl set. The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and includes packaging faithful to the original album.
Disc 1 / Side A
Back In The U.S.S.R.
Ob - La - Di - Ob - La - Da
Wild Honey Pie
The Continuing Story Of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is A Warm Gun
Disc 1 / Side B
Martha My Dear
I'm So Tired
Don't Pass Me By
Why Don't We Do It In The Road?
Disc 2 / Side A
Mother Nature's Son
Everybody's Got Something To Hide Except Me And My Monkey