Many music lovers miss the sound from vinyl pressings.
Many others have yet to discover how pleasant the sound can be.
Most of our albums are mastered from vinyl LP pressings and earlier
recordings (before 1953) from 78 rpm discs. It is our ability to
recreate, in the digital age, the sound from the disc era that many of
our customers find most enjoyable.
Unlike modern digital recordings tracks in our
albums do contain some distortion, and the occasional surface noises,
but for many listeners these "defects" are soon forgotten.
Our albums are available from many download sites.
are in the process of moving our recommended download site from iTunes
Qobuz where you can download or stream in higher quality, but at
same price as iTunes.
What the Critics Say
The following are reviews by Brian Wilson at Music
Karajan recorded the Mozart Requiem several times but
this 1961 DG version was well worth reissuing. The performance is
unidiosyncratic, the soloists – Wilma Lipp not to all tastes – and
choir in fine voice and the recording has come up almost as well as I
remember the CD sounding, albeit that both are a little muddy in some
of the choruses – at least in part owing to the massive numbers
employed. I can’t pretend that it’s my go-to version. It remains,
however, worth considering – subscribers to Qobuz should at least
stream it when it appears there.
Karajan’s g-minor symphony is predictably plush, a
Haydn in golden slippers. Those who managed to get to the end of
Pilgrim’s Progress and even read Part II will recall that Mr By-Ends
who prefers religion ‘when he walks in his golden slippers’ comes to a
sorry end, falling into a silver mine in the Hill of Lucre: he and his
companions ‘never was [sic] seen again in the way’. I exempt Karajan’s
recording of this symphony from the same fate.
The performances make Sylvia sound as fine as the more
popular Coppélia and the recording has come up sounding almost
brand-new in this transfer. Ideal for late-night listening.
I very much enjoyed this trip down memory lane, with
superb tenors, one in decent 1942 78 sound, the other in good stereo
from 1959 and 1960, and one who at his best was very good but developed
a negative reputation for those times when, at less than that best, he
just made a loud noise. Most of all I enjoyed Fritz Wunderlich, making
the two arias from Flotow sound just the right degree sentimental, and
very well supported by Gottlob Frick.