Everybody Else Is Doing It, So Why Can't We? / The Cranberries The Cranberries - Everybody Else Is Doing It, So Why Can't We?

"...this album is packed with powerful songs propelled by brothers Noel and Mike Hogan on guitar and bass and then there's (Dolores O'Riordan's) voice, so bold and forthright, yet vulnerable. ... You'll hear elements of Simple Minds, Modern English, U2 and of course The Smiths (the album was produced by The Smiths' producer Stephen Street) in the pleasingly icy guitar sound, bathed in reverb and the deep, full bass. ... $25 for this well-produced record strikes me as more than reasonable. Analog Spark issued this record before Ms. O'Riordan's sudden death after which it quickly sold out but now it's back in stock." Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here.

Chopin's Last Waltz / Robert Silverman Chopin's Last Waltz/Robert Silverman

"Silverman's Chopin is an unqualified success. Although every composition presented here is a familiar selection from Chopin's oeuvre, Silverman's conceptions of them delve deeply into the composer's inherent passions for his music and his love of melody. ... the recording presents a beautiful multidimensional sound image, with a wide dynamic range and gorgeously sharp, true tone colors." — Performance = 5/5; Sonics 5/5 — Robert Baird, Stereophile, February 2018. Editor's Pick – Recording of the Month

Folksinger Vol. 2 / Willie Watson Willie Watson - Folksinger Vol. 2

"Watson covers versions of 'Gallows Pole,' 'Dry Bones,' 'John Henry,' 'When My Baby Left Me,' and 'Take This Hammer' among others, bringing to them an authenticity and honesty you might have thought couldn't possibly have survived the millennium, but you'll need no convincing listening to this record. ... The sonics here are 100% of what you like and hope every record you buy might sound like. The naturalness and transparency will slay you ... The record is well-pressed on standard weight vinyl at QRP and the paper on cardboard jacket befits what's inside." — Music = 10/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com. Read the whole review here.

The Harrow & The Harvest / Gillian Welch Gillian Welch - The Harrow & The Harvest

"These are rich guitar and banjo textures and harmonics that are almost orchestral in nature. ... The recorded sound here is everything you'd wish for on an album of acoustic instruments and vocals. It's artifact-free, harmonically and textually rich and complex and spatially three-dimensional. ... The QRP pressing is dead quiet too. (Note: the first pressing has sold out but do order now. It's worth the wait!)." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here.

"If you're a musician who cares passionately about the sonics of your first-ever vinyl release, what steps can you take to ensure that the record sounds as good as possible? Here's one option: record the music to tape, buy your own cutting lathe, master directly from the original tapes, actually participate in the cutting process, and plate and press the vinyl at Quality Record Pressings. Gillian Welch and musical partner David Rawlings took those steps, and the process, though fraught with delays and very expensive, ended up being worth it. On these duets that feature both Welch and Rawlings on guitar and vocals (with Welch singing lead), the songs resemble short stories where the singer is fully invested in the characters, and the unfiltered lyrics that cut close to the bone fit the stripped-down and intimate sound of this LP. A black noise floor allows the detail and timbre to come through fully, and the delicate interplay between the guitars on what are mostly first or second takes gives the music an in-the-moment feel. Kudos to Welch and Rawlings for sticking their necks out and taking the DIY approach all the way." — Music 4/5, Sonics 5/5, Jeff Wilson, The Absolute Sound, December 2017.

Les Liaisons Dangereuses 1960 / Thelonious Monk Thelonious Monk - Les Liaisons Dangereuses 1960

"This long-lost soundtrack to Roger Vadim’s film of the same title (spread out on two CDs, with alternate takes) isn’t the best Monk album from the period, but it’s not a mere novelty either. Monk’s piano work is drenched with playful energy, and the band—Charlie Rouse and Barney Wilen on tenor saxes, Sam Jones on bass, Art Taylor on drums—is in top form. * Bonus: The final track has Monk coaching Taylor through the drum part on 'Light Blue,' a fine illustration of the complexities of Monk’s music and how it comes out when the musicians get it down." — Fred Kaplan, Slate.com, December 2017

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