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.
LP 180g, audiophile pressing
2LP
2LP standard
Physical Graffiti is the sixth studio album by the English rock band Led Zeppelin. It was released as a double album on 24 February 1975 by the group's new record label, Swan Song Records.
2LP, 180g
3LP standard
The Piper at the Gates of Dawn is the debut studio album by the English rock band Pink Floyd, and the only one made under founding member Syd Barrett's leadership. The album, named after the title of chapter seven of Kenneth Grahame's The Wind in the Willows and featuring a kaleidoscopic cover photo of the band taken by Vic Singh, was recorded from February to May 1967 and released on 4 August 1967.
Remastered By – Bernie Grundman, James Guthrie, Joel Plante
Lacquer Cut - Bernie Grundman
[AllMusic] Although Kraftwerk's first three albums were groundbreaking in their own right, Autobahn is where the group's hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing. The 22-minute title track, in a severely edited form, became an international hit single and remains the peak of the band's achievements -- it encapsulates the band and why they are important within one track -- but the rest of the album provides soundscapes equally as intriguing. Within Autobahn, the roots of electro-funk, ambient, and synth pop are all evident -- it's a pioneering album, even if its electronic trances might not capture the attention of all listeners.
[ drowned in sound ] Viewed with the generous and neatening benefits of hindsight, while Kraftwerk’s sixth album, Trans-Europe Express, mapped out the blueprint for electro and techno, their seventh, The Man-Machine, secured what Simon Reynolds has called the group’s ‘ancestral centrality’ for synthpop. As such, the only bad thing that could be said about it is that it was indirecly responsible for the release of thousands of tonnes of New Romantic haircut-enabling chlorofluorocarbons into the atmosphere.”
45 RPM
