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Enter The Wu-Tang Clan (36 Chambers)Ranked 386/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's The Way We Were), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again. ~ Steve Huey, All Music Guide1. Bring Da Ruckus
2. Shame On A Nigga
3. Clan In Da Front
4. Wu-Tang: 7th Chamber
5. Can It Be All So Simple/Intermission
6. Mystery Of Chessboxin'
7. Wu-Tang Clan Ain't Nuthing Ta F' Wit
9. Method Man
10. Protect Ya Neck
12. Wu-Tang: 7th Chamber, Pt. 2
13. Conclusion$19.99Vinyl LP - Sealed Buy Now
Enter The Wu-Tang (36 Chambers) (7 Box Set)The Group's Classic (November) 1993 Debut Album Is Presented As A Set Of Six 7-Inch Vinyl Records
Outer Slipcase Holds The Unique Hardcover "Casebook," With Six 7-inches As Book Pages, In Addition To Liner Notes Book
Casebook Features A 56-page In-Depth Liner Notes Book (AKA The Shaolinthology), With New Rza Input / Interviews, Extensive Research By Journalist Chris Faraone, Album Lyrics, Rarely-Seen Photos And Other Rare Images From The Enter The Wu-Tang Era
This absolutely unique, deluxe edition of this classic album - which has been created in full collaboration with The RZA - is presented as a "Casebook" hardcover book, which houses the album's 12 full songs that are divided into six 7-Inches. And beyond the 56-page liner notes, six additional pages have a Wu-Tang logo picture sleeve in which to put the vinyl.
Besides the vinyl, the centerpiece of the Casebook is a 56-page Shaolinology book, featuring input by RZA, written by journalist Chris Faraone. Beyond many never-before-discussed Wu-Tang nuggets, the book also includes rare photos of the group, lyrics for all album songs, as well as other images and advertisements from the Enter The Wu-Tang era.
If you are a Wu-Tang Clan fan - and what self-respecting hip-hop junkie isn't? - this is a trophy that you will be proud to have on your shelf, to celebrate the influence of one of music's most influential groups.Disc 1
1. Bring Da Ruckus
2. Shame On A Nigga
1. Clan In The Front
2. Wu-Tang: 7th Chamber
1. Can It All Be So Simple / Intermission
2. Da Mystery Of Chessboxin'
1. Wu-Tang Clan Ain't Nothing Ta F' Wit
1. Method Man
2. Protect Ya Neck
2. Wu-Tang: 7th Chamber - Part II / Conclusion$75.997 Vinyl Box Set- 6 Singles Sealed Buy Now
Return To The 36 Chambers: The Dirty VersionIt's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (Damage, with GZA), drugged-out party jams (the monster singles Brooklyn Zoo and Shimmy Shimmy Ya) and bizarre, grimly hilarious fantasies of sex and violence (Don't U Know and the R&B-tinged Sweet Sugar Pie). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers: The Dirty Version on double LP.LP1
2. Shimmy Shimmy Ya
3. Baby C'mon
4. Brooklyn Zoo
5. Hippa To Da Hoppa
6. Raw Hide
8. Don't U Know
9. The Stomp
10. Goin' Down
11. Drunk Game (Sweet Sugar Pie)
13. Brooklyn Zoo II (Tiger Crane)
14. Protect Ya Neck II The Zoo
15. Cuttin' Headz$21.99Vinyl LP - 2 LPs Sealed Buy Now
Return To The 36 Chambers (Dirty Version)Insert
Contains 2 Bonus Tracks: Dirty Dancin' and Harlem World
Ol' Dirty Bastard rose to fame in the world renowned Hip Hop gang Wu-Tang Clan. His vocal input in Wu-Tang's Enter The Wu-Tang added comic relief and unpredictability to the overt gangsta lyrics, so when producer RZA worked with him to capitalize on his unique style on his own solo album, ODB jumped (probably literally) at the chance.
Return To The 36 Chambers (1995) is chock full of his rants, growls, schtick and off-beat rhymes. After release, Shimmy Shimmy Ya and Brooklyn Zoo quickly became true Hip Hop classics. An entertainer in his own right, ODB was perhaps one of the realest rappers out there, and unfortunately died in his prime in 2004.
This unique reissue of Return To The 36 Chambers contains 2 exclusive vinyl-only bonus tracks: Dirty Dancin' and Harlem World.LP1
2. Shimmy Shimmy Ya
3. Baby C'mon
4. Brooklyn Zoo
5. Hippa To Da Hoppa
6. Raw Hide
8. Don't U Know
1. The Stomp
2. Goin' Down
3. Drunk Game (Sweet Sugar Pie)
5. Brooklyn Zoo II (Tiger Crane)
6. Proteck Ya Neck Ii The Zoo
7. Cuttin' Headz
8. Dirty Dancin' *
9. Harlem World *
* Bonus Tracks$36.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Tical2014 is the 20th anniversary of Tical, the debut solo album of Wu-Tang Clan member Method Man, released November 15, 1994, on Def Jam Records. It
was the first Wu-Tang solo album released after the group's debut,Enter the Wu-Tang (36 Chambers). Similar to all first generation solo Wu-Tang
projects, Tical was mainly produced by group member RZA. The album features guest appearances from several Wu-Tang members including RZA,
Raekwon, & Inspectah Deck. The album was a commercial success, reaching number four on the Billboard 200, and number one on the Top R&B/Hip
Hop Albums chart. On July13, 1995, it was certified platinum. This success was driven by its two singles, Bring the Pain and I'll Be There for You/You're
All I Need to Get By. Tical has since been hailed by several music critics as a hip hop classic and its success is matched by its influence as a major piece
in the East coast hip hop renaissance.1. Tical
3. Bring the Pain
4. All I Need
5. What the Blood Clot
6. Mef vs. Chef 2
7. Sub Crazy
8. Release Yo' Delf
9. P.L.O. Style
10. I Get My Thang in Action
11. Mr. Sandman
13. Method Man (remix)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bulletproof Wallets180 Gram Audiophile Vinyl
Featuring Method Man, Slick Rick, RZA, Ginuwine, Raekwon
Ghostface Killah is an American rapper and critically acclaimed for his loud, fast-paced flow and his colorful storytelling rap. His stage name was taken from one of the characters in the 1979 kung fu film Mystery of Chessboxing and he is the founder of his own label Starks Enterprises.
He was a prominent member of the Wu-Tang Clan and after the group achieved breakthrough success in the aftermath of Enter The Wu-Tang (36 Chambers), the members went on to pursue solo careers on which Ghostface Killah was the most successful one of the group.
The rapper started off his solo-career with Ironman in 1996, which was well received by music critics. He has continued his success over the following years with critically acclaimed albums such as Supreme Clientele (2000), Bulletproof Wallets (2001) and Fishscale (2006).
Bulletproof Wallets is the third studio album by Ghostface Killah. Its feature single, Never Be the Same Again, featured Carl Thomas and Raekwon. He had another club hit with Flowers, which featured guest vocals from fellow Wu-Tang members Method Man and Raekwon, and a popular single Ghost Showers which featured Madame Majestic, who also sung on the popular Wu-Tang track Gravel Pit.LP 1
2. Flowers (Feat. Raekwon, Method Man & Superb)
3. Never Be The Same Again. (Feat. Carl Thomas And Raekwon)
4. Theodore (Feat. Trife & Twiz)
5. Ghost Showers
6. Strawberry (Feat. Killah Sin)
1. The Forest
2. The Juks (Feat. Trife & Superb)
3. Walking Through The Darkness (Feat. Takitha)
4. The Hilton (Feat. Raekwon)
5. Love Session (Feat. Ruff Endz)
6. Street Chemistry$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Engine-revving dose of filthy, leather-clad blues.
A shit-kicking garage greaser with badass hooks.
Stripped- down garage rock with crunching guitars
and kiss-off cockiness.
This is desert-burned blues rock boosted by punk,
soul and hip-hop
- ROLLING STONE
On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried
something he'd never tried before-making a bedroom-style
recording of his then stripped-to-the-skeleton guitar-and-drums
rock 'n' roll mostly for the sheer joy of making it. For his ferocious
2013 follow-up Head In The Dirt, he tried something new again,
showing up at producer Dan Auerbach's analog-dreamland
Nashville studio with nothing but the clothes on his back and an
But after Head In The Dirt's release and almost a year of relentless
touring, Hanni knew he needed to go past 'unpredictable' all the
way to 'unprecedented.' He needed isolation, time and the chance
to experiment. So after 30 days locked in hand-picked L.A. studio
The Lair, the result is the album Moonlight-the rarest and most
welcome kind of album, made at that perfect point in life where
confidence, experience, and technique unite to help an artist do
anything they want.
That's why it starts with a song that sounds like a Mobb Deep beat
under a Suicide-style synth drone and ends with an
ESG-meets-LCD Soundsystem gone italo-disco song about life and
death. That's why it collides crushing crate-digger drumbeats
that'd be right at home on a Can LP or an Eddie Bo 45 with
bleeding distorto guitar, bent and broken barroom piano and
hallucinatory analog flourishes. (In fact, some smart producer is
going to sample the drums from this album and complete the circle
of life.) And that's also why Moonlight feels like the album he's
always wanted to make: "What would it sound like if RZA got in the
studio with Iggy Pop and Tom Waits?" he asks. "I don't know! That
was my approach on everything."
It's a personal album in the most primal sense, put together in any
way that worked. Iggy Pop and David Bowie did this kind of thing
on The Idiot, the Wu-Tang Clan did it on 36 Chambers and the
Clash did it three times over on Sandinista. And now it's Hanni's
turn, across 11 new lightning-struck songs, each written and
recorded in its own flash of inspiration. It sounds like an album
made by an endless list of collaborators, but really Moonlight was
more like the first do-it-almost-all-yourself music Hanni ever made,
except after six years recording and touring, he'd learned to do so
much more.1. Moonlight
2. Melt Me
3. The Teeth
5. Worship Song (No 2)
8. All Black
10. Dance Hall
11. Two Brothers$19.99Vinyl LP - Sealed Buy Now
"Take the romantic stings and catchy choruses from the Illinois era,
throw in some crazed electronic percussion, melted synths, rapped verses,
and autotuned vocals, and stir." - Beats Per Minute
Sisyphus is the new name for the collaboration between Serengeti, Son Lux, and
Sufjan Stevens (formally s/s/s), whose new project under this moniker is a
self-titled album partly inspired by the art of Jim Hodges, and commissioned by
the Walker Art Center and The Saint Paul Chamber Orchestra's Liquid Music
series in Minneapolis/Saint Paul.1. Calm It Down
2. Take Me
3. Booty Call
4. Rhythm of Devotion
5. Flying Ace
6. My Oh My
7. I Won't Be Afraid
8. Lion's Share
9. Dishes In the Sink
10. Hardly Hanging On
11. Alcohol$22.99Vinyl LP - 2 LPs Sealed Buy Now
Borodin - String Quartet No. 2 / Shostakovich - Quartet No. 8 (Speakers Corner)
Unlike his fellow countryman Tchaikovsky, it wasn't easy for Alexander Borodin to achieve the recognition due to him. As a professor of chemistry, Borodin found very little time for composing, but in spite of this he is considered one of the most important Russian symphonic composers of the 19th century. Borodin also created works for small ensembles; thanks to its beautiful, slow notturno, his String Quartet No. 2 is among the most important compositions in chamber music.
Dmitri Shostakovich has often been honoured as one of the outstanding composers of this century. Shostakovich was devastated by the destruction of Dresden and the composition of the moving String Quartet No. 8 was his means of overcoming his war experiences. The intensity of this piece is augmented by the relaxed climax in the largo which brings his composition to a serene ending.
The international career of the Moscow Philharmonic Quartet began in 1955 when it took on the honourable title "The Borodin Quartet". These 1962 recordings are masterly performances, full of great expressivity. Even the highest demands are met by the warm and full sonority.
Recording: September 1962 at DECCA Studios, London by J. Clegg
Production: E. Smith
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Beethoven: Violin Sonata Op. 96 & Op. 25200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
Stereophile's Recording of the Month For February 1984
Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984
David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.
Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.
The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.
David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.
Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.
The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.
This title is not eligible for discount.1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now