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  • Absolutely Free (Pre-Order) Absolutely Free (Pre-Order) Quick View

    $34.99
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    Absolutely Free (Pre-Order)

    Original Record Mastered By Bernie Grundman & Cut Directly From Original Tapes

    20 Minutes Of Bonus Material

    The Zappa Family Trust marks the 50th Anniversary of Frank Zappa & The Mothers Of Invention s 1967 album Absolutely Free with an expanded vinyl-exclusive edition.

    This double 180 gram LP version will include the original record mastered by Bernie Grundman & cut directly from the original analog master tapes, plus a laser-etched additional disc including 20 minutes of bonus material from the Vault. The package features FZ's original layout & libretto. Absolutely Free turns 50!!

    LP 1
    1. Plastic People
    2. The Duke Of Prunes
    3. Amnesia Vivace
    4. The Duke Regains His Chops
    5. Call Any Vegetable
    6. Invocation And Ritual Dance Of The Young Pumpkin
    7. Soft - Sell Conclusion
    8. America Drinks
    9. Status Back Baby
    10. Uncle Bernie's Farm
    11. Son Of Suzy Creamcheese
    12. Brown Shoes Don't Make It
    13. America Drinks & Goes Home


    LP 2
    1. Absolutely Free (Radio Ad #1)
    2. Why Don'tcha Do Me Right
    3. Big Leg Emma
    4. Absolutely Free (Radio Ad #2)
    5. Glutton For Punishment...
    6. America Drinks (1969 Remix)
    7. Brown Shoes Don't Make It (1969 Remix)
    8. America Drinks & Goes Home #2 (1969 Remix)

    Frank Zappa
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Set Your Lightning Fire Free Set Your Lightning Fire Free Quick View

    $15.99
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    Set Your Lightning Fire Free

    It's been a busy couple of years since the self-release of Shana Falana's debut EP,
    2011's In The Light. The veteran dream pop artist has toured all over the US and
    Europe. She's released two Bandcamp-only collections of lo-fi works, Channel and
    Velvet Pop, as well as a cassette-only document of her early-career music, Shana Falana
    Sings Herself To Sleep. But for all her globetrotting, archiving, and micro-releasing, this
    is the moment we've been waiting for: Set Your Lightning Fire Free.


    A lightning fire is exactly what it sounds like, the earth at odds with itself, burning
    itself to the ground and starting from scratch. On this record, her debut LP, Shana
    Falana makes a point of breaking her own rules. "I've always kept the different sides
    of my music separate. The ambient ballads, the fuzzed out stuff; they all needed to
    exist as their own statements," says Falana, "I would have two or three bands at one
    time: a sludge rock band; a Bulgarian women's choir; a pretty, dreamy organ and guitar
    duo. This is the first record where I've combined all of that, sometimes in the course
    of one song."


    Rather than spending months in the studio, laboring over arrangements and ideas,
    Falana recorded SYLFF in just over a week. The songs were already compact and fully
    realized from years of touring. Recorded at ISOKON studios in upstate New York
    with producer Dan Goodwin (Devo, Kaki King), SYLFF's working mantra was a) get
    the idea down b) move on c) don't look back. Shana chose to record the vocals herself
    alone in various locations, from her bathroom to a child's bedroom. And for the first
    time, Shana wrote and performed her own lead guitar parts.


    The other noticeable difference is the addition of steady drummer and creative
    companion, Mike Amari. The two met at a garden party. Shana was covering a
    Bauhaus song and the two instantly connected. Soon after they were setting up to
    play together for the first time in an abandoned theater in Kingston, New York.
    Mike's minimalistic and tribal approach to drumming was a perfect fit with Shana's
    droning dream pop, and within six months they were heading out on their first
    national tour.


    Shana and Mike's collaboration has culminated in Set Your Lightning Fire Free, and the
    result is a record of stark confidence. Undaunted guitar riffs and thundering drums
    prevail, while Shana's two decades of songwriting and performing lend authority and
    emotion to one or two word refrains like "Gone," "Go," and "There's a Way."
    "Anything," with its Bollywood strings and industrial groove, climaxes with repeated
    shouts of "No, you didn't take anything from me!" in a way that would make James
    Murphy sweat. Lead single "Heavenstay" takes the lilting "higher, higher, higher"
    refrain of In The Light's "Light The Fire" and absolutely soars with the most explosive
    chorus of the LP. Day-Glo guitars are smeared across this record, and Falana's
    veritable army of vocals stacked and vibrating with her eastern European influences.

    1. Gone
    2. Heavenstay
    3. Go
    4. Anything
    5. Know UR Mine
    6. Shine Thru
    7. Second Skin
    8. There's a Way
    9. Dive
    10. That Girl
    Shana Falana
    $15.99
    Vinyl LP - Sealed Buy Now
  • Volume Two Volume Two Quick View

    $24.99
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    Volume Two

    The first two albums by England's legendary Soft Machine, originally released in 1968 and 1969, remain among the most innovative and influential releases of that musically fertile era. These seminal LPs offered a visionary psychedelic-progressive-jazz-rock mix that helped to make the Soft Machine one of Britain's first significant underground bands, as well as a key force in the birth of both progressive rock and jazz-rock.


    A product of the same fabled Canterbury scene that spawned such beloved cult acts as Caravan and Hatfield and the North, the Soft Machine was the rare art-rock combo whose members possessed the instrumental skills to execute their ambitious musical ideas, as well as a playful sense of humor that balanced the band's complex compositions and adventurous improvisations. By the time they began making albums, the Soft Machine was already a sensation in the budding U.K. rock underground, thanks to their now-legendary performances at such fabled London clubs as the UFO, the Speakeasy and Middle Earth, where they shared stages with the likes of Pink Floyd and Tomorrow.


    The aptly titled Volume Two introduced a retooled Soft Machine lineup, with Wyatt and Ratledge joined by bassist Hugh Hopper, an old Canterbury friend who had guested on the first album. The sophomore disc finds the threesome moving towards a more explicitly jazz-influenced sound, with an increased emphasis on instrumental material. The album is bookended by a pair of extended compositions, Rivmic Melodies and Esther's Nose Job, which are broken up into shorter individual tracks bearing whimsically arbitrary titles. That approach was suggested to the band by Frank Zappa, whose Mothers of Invention album Absolutely Free was reportedly an influence on Volume Two.


    This landmark vinyl gem has been out of print for decades, but now it is back in this meticulously packaged Sundazed edition. Mastered from the original analog tapes and pressed on pristine high-definition vinyl, this lovingly restored vintage gem sounds as powerful and imaginative as ever.

    1. Pataphysical Introduction - Part I
    2. A Concise British Alphabet - Part I
    3. Hibou Anemone and Bear
    4. A Concise British Alphabet - Part II
    5. Hullo Der
    6. Dada Was Here
    7. Thank You Pierrot Lunaire
    8. Have You Ever Bean Grean?
    9. Pataphysical Introduction - Part II
    10. Out Of Tunes
    11. As Long As He Lies Perfectly Still
    12. Dedicated To You But You Weren't Listening
    13. Fire Engine Passing With Bells Clanging
    14. Pig
    15. Orange Skin Food
    16. A Door Opens And Closes
    17. 10 30 Returns to the Bedroom
    Soft Machine
    $24.99
    Vinyl LP - Sealed Buy Now
  • Live At Berkeley Live At Berkeley Quick View

    $44.99
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    Live At Berkeley

    This Beautiful Hendrix Album Will be Released in a Gatefold Sleeve with an 8 Page Booklet!


    Jimi Hendrix's show at the Community Theater in Berkeley on May 30, 1970 has always been the stuff of legends. Although much of the performance has been bootlegged to within an inch of its life, it wasn't until 2003 that the second show of the evening was officially released.


    His signature songs Hey Joe, Foxy Lady, Purple Haze and Voodoo Child sound absolutely stunning, but it's Jimi's solo on Stone Free and the tracks I Don't Live Today and Machine Gun that take you into the stratosphere.

    LP 1
    1. Introduction
    2. Pass It On (Straight Ahead)
    3. Hey Baby (New Rising Sun)
    4. Lover Man
    5. Stone Free
    6. Hey Joe
    7. I Don't Live Today


    LP 2
    1. Machine Gun
    2. Foxy Lady
    3. Star Spangled Banner
    4. Purple Haze
    5. Voodoo Child (Slight Return)

    Jimi Hendrix
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Held In Splendor Held In Splendor Quick View

    $14.99
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    Held In Splendor


    As warm and relaxing as falling asleep in the sun." - Stereogum


    Judging from the early glimpse, Held In Splendor benets greatly from a more focused creative process. - SPIN


    Like a dusted-off artifact from a trippier time...borrowing from junkyard blues and '60s psychedelia while still sounding like its own thing. - The Fader


    Quilt's free-falling, unltered sound is the kind you'll have a hard time getting out of your head. - Interview Magazine


    When the three members of Quilt arrived in New York City in April to begin
    the intensive recording process for their second album, the new and aptly
    named Held In Splendor, they stepped directly into spring. Anna Fox
    Rochinski, Shane Butler and John Andrews had spent much of the previous
    several months clutched away at The Puritan Garage in Boston's
    Charlestown, shielding themselves from a winter of blizzards with the haven
    of their practice space and a set of fresh songs.


    Since the release of their 2011 self-titled debut on Mexican Summer, they'd
    become more than kids just out of college. They'd become a bona de
    hard-touring band, with stories to share from the road and experiences to
    distill into the narrative of new music. Though they continued to write and
    arrange tunes together, always an essential part of Quilt's creative process,
    they brought songs to one another, too, making and modifying demo tapes
    for the rst time. No longer rookies, Quilt began to approach their music like
    a lifeline. Coming to New York, then, just as the magnolia trees bloomed
    and the season of new life began to blossom, Quilt got to work.


    Indeed, when Butler talks about recording the kaleidoscopic Held In
    Splendor, he seems to speak of an ornate children's playground. Whereas
    their rst album was made mostly for free and mostly by friends over the
    course of a year of starts and stops, in sessions that captured the early and
    elemental and exciting efforts of a band nding its footing, Quilt entered the
    proper in-house studio located beneath the Mexican Summer ofces in
    Brooklyn for this one. They'd allocated a solid month for recording, and they
    clocked full days, every day, with Woods member and producer Jarvis
    Taveniere.


    The approach was wide-open: They tuned drums and recorded the same
    song with multiple microphone set-ups. They added bass and invited friends
    who added saxophone and violin, cello and steel guitar. They built this
    album together.


    Held In Splendor is an audacious pop-rock record with cascading harmonies
    and billowing textures, punchy rhythms and snarled guitars, wonderful depth
    and resplendent peaks. "Mary Mountain" takes hazy Summer of Love
    memories on a mid-summer road trip in a gleaming muscle car. "Tired &
    Buttered" invites Booker T over for an energy-addled jam in the garage.
    "The Hollow" twinkles like Fleetwood Mac and Galaxie 500, with sweet
    singing backed by the lap steel sighs of young acoustic guitar star and
    longtime Quilt pal Daniel Bachman. Held In Splendor is an album of
    personal poetry and public questions, confessions and aspirations-really,
    these 13 tracks are their own playground, brimming with the sort of
    unapologetic energy and wonder that turns simple songs into absolute
    anthems.

    1. Arctic Shark
    2. Saturday Bride
    3. Eye of the Pearl
    4. Mary Mountain
    5. Tie Up the Tides
    6. The Hollow
    7. A Mirror
    8. Just Dust
    9. The World Is Flat
    10. Tired & Buttered
    11. Secondary Swans
    12. Talking Trains
    13. I Sleep in Nature
    Quilt
    $14.99
    Vinyl LP - Sealed Buy Now
  • PS Audio PerfectWave DirectStream DAC 2 COLORS AVAILABLE PS Audio PerfectWave DirectStream DAC Quick View

    $5,999.00
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    PS Audio PerfectWave DirectStream DAC


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Pure DSD done right


    Just released! The latest operating system update, Yale Final. Transform your DirectStream, yet again, with this stunning new OS. And, it's free!


    Introducing DirectStream DAC, both Stereophile and Absolute Sound's Product Of The Year. Hand written, discrete, perfection based conversion that uncovers all the missing information hiding in your digital audio media for all these years. CD's, downloads, high-resolution PCM or DSD based media are expertly upsampled in the DirectStream to ten times DSD rate and output as pure analog directly into your amplifier or preamplifier. Classic PCM based DACS, including many of today's DACS that can also process DSD, tend to cover up some of the subtle musical details buried deep within digital audio music; a problem inherent in their architecture. DirectStream solves this problem by employing a pure DSD single-bit approach for both PCM as well as DSD media. This means that your entire library of music can finally reveal all the music and subtle low level details buried deep within its core. Imagine going to a recording studio and listening to a master tape of any recording made. This is the experience DirectStream provides its owners who enjoy a renewed sense of enjoyment and discovery when listening to everything in their library: CD's, downloads, DSD.



    PS Audio
    $5,999.00
    DAC - Black or Silver
    Buy Now
  • Bitches Brew (Awaiting Repress) (On Sale) Bitches Brew (Awaiting Repress) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
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    Bitches Brew (Awaiting Repress) (On Sale)

    Monumental 1970 Double Album is Signpost for Jazz Fusion: Psychedelic Record Still Sounds Ahead of Its Time More Than 40 Years Later


    Otherworldly Sonics: Mobile Fidelity Delivers the Consummate Pressing of the Uncompromising Work Ranked by Rolling Stone as Among the Greatest 100 Albums of All Time


    Grammy Award-Winning Set Ignores Convention, Pursues Funk and Rock Directions Via Innovative Rhythms and Groundbreaking Ensemble Configurations


    A Dozen Five-Star Miles Davis Albums Spanning 1958-1971 Available from Mobile Fidelity on Definitive-Sounding LP


    "Listen to This." As the original working title for Bitches Brew, the invitation resonates as the best way to approach a record that shattered conventions, altered music history, and still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made in any genre.


    Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's definitive 180g 2LP. Mastered from the original master tapes, these audiophile editions join the ranks of eleven other essential Davis sets given supreme sonic treatment by Mobile Fidelity.


    Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism.
    Mobile Fidelity's reissues envelop you in expansive warm tonal blankets.


    Gathering a Hall of Fame-worthy lineup of musicians, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops speak to the leader's ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it encourages free thought-the very principle with which Davis
    conceived the everlasting beauty that is Bitches Brew.


    This title is not eligible for further discount.

    1. Pharaoh's Dance
    2. Bitches Brew
    3. Spanish Key
    4. John McLaughlin
    5. Miles Runs the Voodoo Down
    6. Sanctuary
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Plastic Ono Band Plastic Ono Band Quick View

    $23.99
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    Plastic Ono Band

    Remastered From The Original Tapes By Sean Lennon


    This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voorman and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia.


    Released in 1971, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today.

    1. Why
    2. Why Not
    3. Greenfield Morning I Pushed An Empty Baby Carriage All Over The City
    4. AOS
    5. Touch Me
    6. Paper Shoes
    Yoko Ono
    $23.99
    Vinyl LP - Sealed Buy Now
  • The Chuck Mangione Quartet (Speakers Corner) The Chuck Mangione Quartet (Speakers Corner) Quick View

    $34.99
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    The Chuck Mangione Quartet (Speakers Corner)

    Now - in which pigeonhole that the innumerable self-proclaimed jazz critics like to create does this release from 1971 fit? Jazz-rock, jazz-fusion, soul-jazz-rock-fusion, electro-fusion-pop? Perhaps we can all agree that we should just enjoy these quartet recordings!


    These recordings, all of them absolutely fantastic numbers, have been made by flugelhornist Chuck Mangione with his marvellous quartet without a piano in a sort of 'jam session'. The band members are absolutely top notch with Ron Davis on drums, Joel DiBartolo on the double bass, and Gerry Niewood (still underestimated and mostly known as a sideman) on the soprano saxophone and flute (which is his foremost instrument although the more hushed one). On this LP, which has long been out of print, Chuck Mangione comes into the limelight in wonderfully melodic and mellow solos such as Land Of Make Believe and Little Sunflower - and the latter certainly needs not fear a comparison with the original by Freddie Hubbard! And Manha De Carnival, composed by guitarist Luis Bonfá is especially worth listening to for the amazing improvisations which have been set down for all times. Mercury's recording technology was of the very best in the Seventies, and that makes itself heard when listening to this recording on a new high-end vinyl LP instead of the original pressing.

    Musicians:



    • Chuck Mangione (fluegel horn, electric piano, percussion)

    • Gerry Niewood (flute, soprano saxophone, tuba, guiro)

    • Joel Di Bartolo (bass)

    • Ron Davis (drums, conga, percussion)




    Recording: 1971 at Mercury Sound Studio, New York, by Chuck Irwin

    Production: Chuck Mangione




    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.



    1. Land of Make Believe
    2. Self Portrait
    3. Little Sunflower
    4. Floating
    5. Manha de Carnival
    Chuck Mangione
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Love Supreme A Love Supreme Quick View

    $24.99
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    A Love Supreme

    Ranked 47/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Right from the very first hearing, absolutely every single jazzcritic shared the same opinion - whether trained musicians or not, true or would-be jazz expert: "A Love Supreme" is John Coltrane's most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.


    The first section, entitled "Acknowledgement", has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane's meditative singing creating immense tension.


    In "Resolution" Coltrane's powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo. "Pursuance", with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane's later 'free' phase. "Psalm" is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane. "A Love Supreme" has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today.


    Musicians:

    John Coltrane (tenor saxophone)

    McCoy Tyner (piano)

    Jimmy Garrison (bass)

    Elvin Jones (drums)


    Recording: December 1964 in New York City by Rudy Van Gelder

    Production: Bob Thiele


    Part 1 - Acknowledgement
    Part 2 - Resolution

    Part 3 - Pursuance
    Part 4 - Psalm
    John Coltrane
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Classic 1 Turntable - Black Classic 1 Turntable - Black Quick View

    $3,299.00
    Buy Now
    x

    Classic 1 Turntable - Black


    Sterophile Golden Golden


    Absolute Absolute ToneAudio


    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    The VPI Classic 1 turntable comes standard with the unipivot JMW-10.5i tonearm Special Edition in rigid mount mode, new VPI silver coated pure copper wire, a 2.5 thick plinth trimmed with real black oak or real solid walnut finish (at no additional cost), a solid mounted 600 RPM AC synchronous motor, new 2 thick machined aluminum platter, silent inverted bearing, and new isolator feet derived from the HR-X.


    The sound of the Classic 1 turntable is fast, clean, wide open, with deep powerful bass, and unequalled in speed stability. The Classic 1 turntable gives any turntable made regardless of price a serious run for the money.


    This completely new design has produced the simplest and one of the best sounding VPI tables to date.


    VPI Classic Turntable Features:


    Special Edition JMW-10.5i SE tonearm - By giving up vta on the fly adjustments, you get most of the sound of the highly reviewed JMW-10.5i tonearm. A new less expensive base and mounting saves hundreds of dollars but gives up little in sound.


    New 6061 machined aluminum 18 pound high inertia platter with precision inverted bearing and stainless steel damping plate.


    Speed stability on par with a master tape - Due to the rigid mounting of motor - platter - tonearm there is no random motion to cause speed instabilities.


    Noise rejection allowing the Classic 1 turntable to sit on a wood shelf near four 15 subwoofers and having virtually no feedback.


    Lack of random motion between the motor - platter - tonearm gives the ultimate in low level resolution. Not only does this rigidity improve speed stability, it also allows the retrievel of low level information challenging the world's great turntables and master tapes.


    Absolutely solid, non-resonating laminated one-piece chassis holding all components. This is not a wooden frame; it is a solid laminated 2.5 thick MDF block with 11 gauge steel attached to the top with silicone and long bolts through all the layers. The chassis weighs 30 pounds and is totally non-resonant. Now with solid black oak or solid walnut wood finish on all four sides.


    RCA jack termination so you can use the interconnect of your choice.


    Tonearm anti-skate - For those that require the fine adjustment of anti-skate, it is standard on the JMW-10.5i SE.


    Optional lift off full dustcover is available.


    Optional periphery ring clamp.


    Optional SDS power supply.


    Optional XLR conectors.


    VPI Turntables
    $3,299.00
    Classic 1 - Black
    Buy Now
  • VPI Scout 2 Turntable - JMW-9T VPI Scout 2 Turntable - JMW-9T Quick View

    $2,800.00
    Buy Now
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    VPI Scout 2 Turntable - JMW-9T




    VPI
    VPI
    VPI
    VPI

    VPI
    VPI
    VPI
    VPI
    VPI

    VPI
    VPI


    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    The Scout 2 features a 1 7/8 thick aluminum platter (with a stainless steel damping plate) in place of the Scout's 1 3/8 acrylic platter.


    The result of mating a great platter to a simple good looking design! In only seven years, the VPI Scout has become the industry standard as the best-reviewed turntable on the planet! For 2009, we saw fit to bring some big improvements to its best-selling turntable. You may recognize the outboard motor and the plinth, but you will do a double take at the exquisite platter and tonearm.


    Every VPI Scout II comes standard with the JMW 9T! This incredible tonearm features a redesigned armtube that is tapered and filled with a proprietary damping material. This revolutionary design greatly reduces internal resonance, yielding a full and rich sound, with a vast soundstage and increased resolution and detail. The added mass also produces deeper bass response and fantastic compatibility with moving coil cartridges.


    For maximum stability and speed accuracy the platter is made from 1 7/8 thick machined 6061 aluminum and is attached to a nonmagnetic 303 stainless steel damping plate. The entire piece weighs in at an impressive 18 pounds! Because the aluminum is grounded to the steel, there is virtually no static buildup or sonic degradation. What's in the grooves is what comes out of your speakers.


    The VPI Scout II's plinth is made from 1 1/8 thick MDF bonded to a 12 gauge steel plate giving a rigid, non-resonant plinth. The massive platter sits on chrome-hardened ball bearing held by a 60 Rockwell-hardened shaft, below which is a black delrin nut.


    The VPI Scout II generates absolutely no additional noise for a pristinely quiet spin. The AC synchronous motor is contained in a separate steel housing and drives the platter via an Aries belt. This combination produces quiet yet stable running with extremely accurate speed. Speeds are 33 and 45 standard, while 78 is optional.


    VPI Turntables
    $2,800.00
    Scout 2 - JMW-9T Tonearm
    Buy Now
  • VPI Scout 2 With Classic Signature Arm VPI Scout 2 With Classic Signature Arm Quick View

    $4,200.00
    Buy Now
    x

    VPI Scout 2 With Classic Signature Arm


    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    The Scout 2 features a 1 7/8 thick aluminum platter (with a stainless steel damping plate) in place of the Scout's 1 3/8 acrylic platter.


    The result of mating a great platter to a simple good looking design! In only seven years, the VPI Scout has become the industry standard as the best-reviewed turntable on the planet! For 2009, we saw fit to bring some big improvements to its best-selling turntable. You may recognize the outboard motor and the plinth, but you will do a double take at the exquisite platter and tonearm.


    Every VPI Scout II comes standard with the JMW 9T! This incredible tonearm features a redesigned armtube that is tapered and filled with a proprietary damping material. This revolutionary design greatly reduces internal resonance, yielding a full and rich sound, with a vast soundstage and increased resolution and detail. The added mass also produces deeper bass response and fantastic compatibility with moving coil cartridges.


    For maximum stability and speed accuracy the platter is made from 1 7/8 thick machined 6061 aluminum and is attached to a nonmagnetic 303 stainless steel damping plate. The entire piece weighs in at an impressive 18 pounds! Because the aluminum is grounded to the steel, there is virtually no static buildup or sonic degradation. What's in the grooves is what comes out of your speakers.


    The VPI Scout II's plinth is made from 1 1/8 thick MDF bonded to a 12 gauge steel plate giving a rigid, non-resonant plinth. The massive platter sits on chrome-hardened ball bearing held by a 60 Rockwell-hardened shaft, below which is a black delrin nut.


    The VPI Scout II generates absolutely no additional noise for a pristinely quiet spin. The AC synchronous motor is contained in a separate steel housing and drives the platter via an Aries belt. This combination produces quiet yet stable running with extremely accurate speed. Speeds are 33 and 45 standard, while 78 is optional.


    VPI Turntables
    $4,200.00
    Scout 2 - Classic Signature Arm Buy Now
  • Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Quick View

    $34.99
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    x

    Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner)

    Let us recall that great American and citizen of the world who trod every musical pathway and who held his audience riveted with unbounding energy and charisma. Whether as a composer of operas or musicals, performer, conductor or mentor, "Lenny" felt at home everywhere. And all who were privileged enough to get to know him can confirm this, whether they experienced him as a circumspect teacher who taught interested amateurs about church music, or even as a pianist bawling out hit songs in a bar.



    Quality was guaranteed with records sporting the words "Bernstein conducts ...", and no music lover ever missed adding such gems to his collection. But most recordings of Bernstein as a master of the keyboard lie buried in the archives.



    Where some musicians fail due to a lack of perspicacity or false self-judgement, Bernstein appears to take himself beyond his normal bounds in his double function as solo pianist and conductor. His interpretation of Mozart is richly nuanced but free of all romantic trimmings; his Mozart is what we have learned to value over the past few years of the present century. This recording is absolutely first class, both musically and technically, and is thus a true collector's object.



    Musicians:



    • Vienna Philharmonic Orchestra

    • Leonard Bernstein (conductor)




    Recording: March 1966 at Sofiensaal, Vienna by Gordon Parry

    Production: Erik 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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Carolina Chocolate Drops/Luminescent Orch. EP Carolina Chocolate Drops/Luminescent Orch. EP Quick View

    $11.99
    Buy Now
    x

    Carolina Chocolate Drops/Luminescent Orch. EP

    On The Carolina Chocolate Drops' Nonesuch debut, Genuine Negro Jig, this youthful trio explored what Sing Out! magazine called the virtually hidden tradition of black string band music, reaching far back into the last century to trace its lineage from the Piedmont region of North Carolina to the British isles and Africa. Multi-instrumentalists and singers Dom Flemons, Rhiannon Giddens, and Justin Robinson transformed their findings into lively tracks that deftly blended the timeless with the modern. Near-forgotten musical history came resoundingly back to life.


    On this new four-song EP, the Drops find an instant connection to the Romanian gypsy punk music of their recent tour-mates, the Brooklyn-based Luminescent Orchestrii, a five-piece group about whom the Scotsman says The balancing of frenzy and finesse is evidently a trademark displayed to its utmost in the insanely frenetic dance tunes. Human beatboxer Adam Matta also joined the two bands for this short collection: a brilliant and absolutely live-in-the-studio, no overdubs, mashup of sounds, cultures and repertoire.


    These nine kindred souls seamlessly combine material already popularized by the Drops (their ingenious reworking of Blu Cantrell's brazen R&B anthem, Hit 'Em Up Style) with original material from the Orchestrii (Knockin'). They split their session time between Brooklyn and Winston-Salem, NC, but make everything sound like part of one thrillingly virtuosic jam. Instrumentation includes fiddles, banjo, harmonica and bass, plus lots of hand-clapping, free-style rapping and human beat-boxing. These tracks were recorded with such immediacy and clarity, and with such a palpable sense of fun and friendship, that listening is almost like being there, hootin' and hollerin' along with them on a makeshift dance floor. And, as with any great party, the disc feels like it's over much too soon.

    1. Short Dress Gal
    2. Escoutas (Diga Diga Diga)
    3. Hit 'Em Up Style
    4. Knockin'
    Carolina Chocolate Drops
    $11.99
    Vinyl 10 LP - Sealed Buy Now
  • Debussy - Nocturnes / Ravel - Daphnes et Chloe (Speakers Corner) Debussy - Nocturnes / Ravel - Daphnes et Chloe (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Debussy - Nocturnes / Ravel - Daphnes et Chloe (Speakers Corner)

    With his Nocturnes, Debussy's vision of music inspired by Nature enters a new sphere. His first multi-part orchestral work the composition was originally conceived for violin but was published as a vocal-symphonic work offers a wealth of subtleties as regards melody and sound coloring, the likes of which had never been heard before in Debussy's oeuvre. Unlike traditional orchestral writing, the woodwinds here provide vitality with a wide spectrum of tonal coloring while the strings unroll a dynamically finely graded carpet of sound. Absolutely innovative is the wordless female chorus in the third movement whose voices combine with the instruments to produce a mysterious tonal concoction.



    Debussy's compatriot, Ravel, went to even greater lengths in his Daphnis and Chloe Suites. As the instrumental distribution leads one to suspect full orchestra plus 15 percussion instruments, chorus and wind machine the work is a full-fledged modern-age French choreographic symphony and one of the greatest compositions of its time. It is almost superfluous to mention that a thrilling performance of both works can only be achieved by the very best of symphony orchestras.




    Recording: March 1961 at Cass Technical High School Auditorium, Detroit (MI), USA,

    by Robert Eberenz / Production: Wilma Cozart-Fine




    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.



    1. Claude Debussy: Nocturnes: Nuages, Fêtes, Sirènes
    2. Maurice Ravel: Daphnis et ChloÉ Suite Nr. 2
    3. Claude Debussy: Nocturnes: Nuages (Clouds), Fêtes (Festivals), Sirènes (Sirens)
    4. Maurice Ravel: Daphnis and ChloÉ Suite No. 2
    Paul Paray with Detroit Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Today! (Pure Pleasure) Today! (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Today! (Pure Pleasure)

    The '60s revived the careers of many early bluesmen, but none so dramatically as that of Mississippi John Hurt. Hurt recorded a few brilliant sides in the '20s, then ostensibly disappeared off the face of the Earth until folk musician Tom Hoskins went looking for him in 1963. At the age of 70, Hurt began one of the greatest comebacks in music history. From his first '60s shows until his death in 1966, Hurt was a popular mainstay of the folk-music circuit. TODAY! demonstrates why the audiences loved him so. More a melodic songster than a traditional bluesman, Hurt has a great deal in common with '60s folk musicians - many of whom he inspired. Hurt's dexterous and beautiful finger-picking style provided aspiring folk performers with a template, as did his warm and gentle stage presence. All these elements are amply evident on TODAY!, on which Hurt turns in definitive performances of Pay Day, Louis Collins, Spike Driver's Blues, and Make Me a Pallet on Your Floor. He even takes a rare (and successful) turn at slide guitar on Talking Casey. Like all of Hurt's Vanguard albums, TODAY! is an absolutely essential document of a great American artist.




    Musicians:



    • Mississippi John Hurt (vocal, guitar)




    Recording: 1966




    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    1. Payday
    2. Im Satisfied
    3. Candy Man
    4. Make Me A Pallet On The Floor
    5. Talkin Casey
    6. Corrina, Corrina
    7. Coffee Blues
    8. Louis Collins
    9. Hot Time In The Old Town Tonight

    10. If You Dont Want Me Baby
    11. Spike Driver's Blues
    12. Beulah Land
    Mississippi John Hurt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mahler - Symphony #3 (Speakers Corner) Mahler - Symphony #3 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Mahler - Symphony #3 (Speakers Corner)

    "My symphony will be something the world has never heard before. The whole of Nature will be lent a voice in it and will impart such deep secrets as those one might imagine in one's dreams." Mahler's vision of music which reflects the world finds its monumental culmination in his Third Symphony. The god Pan awakes to dull drum beats and rumbling basses. From afar a lied theme feels its way to the fore. The mild season of Spring dawns with song, sounds of nature and the budding of vegetation; then at last Summer marches in, grotesquely distorted in its exuberance, expressing the dualism of the innocence of Nature and its terrifying primeval force. Only in the finale are these contrarieties united in glorious harmony - although an undercurrent of doubt is always present.



    Sir Georg Solti and the London Symphony Orchestra are absolutely ideal for performing this mammoth, highly complex, multi-layered work. With fairly brisk tempi, clearly differentiated strings, and the usual excellent brass, Solti gives a gripping performance which no Mahler fan should miss - even if already has other recordings of the work in his collection.



    Musicians:



    • The London Symphony Orchestra

    • Sir Georg Solti (conductor)





    Recording: January 1968 at Kingsway Hall, London by Gordon Parry and James Lock

    Production: David Harvey




    Format: 2LPs 33rpm / gatefold sleeve, booklet



    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.



    Gustav Mahler
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mozart - Eine Kleine Nachtmusik (Speakers Corner) Mozart - Eine Kleine Nachtmusik (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Eine Kleine Nachtmusik (Speakers Corner)

    Mozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death.



    From what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl MÜnchinger proves that this favourite can be imbued with significance.



    The historical roote of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, MÜnchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun.
    This LP is distinguished by its musical and tonal balance and is one of DECCA's best sound recordings.





    Musicians:



    • Stuttgart Chamber Orchestra

    • Karl MÜnchinger (conductor)




    Recording: November 1960, Victoria Hall at Geneva by Roy Wallace

    Production: James Walker





    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) (Awaiting Repress) Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) (Awaiting Repress)

    The frenetic applause with which both the public and the experts greeted the Concierto de Aranjuez for guitar and orchestra, composed in 1940, is certainly astounding - one would have thought that 20th-century music was dominated chiefly by composers of twelve-tone music and the avantguardists. Rodrigo, however, remained faithful to the Classical three-movement form, employed a late-Romantic orchestral colouring, and followed in the tradition of Spanish composers who, perhaps more than any others, won their inspiration from the folkmusic of their native country.



    The whole work is full of the exotic magic of Spanish folkmusic, whereby the rhythmic drive of the first movement - reminiscent of clicking castanets - is particularly fascinating. Fortunately not only the composer but also the conductor and orchestra have taken care that the gentle tones produced by the world famous guitarist Pepe Romero are clearly to be heard.



    In addition, the listener is treated to a performance of the rarely recorded Concierto Andaluz for four guitars, composed in 1967. Once again the Romeros demonstrate that they are not only amazingly virtuosic musicians but are also worthy dedicatees of this unique work.



    Last but not least, PHILIPS balance engineers have produced a superb recording: Rodrigo himself was absolutely delighted with it - and this opinion one can well endorse.




    Recording: July / August 1978 by Wilhelm Hellweg

    Production: Wilhelm Hellweg




    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.



    Rodrigo: Concierto de Aranjuez, Concierto Andaluz - Pepe Romero and the Academy of St. Martin-in-the-Fields conducted by Sir Neville Marriner
    Neville Marriner with Rodrigo
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner)

    Made during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky's "PathÉtique" has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay. The reasons for the non-release are a matter of speculation because those responsible have kept them under their hat.



    Not even the man behind the microphone, Werner Wolf, can recall making this recording - although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last!



    And at long last a gap in Fricsay's repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.



    This record was part of the 3-LP Set "The Conductors" and is now available again.




    Musicians:



    • Radio-Symphony-Orchestra Berlin

    • Ferenc Fricsay (conductor)




    Recording: 17-19 and 22 September 1959 at Jesus-Christus Kirche, Berlin, by GÜnter

    Hermanns and Werner Wolf / Production: Otto Gerdes





    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.



    Symphony No. 6 in B minor, Op. 74 (Pathetique)
    Satz: Adagio - Allegro non troppo
    Satz: Allegro con grazia
    Satz: Allegro molto vivace
    Satz: Finale. Adagio lamentoso
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Round About Midnight (Speakers Corner) Round About Midnight (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Round About Midnight (Speakers Corner)

    At long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.



    You can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis's vibrato-less sound is taken over seamlessly by John Coltrane - wonderfully demonstrated in the middle of Bye, Bye Blackbird, while Paul Chambers' showpiece is Ack VÄrmeland du sköna (aka Dear Old Stockholm). In the years 1955/56, bebop was the talk of the day, born witness to by the classics Tadd's Delight by Tadd Dameron and Ah-Leu-Cha by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.



    Although 'Round About Midnight as an album does not enjoy the reputation of Kind Of Blue, this Columbia recording contains many gems which are well worth hearing.



    Musicians:



    • Miles Davis

    • John Coltrane (tenor saxophone)

    • Red Garland (piano)

    • Paul Chambers (bass)

    • Philly Joe Jones (drums)




    Recording: October 1955, June and September 1956 at Columbia's 30th Street Studio, New York

    Production: George Avakian




    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.


    1. Round Midnight
    2. Ah-Leu-Cha
    3. All Of You
    4. Bye Bye Blackbird
    5. Tadds Delight

    6. Dear Old Stockholm
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Inner Mounting Flame (Speakers Corner) The Inner Mounting Flame (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Inner Mounting Flame (Speakers Corner)

    The liner notes for The Inner Mounting Flame were written by the guru Sri Chinmoy - now that's a real sales point! The music too burns right from the very first note to the last as though it were licked by the flames of hell fire.



    The wealth of ideas, sheer vitality and supreme soloistic virtuosity of the five top-notch musicians from four different countries is absolutely first class. In addition there is their truly dreamlike interplay; one could say they were born and grew up with the same 'spirit'. Meeting Of The Spirit, The Dance Of Maya and You Know You Know are the highlights of this first Mahavishnu Orchestra.



    Aspiration - struggle, hope and desire - is seen as an inner mounting flame which takes man towards 'divine perfection'. Well, opinions differ of course. But what is certain is that this music from 1971 is still amazingly fresh and creative even 36 years later - and luckily it is available once again in the form of a vinyl disc.



    Musicians:



    • John McLaughlin (guitar)

    • Jan Hammer (piano)

    • Jerry Goodman (violin)

    • Rick Laird (bass)

    • Billy Cobham (drums)




    Recording: August 1971 in New York City by Don Puluse

    Production: John McLaughlin





    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.



    1. Meeting of the Spirits
    2. Dawn
    3. Noonward Race, The
    4. A Lotus on Irish Streams
    5. Vital Transformation
    6. Dance of Maya, The
    7. You Know You Know
    8. Awakening
    Mahavishnu Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Liszt Two Piano Concertos (Speakers Corner) Liszt Two Piano Concertos (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Liszt Two Piano Concertos (Speakers Corner)

    Any pianist who tackles Franz Liszts great works must possess outstanding skills in many areas. Technical prowess is absolutely necessary to play the extremely difficult score, as is immense physical energy in order to compete with the hefty onslaughts from the orchestra. But a great awareness of the unusual conceptual forms, refined energy and passion are also required to make the keyboard sing. At the beginning of the Sixties Sviatoslav Richter seemed to possess all these attributes in an ideal equilibrium. With youthful energy he catapulted powerful chords against the First Concertos defiant theme in the orchestra, offering resistance only to join in later with the lyrical maelstrom of the orchestra. In the Second Concerto Richter exchanges heroic brilliance for an elegiac air, then becomes capricious with graceful arpeggios and a lyrical, firm melodiousness that fires the course of the work. In the Finale these twists and turns come together to form an emphatic single strand of spirited theme, brilliant cadenza and blustering orchestra.



    The impressive sound was captured by the highly dedicated Mercury recording team.




    Recording: July 1961 at Walthamstow Assembly Hall, London, by C.R. Fine

    Production: Harold Lawrence




    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.



    1. Concerto No. 1
    2. Concerto No. 2
    Franz Liszt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP- Sealed Buy Now
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