Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Alan Parsons Project

'
  • 1
Results per page:
  • On Air On Air Quick View

    $37.99
    Buy Now
    x

    On Air


    Printed Innersleeve


    Gatefold Sleeve


    Exclusive Artwork Created By Peter Curzon, Storm Studis


    On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project, however the album's chief creative force was the Project's long-time guitarist, Ian Bairnson. Its concept revolves around the history of airborne exploration. Musically, this album is very different from Try Anything Once and the Alan Parsons Project albums, opting for more of a soft rock sound and a stable band line-up rather than the funky rhythms, symphonic flares, or rotating vocalists of the past.

    1. Blue Blue Sky
    2. Too Close To The Sun
    3. Blown By The Wind
    4. Cloudbreak
    5. I Can't Look Down
    6. Brother Up In Heaven
    7. Fall Free
    8. Apollo
    9. So Far Away
    10. One Day To Fly
    11. Blue Blue Sky
    Alan Parsons
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Turn of a Friendly Card Turn of a Friendly Card Quick View

    $34.99
    Buy Now
    x

    Turn of a Friendly Card

    With two of the Alan Parsons Project's best songs, the lovely ballad Time and the wavy-sounding Games People Play, 'The Turn Of A Friendly Card' remains one of this group's most enjoyable albums.


    Parsons' idea, the subject of the album's six tracks, centers around the age-old temptation of gambling and its stranglehold on the human psyche.


    Music On Vinyl is proud to present yet another beauty by these British Progressive Rockers.

    1. May Be A Price To Pay
    2. Games People Play
    3. Time
    4. I Don't Wanna Go Home
    5. The Gold Bug
    6. The Turn Of A Friendly Card
    I. The Turn Of A Friendly Card (Part One)
    II. Snake Eyes
    III. The Ace Of Swords
    IV. Nothing Left To Lose
    V. The Turn Of A Friendly Card (Part Two)
    Alan Parsons
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pyramid Pyramid Quick View

    $36.99
    Buy Now
    x

    Pyramid

    The British progressive rock band Alan Parsons Project was active between 1975 and 1990. The Project consisted of Eric Woolfson and Alan Parsons surrounded by a varying number of session musicians.


    Englishman Alan Parsons met Scotsman Eric Woolfson in the canteen of Abbey Road Studios in the summer of 1974.


    Parsons had already acted as assistant engineer on The Beatles' 'Abbey Road' and 'Let It Be' and had recently engineered Pink Floyd's 'The Dark Side of the Moon'.


    Woolfson, a songwriter and composer, was working as a session pianist.


    'Pyramid' is the third album by The Alan Parsons Project and was originally released in 1978. The album contains numerous references to the Egyptian pyramids, hence the name.

    1. Voyager (2:25)
    2. What Goes Up... (3:31)
    3. The Eagle Will Rise Again (4:20)
    4. One More River (4:18)
    5. Can't Take It With You (5:07)


    1. In The Lap Of The Gods (5:29)
    2. Pyramania (2:44)
    3. Hyper-Gamma-Spaces (4:17)
    4. Shadow Of A Lonely Man (5:39)

    Alan Parsons Project
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Eye in the Sky (Speakers Corner) (Awaiting Repress) Eye in the Sky (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Eye in the Sky (Speakers Corner) (Awaiting Repress)

    Unimpressed and untouched by the glorification of individuals so typical for the music business, the Alan Parsons Project proved that even without spectacular light shows, rock celebrities in the band or self-composed songs it was possible to rise to stardom. Alan Parsons, who first took up an apprenticeship as a sound engineer at EMI and was later responsible for several Paul McCartney productions and the Pink Floyd album 'Dark Side Of The Moon' at the legendary Abbey Road Studios, drew upon his experience in order to further his solo career. While the co-producer Eric Woolfson wrote songs, Parsons who had an uncanny feeling for sound conjured up synthetic and natural sounds.



    As with all albums from the early years, 'Eye In The Sky' is inspired by important topics of the times. True to the 'no-future lifestyle' of the 80s, the songs impart a somewhat depressive character which serves as a stark contrast to the steely rock rhythms, free from electronic gimmicks. In addition one finds addictive harmony in the vocal polyphony ('Gemini'), blaring brass with a Spanish rhythm ('Silence And I') and a velvety string sound ('Old And Wise'). All in all a great achievement by the British wizard of sound at the mixing console.



    Musicians:



    • Alan Parsons (keyboards)

    • Eric Woolfson (keyboards, vocal)

    • Andrew Powell (arranger, conductor)

    • Ian Bairnson (guitar)

    • Mel Collins (saxophone)

    • David Paton (bass, guitar, vocal)

    • Stuart Elliot (drums, percussion)




    Recording: 1981 at Abbey Road Studios, London, by Alan Parsons

    Production: Alan Parsons and Eric Woolfson




    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. Sirius
    2. Eye in the Sky
    3. Children of the Moon
    4. Gemini
    5. Silence and I
    6. You're Gonna Get Your Fingers Burned
    7. Psychobabble
    8. Mammagamma
    9. Step by Step
    10. Old and Wise
    The Alan Parsons Project
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • I Robot (Awaiting Repress) (On Sale) I Robot (Awaiting Repress) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    I Robot (Awaiting Repress) (On Sale)

    Alan Parsons Project I Robot on Numbered Limited Edition 180g 45RPM 2LP From Mobile Fidelity


    Perfectionism, Innovation, Complexities, and Reference-Grade Production Make Alan Parsons Project's Conceptual I Robot a Timeless Classic: Sci-Fi Arrangements Steeped In Drama and Moodiness


    More Music, More Information, More Detail, More Nuance, More Everything: Mobile Fidelity 180g 45RPM 2LP Set the Definitive-Sounding Analog Version of 1977 Audiophile Standard


    A Demonstration Disc for the Ages: Immaculate Highs and Lows, Supreme Spaciousness, See-Through Transparency, 3D Imaging, Wider Grooves on System-Testing Pressing


    Audiophiles needn't any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous-sounding 180g 45RPM 2LP set and the question becomes irrelevant.


    Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45RPM LP, I Robot comes to life like never before on this numbered limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this super-clean edition has been lovingly restored by Mobile Fidelity engineers with the intention of demonstrating the full-range capabilities of the world's best stereo systems. Put simply, there's more music, more information, more detail, more nuance, more everything.


    Savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, the analog masterwork is a demonstration record for the ages - the likes of which are no longer being made. Longtime fans can finally rest assured knowing they don't have to pony up hundreds of dollars for older pressings - including three prior Mobile Fidelity versions on LP and CD. This is the very reason you own and invest in high-end audio gear.


    Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record increasingly relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as The Voice call into question human behavior - and their relationship to increasing robotic supremacy - in everyday life. Sonically, Parsons reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.


    I Robot's absorbing tunes also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. Some Other Time employs two different lead vocalists and yet gives the illusion only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace Don't Let It Show. The origins of Nucleus stem from a unique analog keyboard concoction dubbed the Projectron, devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with Total Eclipse arriving as an aptly frightening track that presages the climactic Genesis Ch. 1 V. 32.


    Does man or machine win in the end? Decide with Parsons as you get lost in Mobile Fidelity's definitive pressing.


    This title is not eligible for further discount.

    1. I Robot
    2. I Wouldn't Want To Be Like You
    3. Some Other Time
    4. Breakdown
    5. Don't Let It Show
    6. The Voice
    7. Nucleus
    8. Day After Day
    9. Total Eclipse
    10. Genesis Ch. 1 V.32
    Alan Parsons Project
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Stereotomy Stereotomy Quick View

    $34.99
    Buy Now
    x

    Stereotomy

    Alan Parsons Project is well known for building their albums around certain socio-demographic themes. Stereotomy (1985) deals with the way in which modern society molds the personality. At the time, Stereotomy was one of the first completely digitally recorded pieces of music, sporting a rare 'DDD' code on its first release.


    The album is coherently balanced, its synthesized and orchestrated songs completing each another. The high octane Where's The Walrus? is a response to 'Mr. Laser Beam', analogy of Mr. Lee Abrams, an American radio personality. He accused the band having gone 'flat' in their last albums: he asked them 'Where's The Walrus?', meaning 'Where are the classic songs like The Beatles' I Am The Walrus?'.

    1. Stereotomy
    2. Beaujolais
    3. Urbania
    4. Limelight
    5. In The Real World
    6. Where's The Walrus
    7. Light Of The World
    8. Chinese Whispers
    9. Stereotomy Two
    Alan Parsons Project
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Royal Philharmonic Orchestra Plays Prog Rock Classics The Royal Philharmonic Orchestra Plays Prog Rock Classics Quick View

    $25.99
    Buy Now
    x

    The Royal Philharmonic Orchestra Plays Prog Rock Classics

    The ambitious new project from one of the world's leading orchestras recording fully orchestrated progressive rock masterpieces with guest appearances by members of iconic prog rock bands!


    Features scintillating symphonic versions of Pink Floyd's "Comfortably Numb" with Alan Parsons Project multi-instrumentalist Ian Bairnson, King Crimson's "21st Century Schizoid Man" featuring King Crimson and Porcupine Tree drummer Gavin Harrison, Gentle Giant's "Think Of Me With Kindness" featuring Yes and Moody Blues
    keyboardist Patrick Moraz and many more!

    1. ELP Suite: Tarkus / From The Beginning / Tarkus (Reprise)
    2. Comfortably Numb feat. Ian Bairnson
    3. Thick As A Brick feat. Richard Harvey
    4. 21st Century Schizoid Man feat. Gavin Harrison and Guthrie Govan
    5. Focus II feat. Thijs Van Leer
    6. Nights In White Satin feat. Mark Feltham
    7. Think Of Me With Kindness feat. Patrick Moraz
    8. Roundabout feat. Jimmy Greenspoon
    Royal Philharmonic Orchestra
    $25.99
    Vinyl LP - Sealed Buy Now
  • Amigos (Speakers Corner) Amigos (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Amigos (Speakers Corner)

    Santana's music is like the game of Mikado - a tight bundle of pieces in various styles that is difficult to handle, even for experienced musicians. No whether the sticks are labelled funk, jazz, rock, R & B, or folk: when you try to pick out just one of these, the whole lot vibrates alongside.



    It seems relatively simple (and is often attempted) to try and sort out track lists according to more or less commercially oriented compilations. And having fastidiously set up the ranking and astutely discussed it in your circle of friends, you can sit back and enjoy the brilliant guitar sound of such blockbusters as Caravanserai or Welcome - quality rules the day!



    In his seventh album the guitar guru is once again surrounded by numerous freshly recruited supporting musicians and the star producer David Rubinson. The latter watches carefully over the development of this project, which is highly reminiscent of the early Santana sound. A perceptible infatuation with the vocals, or the wealth of buzzing, pulsating, clattering, clicking rhythms, or yet again the inimitable bubbling, frothy guitar solos: a Santana LP is simply unthinkable without all this. Why then should one try to pick out the various styles, genres or consumer groups when this record belongs to his best and most important six, seven - or maybe even eight? At the end of the day, we all remain amigos with Santana.



    Musicians:



    • Devadip Carlos Santana (guitar, vocals, percussion, conga)

    • Tom Coster (keyboards)

    • Ndugu Leon Chandler (drums, percussion, conga)

    • Armanda Peraza (conga, percussion, vocals)

    • David Brown (bass)

    • Greg Walker (vocals)




    Recording: 1976 at Wally Heider Recording Studios, San Francisco, by Fred Catero and David Rubinson

    Production: David Rubinson & Friends, Inc.




    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. Dance Sister Dance (Baila Mi Hermana)
    2. Take Me with You
    3. Let Me
    4. Gitano
    5. Tell Me Are You Tired
    6. Europa (Earth's Cry Heaven's Smile)
    7. Let It Shine
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Time Machine Time Machine Quick View

    $39.99
    Buy Now
    x

    Time Machine

    Available On Vinyl For The First Time!


    Gatefold & Printed Innersleeves


    Exclusive Artwork Created By Peter Curzon, Storm Studis


    On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project, however the album's chief creative force was the Project's long-time guitarist, Ian Bairnson. Its concept revolves around the history of airborne exploration. Musically, this album is very different from Try Anything Once and the Alan Parsons Project albums, opting for more of a soft rock sound and a stable band line-up rather than the funky rhythms, symphonic flares, or rotating vocalists of the past.



    1. The Time Machine (Part 1)
    2. Temporalia
    3. Out Of The Blue
    4. Call Up
    5. Ignorance Is Bliss
    6. Rubber Universe
    7. No Future In The Past
    8. Press Rewind
    9. The Very Last Time
    10. Far Ago And Long Away
    11. The Time Machine (Part 2)
    12. Dr. Evil Edit
    Alan Parsons
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Gaudi Gaudi Quick View

    $34.99
    Buy Now
    x

    Gaudi

    Gaudi was the tenth and final Alan Parsons Project studio album released in 1987. Inspired as he was by the Catalan architect Antonio Gaudi, Alan Parsons built a truly passionate concept album. Money Talks and Closer To Heaven, which were used in episodes of Miami Vice are, without a doubt, the tracks that sonically define this record. But then there's Paseo de Gracia, a fully orchestrated track in the typical vein of Alan Parsons Project, which can be counted as an exquisite instrumental masterpiece. The masterfully cut Gaudi album simply is yummy for the ears. We are extremely proud to extend the ever expanding catalogue by releasing number eight of the Project's discography!
    1. La Sagrada Familia
    2. Too Late
    3. Closer To Heaven
    4. Standing On Higher Ground
    5. Money Talks
    6. Inside Looking Out
    7. Paseo De Gracia (Instrumental)
    Alan Parsons Project
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Prog Collective The Prog Collective Quick View

    $26.99
    Buy Now
    x

    The Prog Collective

    The biggest super group of Progressive Rock players
    ever assembled and one of the most talked about releases of 2012 finally arrives on vinyl!


    Features performances by John Wetton (Asia), Tony
    Levin (King Crimson), Jerry Goodman (Mahavishnu Orchestra), Richard Page (Mr. Mister), Geoff Downes (Yes/Asia), Alan Parsons (Alan Parsons Project), Chris Squire (Yes), Rick Wakeman (Yes), Gary Green (Gentle Giant), Annie Haslam (Renaissance), Steve Hillage (Gong), John Wesley (Porcupine Tree), Tony Kaye (Yes), Colin Moulding (xTC) and more!

    LP1
    1. The Laws of Nature
    2. Over Again
    3. The Technical Divide
    4. Social Circles
    5. Buried Beneath
    6. Follow the Signs


    LP 2
    1. Check Point Karma
    2. The Laws of Nature (Instrumental)
    3. The Technical Divide (Instrumental)
    4. Social Circles (Instrumental)
    5. Check Point Karma (Instrumental)
    6. Over Again (Single Edit)
    7. BONUS TRACK: Let the World Revolve

    The Prog Collective
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Ammonia Avenue Ammonia Avenue Quick View

    $32.99
    Buy Now
    x

    Ammonia Avenue

    Released two years after their big-selling Eye In The Sky album, Ammonia Avenue from 1984 offers beautiful tunes, with intelligent lyrical content. The theme of the album is the communication breakdown of mankind in a society turning ever more antisocial. Alan Parsons Project is the pinnacle of art rock, and this album proves it, yielding the hit single Don't Answer Me. A great deal of variation and clever hooks result in a record that holds more than the sum of its parts: a great listen throughout!
    1. Prime Time
    2. Let Me Go Home
    3. One Good Reason
    4. Since The Last Goodbye
    5. Don't Answer Me
    6. Dancing On A High Wire
    7. You Don't Believe
    8. Pipeline
    9. Ammonia Avenue
    Alan Parsons Project
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Eve Eve Quick View

    $36.99
    Buy Now
    x

    Eve

    For the most part, 1979's Eve is somewhat overlooked as being one of the Alan Parsons Project's finest work, when in fact it involves some of this group's most intricate songs. The album's concept deals with the female's overpowering effect on man. Each song touches on her ability to dissect the male ego, especially through sexual means, originating with Eve's tempting Adam in the beginning of time.


    Not only does this idea gain strength as the album progresses, but a musical battle of the sexes begins to arise through each song. The gorgeous "You Won't Be There" spotlights man's insecurity. Sung by Dave Townsend, its melodramatic feel sets a perfect tone. The classically enhanced "Winding Me Up" follows suit, based on a woman's ability to dominate her mate and opening up with sound of a wind-up doll being cranked. Other gems include the bitter but forceful "Damned If I Do" sung by Lenny Zakatek, and the dominating fury of "Lucifer," a powerful instrumental. Even the loutish "You Lie Down with Dogs" bears wit with its gender inclined mud-slinging.


    The female vocalists, Lesley Duncan and Clare Torry do a splendid job of representing the females point of view throughout the album. Not only does Eve solidify its main idea, but the songs are highly entertaining with catchy rhythms and intelligent lyrics. Musically, the tempo appealingly switches back and forth from slow to quick, as does the temperament of the album. Somehow, Eve is dismissed as one of this band's greatest efforts, when in fact it's one of their finest marriages of both concept and music.

    1. Lucifer
    2. You Lie Down With Dogs
    3. I'd Rather Be A Man
    4. You Won't Be There
    5. Winding Me Up
    6. Damned If I Do
    7. Don't Hold Back
    8. Secret Garden
    9. If I Could Change Your Mind
    Alan Parsons Project
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Psychic Temple II Psychic Temple II Quick View

    $19.99
    Buy Now
    x

    Psychic Temple II

    It may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.


    Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.


    "I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.


    "It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."


    Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."


    Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.


    Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.


    Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."


    Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.


    Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."


    Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.

    1. Seventh House
    2. The Starry King Hears Laughter
    3. Solo In Place
    4. Bird In The Garden
    5. 'Til I Die
    6. She Is The Golden World
    7. Steppin' Out
    8. All I Want Is Time
    9. Sofa No. 2
    10. NO TSURAI
    11. Hyacinth Thrash Quarter
    Chris Schlarb
    $19.99
    Vinyl LP - Sealed Buy Now
  • Beck, Bogert & Appice (Speakers Corner) Beck, Bogert & Appice (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beck, Bogert & Appice (Speakers Corner)

    On the whole, the supergroups of the Seventies didn't last very long, but for that - all the more notably. This certainly applies to the Anglo-American trio made up of the extremely talented though narcissistic guitarist Jeff Beck, the bass-player Tim Bogert, and the drummer Carmine Appice. As early as 1970, the British Beck wanted to engage the two American musicians for a joint project. This plan however had to be postponed for two years because the speed-mad Beck had had a serious car accident and needed time to recover. 1973 saw the release of the trio's first and only studio album, which not only demonstrated Beck's powerful-hectic style of guitar playing but also allowed his musical companions to show off their prowess. The trio applied their musical talents to all facets of rock 'n' roll, right from the bluesy first number (Black Cat Moan), via the agile rock sound of Lady, ending up with the moans of a vocal love ballad (Oh To Love You), followed by a really convincing gospel song (Sweet And Surrender) and the super funky beat of Lose Myself With You.
    The trio seemed to lust for more - but this was not to be. For the very next year, during the intense preparations for their next studio album, the moody Jeff Beck dissolved the group on the spur of the moment.



    Musicians:



    • Jeff Beck (guitar, vocal)

    • Jimmy Greenspoon (piano)

    • Duane Hitchings (keyboards,melophone, piano)

    • Tim Bogert (bass)

    • Carmine Appice (drums, vocal)

    • Danny Hutton (background vocal)




    Recording: 1973 by Baker Bigsby and Gray Starr

    Production: Don Nix and The Boys




    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. Black Cat Moan
    2. Lady
    3. Oh To Love You
    4. Superstition
    5. Sweet Surrender
    6. Why Should I Care
    7. Lose Myself With You
    8. Livin' Alone
    9. I'm So Alone
    Jeff Beck, Tim Bogert & Carmine Appice
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Love Devotion Surrender (Speakers Corner) Love Devotion Surrender (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Love Devotion Surrender (Speakers Corner)

    For some, Love Devotion Surrender is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of Love Supreme, Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition Naima is performed in a flowing and inspired manner by the duo on their acoustic guitars.



    The arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song Let Us Go Into The House, they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form.



    Musicians:



    • Mahavishnu John McLaughlin (guitar, piano)

    • Carlos Santana (guitar)

    • Larry Young (organ)

    • Doug Rauch (bass)

    • Armando Peraza (conga)

    • Billy Cobham, Don Alias, Jan Hammer, Mike Shrieve (drums)



    Recording: 1973 by Glen Kolotkin

    Production: Mahavishnu John McLaughlin & Carlos Santana



    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. A Love Supreme
    2. Naima
    3. The Life Divine
    4. Let Us Go Into the House of the Lord
    5. Meditation
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Besnard Lakes Are The Roaring Night The Besnard Lakes Are The Roaring Night Quick View

    $16.99
    Buy Now
    x

    The Besnard Lakes Are The Roaring Night

    With the aid of Besnard members Kevin Laing on drums and Richard White on guitar, The Besnard Lakes Are the Roaring Night is a dense, ambitious recording, experimenting, as always, with the studio as instrument. The album calls upon the influence of ELO and finer parts of the Alan Parsons Project in its orchestration. Still inspired by the Ghost of Beach Boys Past, the album is more Dennis Wilson than Brian, and more Peter Green Fleetwood Mac than Lindsay Buckingham. The album is a dark bliss-out that folds the eerie guitar epics of the Montreal band's breakthrough into a wall of affected drones and atmospherics, but with a toughened immediacy and grit that gives the form a much-needed shove over the cliffs, making for a haunting, provocative swan dive into the crushing tide.
    1. Like The Ocean, Like The Innocent Pt. 1: The Ocean
    2. Like the Ocean, Like The Innocent Pt. 2: The Innocent
    3. Chicago Train
    4. Albatross
    5. Glass Printer
    6. Land Of Living Skies Pt.1: The Land
    7. Land Of Living Skies Pt. 2: The Living Skies
    8. And This Is What We Call Progress
    9. Light Up The Night
    10. The Lonely Moan
    Besnard Lakes
    $16.99
    Vinyl LP - Sealed Buy Now
  • Paradise & Lunch (Speakers Corner) Paradise & Lunch (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Paradise & Lunch (Speakers Corner)

    A good 20 years have passed since a band with ancient musicians from Cuba - the Buena Vista Social Club - took the world by storm. Behind the project, in the wings yet right in the midst of this unheard-of music, was Ry Cooder, who regarded this encounter as the greatest musical event of his entire life. The bottleneck guitar hero had always been very interested in the music from the other Americas ever since the solo albums he made in his early years, in which he told the story of the American folk and blues in a multitude of styles. The LP Paradise And Lunch is no exception and begins with gospel-like grooves that smell of native soil. The faint smell of a wooden church from pioneering days wafts out of the processional antiphonal song Jesus On The Mainline and a healthy 12-bar blues paints a picture of what silent witnesses could tell if they could (If Walls Could Talk). Cooder and his sidemen felt themselves perfectly at home when adventuring further afield and this is testified to in the laid-back calypso rhythm of It's All Over Now and the clip-clop of Mexican Divorce.


    This wonderful album is highly recommended for each and every number, but if you want a tip for a very special track, then just listen to the ragtime piano rolls in Bo Diddley's Ditty Wah Ditty.


    Musicians:



    • Ry Cooder (guitar, mandolin, bass, vocal)

    • Ronnie Barron (piano, organ)

    • Earl Hines (piano)

    • Plas Johnson (alto saxophone)

    • Oscar Brashear (cornet)

    • Red Callender (bass)

    • John Duke (bass)

    • Russ Titelman (electric bass)

    • Chris Ethridge (electric bass)

    • Milt Holland (drums, percussion)

    • Jim Keltner (drums)




    Recording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg

    Production: Lenny Waronker & Russ Titelman




    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. Tamp 'Em Up Solid
    2. Tattler
    3. Married Man's a Fool
    4. Jesus on the Mainline
    5. It's All Over Now
    6. Fool for a Cigarette/Feelin' Good
    7. If Walls Could Talk
    8. Mexican Divorce
    9. Ditty Wah Ditty
    Ry Cooder
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live In Colombia (Out of Stock) Live In Colombia (Out of Stock) Quick View

    $26.99
    x

    Live In Colombia (Out of Stock)

    The first symphonic 'Best of the Alan Parsons Project Live', featuring one superb concert in its entirety for the first time.


    To the great delight of Alan Parsons' fans, for the first time on a live video and audio recording, THE ALAN PARSONS SYMPHONIC PROJECT combines the talents of his amazing band with the lush sound of a 70-piece symphony orchestra, creating a very special show with unmatched quality. Together, they revitalize hits such as "Eye In The Sky", "Don't Answer Me" and "Sirius". The concert was recorded on August 31st 2013 at the exotic location of the Parque Pies Descalzos in MedellĂ­n, Colombia.


    The lineup consists of Alan Parsons on acoustic guitar, keys, and vocals, P.J. Olsson (lead vocals), Alastair Greene (guitar, vocals), Guy Erez (bass, vocals), Danny Thompson (drums, vocals), Tom Brooks (keyboards, vocals) and Todd Cooper (saxophone, guitar, percussion, vocals). Alejandro Posada conducts the Medellin Philharmonic Orchestra.

    1. I Robot
    2. Damned If I Do
    3. Don't Answer Me
    4. Breakdown
    5. The Raven
    6. Time
    7. I Wouldn't Want To Be Like You
    8. La Sagrada Familia
    9. The Turn Of A Friendly Card (Part One)
    10. Snake Eyes
    11. The Ace Of Swords
    12. Nothing Left To Lose
    13. The Turn Of A Friendly Card (Part Two)
    14. What Goes Up
    15. Luciferama
    16.Silence And I
    17. Prime Time
    18. Sirius
    19. Eye In The Sky
    20. Old And Wise
    21. Games People Play
    Alan Parsons Symphonic Project
    $26.99
    Vinyl LP - 3 LPs Sealed Temporarily out of stock
  • 1
Go to top