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  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

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    Art Blakey!!!!! Jazz Messengers!!!!!

    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele


    1. À la Mode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear a Rhapsody
    6. Gee Baby, Ain't I Good to You
    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Reckoning Reckoning Quick View

    $54.99
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    Reckoning

    Cut From the Original Analog Masters and Pressed on 200g Vinyl at Quality Record Pressings


    In the fall of 1980, the Grateful Dead purposefully played a series of shows at two venues, the Warfield Theater in San Francisco and Radio City Music Hall in New York City, that were considerably smaller than the stadiums and arenas they were, by that point, regularly selling out. They did so with the express interest of recording in an intimate space the opening portion of each show, a stripped-down acoustic set featuring Jerry Garcia and Bob Weir playing acoustic guitars, Brent Mydland playing piano, drummers Bill Kreutzmann and Mickey Hart playing reduced kits and bassist Phil Lesh turning his electric volume down considerably.


    The group chose a set list of classic folk and country tunes mixed with their originals and Reckoning is a very obvious ode to the band's early 1960s origins of folk, bluegrass and country. These are the sounds from which this whole long, strange trip was born, and Garcia in particular shines radiantly here.


    The sound, as with all records that are stripped to their bare essentials and rid of an overcrowded electric set, is right up there with the very best the Dead ever released. This is also the record for those on-the-fence fans that could do without the wandering-away-from-the-pocket sound that characterized much of the Dead's music. The songs here are tight and compact while still remaining dynamically delicate.

    1. Dire Wolf
    2. The Race Is On
    3. Oh Babe It Ain't No Lie
    4. It Must Have Been The Roses
    5. Dark Hollow
    6. China Doll
    7. Been All Around This World
    8. Monkey And The Engineer
    9. Jack-A-Roe
    10. Deep Elem Blues
    11. Cassidy
    12. To Lay Me Down
    13. Rosalie McFall
    14. On The Road Again
    15. Bird Song
    16. Ripple
    Grateful Dead
    $54.99
    200 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Blues And The Abstract Truth Blues And The Abstract Truth Quick View

    $49.99
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    Blues And The Abstract Truth

    As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues And The Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to for an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. 


    "With Analogue Productions' new 45 rpm vinyl pressing of Oliver Nelson's The Blues and the Abstract Truth, we finally have a reissue of this great album that's worth buying...A few 'audiophile' reissues have come out over the years, in vinyl and aluminum, but this is the first that comes close to the wondrous sonics of the original black-and-orange pressing." - Fred Kaplan, Stereophile



    The Blues and the Abstract Truth is one of my favorite jazz recordings. What a group of heavy-weight performers! Besides Oliver Nelson on tenor sax, you've got the incomparable Bill Evans on piano, Freddie Hubbard on trumpet, Paul Chambers on bass, Roy Haynes on drums, and Eric Dolphy on flute and alto sax. This is the jazz equivalent of a super-group." - Jim Hannon, AVguide.com


    "...Let me cut to the chase here and recommend that you buy two copies - one to enjoy and the other to hold for resale, because some day Acoustic Sounds' license will run out and lots of jazz fans will be kicking themselves for not buying a copy. Kevin Gray has turned out a perfect remastering job and this is my choice for reissue of the year." Recording = 10/10; Music = 10/10 - Dennis Davis, Hi-Fi+, Issue 68



    Originally released in 1961.

     

    Musicians:


    • Oliver Nelson, alto saxophone, tenor saxophone

    • George Barrow, baritone saxophone

    • Paul Chambers, bass

    • Eric Dolphy, flute, alto saxophone

    • Bill Evans, piano

    • Roy Haynes, drums

    • Freddie Hubbard, trumpet


    Stolen Moments
    Hoe-Down
    Cascades
    Yearnin'
    Butch And Butch
    Teenie's Blues
    Oliver Nelson
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Dark Side Of The Moon Dark Side Of The Moon Quick View

    $30.99
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    Dark Side Of The Moon

    Ranked 43/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Remastered From The Original Analogue Tapes By James Guthrie, Joel Plante, And Bernie Grundman


    Pink Floyd's most successful and singularly defining album is here to stay. The Dark Side of the Moon has sold over 40 million copies worldwide since its release in 1973, and it shows no signs of letting up. With lush, immaculate production and sweeping instrumentals, The Dark Side of the Moon is unrivaled in sonic brilliance. The complex textures found within have captivated audiophiles for over thirty years.


    With lyrics about seemingly mundane details set against dreamy, atmospheric backdrops, the songs on The Dark Side of the Moon achieve a truly emotional response. Performances are not virtuosic, but they are brilliant nonetheless and were likewise brilliantly recorded. Abbey Road Studios engineer Alan Parsons and Pink Floyd made use of some of the most advanced techniques available at the time to craft a sound that was innovative yet entirely classic, by any sense of the word. Swirling organs, mellow drums, and spacious guitars are signature sounds that have been inextricably linked with Pink Floyd's magnificent songwriting.


    The Dark Side of the Moon is a peerless entry in the annals of classic rock history. No record collection should be without this multi-platinum masterpiece.

    1. Speak to Me
    2. Breathe in the Air
    3. On the Run
    4. Time
    5. The Great Gig in the Sky
    6. Money
    7. Us and Them
    8. Any Colour You Like
    9. Brain Damage
    10. Eclipse
    Pink Floyd
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Once In Every Life Once In Every Life Quick View

    $34.99
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    Once In Every Life

    Mastered By Kevin Gray At Cohearent Audio From The Original Analog Master Tape


    200-Gram Vinyl Pressed At Quality Record Pressings


    Johnny Hartman's next-to-last album (he made a record for Audiophile 12 days later) finds the 57-year-old singer still in prime form. His rich baritone voice is joined by a sextet also including Frank Wess (on tenor and flute), trumpeter Joe Wilder and pianist Billy Taylor.


    The ballads range from slow to a brighter medium-tempo pace, and Hartman (particularly on such tunes as Easy Living, Wave and I Could Write a Book) shows that he still had it this late in his career, writes AllMusic. In his film The Bridges of Madison County Clint Eastwood used four tracks from Once in Every Life.

    1. Easy Living
    2. It Was Almost Like A Song
    3. Wave
    4. By Myself
    5. For All We Know
    6. Will You Still Be Mine
    7. Nobody Home
    8. I Could Write A Book
    9. I See Your Face Before Me
    Johnny Hartman
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Strong Persuader Strong Persuader Quick View

    $34.99
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    Strong Persuader

    One of the most popular and successful blues albums ever released!


    200-gram vinyl, pressed at Quality Record Pressings!


    Mastered from the original analog tape by Ryan Smith at Sterling Sound


    Robert Cray is a musician that critics describe as one of the all-time great blues guitarists, and small wonder. No less than Rolling Stone describes his playing as distinctive and razor-sharp. They go on to say that Strong Persuader introduced a new generation of mainstream rock fans to the language and form of the blues. As much as anyone next to Stevie Ray Vaughan, Cray helped the blues not only survive, but thrive, says Acoustic Sounds' owner Chad Kassem.

    Cray, a five-time Grammy winner, originally released Strong Persuader, his fifth studio album, in 1986 - his major label debut. Stinging urban blues by way of Texas and Memphis distinguish Cray's guitar mastery - since the release of Strong Persuader, Cray has gone on to record 15 Billboard-charting studio albums and has written or performed with everyone from Eric Clapton to Stevie Ray Vaughan, from Bonnie Raitt to John Lee Hooker. Inducted into the Blues Hall of Fame at the age of 57, he is one of the youngest living legends to receive the prestigious honor. And although Cray can look back over an astonishing three decade-long career, punctuated by his trademark sound and distinct playing style, he is far too busy moving forward as the amazing journey continues. 2012 saw Robert release his 16th studio album, Nothin' But Love and embark on yet another world tour.

    1. Smoking Gun
    2. I Guess I Showed Her
    3. Right Next Door (Because Of Me)
    4. Nothin' But A Woman
    5. Still Around
    6. More Than I Can Stand
    7. Foul Play
    8. I Wonder
    9. Fantasized
    10. New Blood
    Robert Cray
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Pink Panther The Pink Panther Quick View

    $54.99
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    The Pink Panther

    Mastered by Ryan Smith at Sterling Sound from the Original Analog Tapes



    Double LP Cut at 45 RPM


    Plated and pressed at Quality Record Pressings!


    Marking the 50th anniversary of the score to the classic film, Analogue Productions and Quality Record Pressings have created a truly remarkable pressing for an audiophile classic. The soundtrack to the film The Pink Panther.


    Moon River might be Henry Mancini's biggest hit, but it was Mancini's score for Blake Edwards's 1964 farce The Pink Panther that introduced his music to generations of children; the haunting, jazzy main theme was used in dozens of cartoon shorts that were broadcast on television for years. The Pink Panther Soundtrack features 12 songs.

    1. The Pink Panther Theme
    2. It Had Better Be Tonight (Instrumental)
    3. Royal Blue
    4. Champagne and Quail
    5. The Village Inn
    6. The Tiber Twist
    7. It Had Better Be Tonight (Vocal)
    8. Cortina
    9. The Lonely Princess
    10. Something For Sellers
    11. Piano and Strings
    12. Shades of Sennett
    Henry Mancini
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • In The Beginning (200 Gram Vinyl) In The Beginning (200 Gram Vinyl) Quick View

    $34.99
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    In The Beginning (200 Gram Vinyl)


    Mastered From The Original Tapes By Ryan Smith At Sterling Sound


    200-Gram Pressing By Quality Record Pressings


    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.


    Before the Montreaux Jazz Festival, before Bowie's Let's Dance album, before Texas Flood, before the Grammys, before the cocaine and alcohol abuse, before the redemption of sobriety, before the joyful In Step and Family Style ..... before August 27, 1990..... before the all-star tributes, before The Legendary Stevie Ray Vaughan......


    There was an unknown, hardworking 24-year-old gunslinger named Little Stevie Vaughan, learning his craft the hard way in the trenches of the Austin Texas clubs, trying his darndest to get out of the shadow of his famous older brother Jimmie.


    It wouldn't be long.


    Anyone lucky enough to have been in the audience at this early live show, on April Fools Day in 1980, could have told you that. Young Stevie Vaughan (he had yet to become Stevie Ray) blasted the hometown crowd with a style that was already very well-formed. With Chris Layton on drums and bassist Jackie Newhouse (Tommy Shannon would join up a year later), his basic sound was already in place, albeit still in need of some polishing.


    Taken from the surviving two-track master, Vaughan's guitar is raw and in your face every note of the way. His takes on Freddie King's In the Open and the lengthy Tin Pan Alley are the real highlights here.


    As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings.


    There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.

    1. In The Open
    2. Slide Thing
    3. They Call Me Guitar Hurricane
    4. All Your Love (I Miss Loving)
    5. Tin Pan Alley (aka Roughest Place in Town)
    6. Love Struck Baby
    7. Tell Me
    8. Shake for Me
    9. Live Another Day
    Stevie Ray Vaughan
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tony Bennett At Carnegie Hall Tony Bennett At Carnegie Hall Quick View

    $54.99
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    Tony Bennett At Carnegie Hall


    Live In 1962, Tony Bennett At Carnegie Hall, A Testament To Bennett's Live Vocal Ability!


    Mastered By Ryan Smith At Sterling Sound From The Original Analog 3-track Tapes!


    200-Gram Double LP Plated And Pressed At Quality Record Pressings!


    Deluxe Old School Tip-On Heavyweight Gatefold Jackets By Stoughton Printing


    Featuring Original Studio Photography Expanded And Enhanced!


    This is it, the live, double LP where the magical Tony Bennett created indelible memories! Tony Bennett at Carnegie Hall is the Tony Bennett album to buy for any Bennett fan or those just introduced to his music. And you'll never hear or experience it presented in finer fashion than from this outstanding reissue by Analogue Productions and Quality Record Pressings!


    We've given Tony Bennett at Carnegie Hall the deluxe reissue treatment. Starting with premier mastering by Ryan Smith at Sterling Sound from the original analog tapes. Then plating and presssing by Gary Salstrom and the crew at Quality Record Pressings, where the finest quality LPs in the world are pressed. But it doesn't stop there: We've expanded and enhanced the original studio photography, which was supplied by Sony to our graphic designers. And we've wrapped up the whole package in a deluxe old-school tip-on gatefold jacket from Stoughton Printing!


    Originally recorded in 1962, Tony Bennett at Carnegie Hall is a testament to Bennett's live vocal ability, writes AllMusic.com. Backed by the Ralph Sharon Orchestra, Bennett moves far beyond his standard musical catalogue.


    Along with standards like I Left My Heart in San Francisco and Just in Time, Bennett reached out to create great medleys such as (I Like New York in June) How About You/April in Paris, that automatically become his as soon as they are performed. Altogether there are 30 tracks on the album. Most remarkable is the clarity of the recording of the concert. If not for the tremendous applause of the audience, you could swear that Bennett had recorded each track in the studio. A masterpiece!

    LP 1
    1. Lullaby Of Broadway
    2. Just In Time
    3. All The Things You Are
    4. Stranger In Paradise
    5. Love Is Here To Stay
    6. Climb Ev'ry Mountain
    7. Ol' Man River
    8. It Amazes Me
    9. Firefly
    10. In San Francisco
    11. How About You
    12. April In Paris
    13. Solitude
    14. I'm Just A Lucky So And So


    LP 2
    1. Always
    2. Anything Goes
    3. Blue Velvet
    4. Rags To Riches
    5. Because Of You
    6. What Good Does It Do
    7. Lost In The Stars
    8. One For My Baby
    9. Lazy Afternoon
    10. Sing You Sinners
    11. Love Look Away
    12. Sometimes I'm Happy
    13. My Heart Tells Me
    14. De Glory Road

    Tony Bennett
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Sizzlin' Sizzlin' Quick View

    $49.99
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    Sizzlin'

    Another of Cobb's great Prestige sessions, this one from late 1960. Cobb and his tenor sax are joined by Red Garland on piano, J.C. Heard on drums and George Tucker on bass. The quartet cruises through six tunes including two Cobb originals and a couple of old standards in The Way You Look Tonight and Georgia On My Mind.
    1. Sweet Georgia Brown

    2. Black Velvet

    3. Blue Sermon

    4. Georgia On My Mind

    5. Sizzlin'

    6. The Way You Look Tonight
    Arnett Cobb
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nuthin' Fancy Nuthin' Fancy Quick View

    $34.99
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    Nuthin' Fancy

    Mastered by Kevin Gray at Cohearent Audio


    200-gram vinyl pressing by Quality Record Pressings!


    Deluxe gatefold jacket


    The title may say Nuthin' Fancy but don't be deceived! This 200-gram stunner pressed at Quality Record Pressings is nearly peerless as a Southern rock record. Expertly remastered by Kevin Gray, lacquer plating by master technician Gary Salstrom, heavy cardboard gatefold jacket with vibrantly reproduced original artwork. How does it get any better? As the Ultimate-Guitar.com put it: Most hard rock bands would give their left arm for a record that swaggers and hits as hard as Nuthin' Fancy.


    Second Helping brought Lynyrd Skynyrd mass success and for the follow-up they offered Nuthin' Fancy. It was a self-deprecating title for a record that may have offered more of the same, at least on the surface, but was still nearly peerless as a Southern rock record. The biggest difference with this record is that the band, through touring, has become heavier and harder, fitting right in with the heavy album rock bands of the mid-'70s. The second notable difference is that Ronnie Van Zant may have been pressed for material, since there are several songs here that are just good generic rockers. But he and Skynyrd prove that what makes a great band great is how they treat generic material, and Skynyrd makes the whole of Nuthin' Fancy feel every bit as convincing as their first two records.

    - All Music Guide

    1. Saturday Night Special
    2. Cheatin' Woman
    3. Railroad Song
    4. I'm A Country Boy
    5. On The Hunt
    6. Am I Losin'
    7. Made In The Shade
    8. Whiskey Rock-a-Roller
    Lynyrd Skynyrd
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - Swan Lake (Speakers Corner) Tchaikovsky - Swan Lake (Speakers Corner) Quick View

    $69.99
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    Tchaikovsky - Swan Lake (Speakers Corner)

    Here is a true delight for all ballet fans and music-lovers. This recording of what is probably Tchaikovsky's most popular ballet, Swan Lake, by Ernest Ansermet and his orchestra in a masterly performance is now available as a new pressing in vinyl. The Russian composer's first ballet is offered here on a double LP and although not a complete recording, this compilation (with a minimum of cuts) certainly comprises the most beautiful and expressive scenes, losing nothing in the process.



    "Ballet specialist" Ansermet and his wonderfully balanced Orchestre de la Suisse Romande offer here a recording which you'll want to hear again and again for it captures both the tragic moments of the fairy tale and the festive dance scenes. The precise winds in, for example No. 4, provide a marked contrast to the lively and exciting tutti (No. 5), while the gentle woodwinds blend charmingly with the dreamlike cantilena of the strings (No. 11). The various characteristics of the festive national dances (Polkas, Mazurkas, Hungarian Dance etc.) are performed with temperament, verve and rhythm, but it is the waltzes with their sweet dreaminess which invite the listener most of all to put on their dancing shoes and join in the dance.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October/November 1958 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker



    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.



    1. Swan Lake

    Pyotr Ilich Tchaikovsky
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Getz and Gilberto (45 RPM) Getz and Gilberto (45 RPM) Quick View

    $49.99
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    Getz and Gilberto (45 RPM)

    Ranked 447/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Mastered by George Marino at Sterling Sound


    The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed.


    Astrud Gilberto says that her husband, Joao, informed Stan Getz that she could sing at the recording. Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes Ahhh!


    Originally released in 1963.

    1. The Girl from Ipanema
    2. Doralice
    3. P'ra Muchucar
    4. Desafinado
    5. Corcovado
    6. So Dance Samba
    7. O Grande Amor
    8. Vivio Sonhando
    Getz Gilberto
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Tea For The Tillerman (200g) Tea For The Tillerman (200g) Quick View

    $49.99
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    Tea For The Tillerman (200g)

    Ranked 206/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    When word got out that we were beginning a pressing plant, customers began to call with questions. And the most common and full-of-anticipation question was inevitably: What will be the first title that you press? Well, we couldn't possibly imagine hitting a bigger home run than to open Quality Record Pressings (QRP) with one of the all-time most classic audiophile records, Cat Stevens' Tea for the Tillerman from 1970.


    There are so many things perfect about this release. First and foremost, it's a masterpiece of a record. It's that rare record that couples breathtaking sound with hit after hit after hit. In fact, to list the hits would be to list the entire song list. We couldn't pick a better vehicle for which to show off what we're so confident will be the highest quality records ever pressed.


    But here's something else that's cool: We scored the absolute original analog masters, and the tapes were in impeccable condition. It took an unbelievable amount of digging and research - and luck - to get this project done to the standards of Analogue Productions. But, wow, was it ever worth it! The tapes were last used in December 1999 when Ted Jensen at Sterling, along with producer Paul Samwell-Smith, remastered the Cat Stevens catalog for CD.


    In 1970, Lee Hulko at Sterling Sound cut Tea For The Tillerman for A&M Records in the U.S. and Island Records in the UK using a Telefunken M10 tape machine and a Neumann VMS 66 lathe with a Neumann SX68 cutterhead. Hulko started Sterling in 1968 and was its original mastering engineer. He's considered among the first engineers to advance mastering from just transferring music from tape to lacquer to an art where attention is paid to all the details that result in better sound. We actually found Hulko's original mastering notes from more than 40 years ago. It's incredible, but Sterling still has all of their notes filed away.


    So, it was originally cut at Sterling - as were all of the early original Cat Stevens albums - and the tapes were last used at Sterling. How appropriate then that we should go back to Sterling for this monumental reissue. Using the original tapes, George Marino handled the mastering this time. He used an Ampex ATR-102 tape machine, another significant point of interest. While Ampex has long been revered for their sound, they had never made a preview version so that a mastering engineer could cut a lacquer from an Ampex machine. Mike Spitz at ATR Services made a unique preview modification for Sterling so that they could cut this record using an Ampex. Marino then used a Neumann VMS 80 lathe with a Neumann SX 74 cutterhead.


    I think we've gotten something quite a bit better than what was originally issued, Marino says. I think this version is much more representative of what was on the tape. And that's not a criticism of what was originally done.


    Marino points out that since the original issue, there have been advancements in cutting lathe technology that make the improvements of this reissue possible.


    You didn't have the same number of options that you have in the new Neumann electronics, Marino says. With the new one, they give you more variations to work with. Let's say there's a nice kind of present sounding acoustic guitar on the left channel and then all of the sudden there's a drum peak with cymbal crashes and stuff and that stuff happens to be on the left channel. Being the vocal is down the center, you can drive the high frequency limiter from the right channel. So you can set a threshold on the right channel and grab the vocal without wiping out some of the musical peaks on the left channel. This is what I talk about when I say that we have technical advantages that they didn't have.


    Marino also chose to use a wide-track stereo head for this project, which he said allows for better signal-to-noise than the normal stereo head.


    And he also decided against using tube electronics, as would have been used originally, because he says that while the tubes allowed for more warmth, they also made the sound duller.


    You wind up wanting to put a little top-end EQ or something to get a little something back (when using tubes), Marino explains of his decision.


    Marino says that he is very pleased with the results.


    A great record. A classic, he says. And those tapes were in excellent, excellent condition. Musically, I think we've got something that sounds richer and more natural. It sounds more correct. I had to do very, very little to the tape regarding EQ processing or anything.


    To package this reissue, we've decided to do a facsimile of the original British Island gatefold jacket rather than the non-gatefold U.S. version. This British jacket also has a textured paper stock on the inside and is glossy on the outside. Additionally, we're using the original pink Island label.


    So there you have it. Quality Record Pressings is off and pressing in a big, big way! Finally, we're ready to unveil the innovations in record pressing that we've been working on for more than a year. Among those innovations are the installations of microprocessors on the presses so that all of the presses functions are performed with absolute precision. For example, we've developed a dye with an imbedded temperature sensor that we can use to cycle the presses. Rather than having the presses close and open based on time - as it's been to date - these presses will close and open based on temperature, the far more accurate indicator of when the record is ready. We also have a plating department in Quality Record Pressings, run by the best plating man in the business, Gary Salstrom.


    Still to come from Analogue Productions pressed at Quality Record Pressings will be the Cat Stevens classics Teaser and the Firecat and Catch Bull at Four.


    Tea For The Tillerman is one of Cat Stevens' finest albums and a gem in the crown of early 1970s singer/songwriterdom. Stevens manages to have his cake and eat it too, simultaneously achieving pop accessibility and artistic relevance. The feel is decidedly gentle and spare. Apart from the occasional string section, Stevens is accompanied only by a three-piece band as he sings his introspective lyrics with appreciable favor.

    1. Where Do The Children Play?
    2. Hard Headed Woman

    3. Wild World

    4. Sad Lisa
    5. Miles From Nowhere
    6. But I Might Die Tonight

    7. Longer Boats

    8. Into White
    9. On The Road To Find Out
    10. Father And Son
    11. Tea For The Tillerman
    Cat Stevens
    $49.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Horses (Speakers Corner) Horses (Speakers Corner) Quick View

    $34.99
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    Horses (Speakers Corner)

    Ranked 44/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Patti Smith, the first published poet to move her poetry completely into rock 'n' roll and to entice experimental rock fans into the forbidden cinema of her hallucinatory fantasy (New York Times), began her musical career unconventionally. It took off at a poetry reading where she was backed by Lenny Kaye on guitar; later star photographer Robert Mapplethorpe financed her punk-rock cult single Hey Joe. In 1975, encouraged by her success, Patti Smith released Horses, an album in which she fused rock riffs and spoken rhythms to create a punk-trash sound. The rock scene was electrified, raging about the best garage sound of the 70s (Creem Magazine) and conjectured that Smith had drawn up material from Rimbaud, Burroughs, Dylan and Velvet Underground into a hot needle and injected it under the skin (Sounds Magazine). Later productions were dismissed as sentimental and self-loving outpourings, since the rock-poet didn't continue in the same vein as Horses, with its metallic harshness and raw language. That's why this recording remains an impressive unique production by a visionary rock 'n' roll singer.



    Musicians:



    • Patti Smith (guitar, vocals)

    • Richard Sohl (piano)

    • Lenny Kaye (bass, guitar, vocal)

    • Tom Verlaine, Allen Lanier (guitar)

    • Ivan Kral (bass, guitar, keyboards, vocals)

    • Jay Dee Daugherty (drums)




    Recording: January 1975 at Electric Ladyland Studios, New York City, by Bernie Kirsh

    Production: John Cale




    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. Gloria
    2. Redondo Beach
    3. Birdland
    4. Free Money
    5. Kimberly
    6. Break it Up
    7. Land
    8. Elegie
    Patti Smith
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Don't Smoke In Bed (Pre-Order) Don't Smoke In Bed (Pre-Order) Quick View

    $34.99
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    Don't Smoke In Bed (Pre-Order)

    Multiple Styles Displayed On Holly Cole's 1993 Sophomore Album


    Mastered By Bernie Grundman From The Original Master Tapes


    Plating And 200-Gram Vinyl Pressing By Quality Record Pressings!


    Old-Style Gatefold Tip-On Jacket By Stoughton Printing


    Holly Cole brings her own dimension to the tradition of cabaret, a strong voice that's still capable of nuance, an ear for quirky repertoire, and a light touch that keeps some of these performances floating just at the edge of irony.


    On her second album, 1993's Don't Smoke in Bed, Cole explores varied musical styles, adding pop, blues, country and a French ballad to her standard, low-key jazz. It's a favorite of ours, which is why for this Analogue Productions reissue we've given it the reissue treatment it deserves. Bernie Grundman did the mastering, from the original analog tapes, at his Los Angeles studio, giving this release a spectacular foundation. Plating and pressing on 200-gram heavyweight vinyl was done by Gary Salstrom and crew at Quality Record Pressings, makers of the world's finest-sounding LPs. Lastly, we wrapped up the whole package in a premium gatefold tip-on jacket from Stoughton Printing. There's nothing but aces in this smokin' hot reissue and the quality shines through.


    Holly's delivery of more traditional fare shines on Cole Porter's witty Get Out of Town and Kurt Weill's torchy Je Ne T'aime Pas, while she brings clarity, power, and anthemic passion to the surprising treatment of Johnny Nash's I Can See Clearly Now. She's generally well supported in this intimate set by pianist Aaron Davis and bassist David Piltch, while there's sparing and effective use of strings. There are fine guest spots by tenor saxophonist Joe Henderson, on Everyday Will Be Like a Holiday, and David Lindley, whose steel guitar contributes to the strange country music of Don't Let the Teardrops Rust Your Shining Heart.

    1. I Can See Clearly Now
    2. Don't Let the Teardrops Rust Your Shining Heart
    3. Get Out Of Town
    4. So and So
    5. The Tennessee Waltz
    6. Everyday Will Be Like A Holiday
    7. Blame It On My Youth
    8. Ev'rything I've Got
    9. Je Ne T'Aime Pas
    10. Cry (If you Want To)
    11. Que Sera Sera
    12. Don't Smoke In Bed
    Holly Cole Trio
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Laid Back Laid Back Quick View

    $34.99
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    Laid Back


    Mastered by Ryan Smith at Sterling Sound from the Original Tapes


    Plated and pressed at Quality Record Pressings!


    Faithfully Reproduced Jacket Artwork; Tip-on Gatefold from Stoughton Printing


    Gregg Allman's 1973 solo debut also became his biggest hit, a No. 13 LP featuring his Top 20 classic Midnight Rider. Analogue Productions now brings forth a sparkling reissue of this classic disc, mastered from the original analog tapes by Ryan Smith at Sterling Sound. And presented as a 200-gram sonic superstar plated and pressed at our own Quality Record Pressings!

    By the end of 1973, the Allman Brothers Band seemed to have it all nailed down, writes reviewer Rickey Wright. They'd proven their mettle with a fine synthesis of blues, jazz, folk, and country influences; expanded upon it with the definitive Fillmore East set; and moved forward after the separate losses of guitarist Duane Allman and bassist Berry Oakley. The group's myriad strengths, in fact, might've been the reason that one of their most obvious gifts - Gregg Allman's pained, growling voice - was sometimes overlooked.


    Laid Back, Greg Allman's first solo disc, seems in part an effort to gain a little more recognition. It worked, particularly given the strong radio response to its opening track, a loping remake of Midnight Rider. Likewise, much of the album's remainder finds Allman tweaking the band's blues (Queen of Hearts) and country sides (a cover of Jackson Browne's These Days); horns and gospelish backing vocals add to the personal, often mournful feel. Laid Back is an often convincing version of the man's music.

    1. Midnight Rider
    2. Queen of Hearts
    3. Please Call Home
    4. Don't Mess Up A Good Thing
    5. These Days
    6. Multi-Colored Lady
    7. All My Friends
    8. Will The Circle Be Unbroken
    Gregg Allman
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I'm Ready (Pure Pleasure) I'm Ready (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    I'm Ready (Pure Pleasure)

    For the middle album of his Johnny Winter-produced, late-'70s musical trilogy, blues giant Muddy Waters brought a new spirit to some familiar material. Starting with members of Waters' touring band - pianist Pinetop Perkins, bassist Bob Margolin, and drummer Willie Big Eyes Smith - Winter added underrated guitarist (and longtime Waters foil) Jimmy Rogers and extraordinary harp player Big Walter Horton to the mix. The songs recorded for I'm Ready offer a mix of new material and vintage hit singles like the title cut, the mid-'60s jewel Screamin' and Cryin', or the Willie Dixon-penned I'm Your Hoochie Coochie Man. Waters and band provide these well-worn gems with a little new studio polish, but it is with the newer songs that the performers really shine.



    Musicians:



    • Muddy Waters (guitar, vocal)

    • Johnny Winter, Jimmy Rogers (guitar)

    • Walter Horton, Jerry Portnoy (harmonica)

    • "Pine Top" Perkins (piano)

    • Bob Margolin (bass)

    • Willie "Big Eyes" Smith (drums)





    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. I'm Ready
    2. 33 Years
    3. Who Do You Trust
    4. Copper Brown
    5. (I'm Your) Hoochie Coochie Man
    6. Mamie
    7. Rock Me
    8. Screamin' and Cryin'
    9. Good Morning Little Schoolgirl
    Muddy Waters
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dusty In Memphis Dusty In Memphis Quick View

    $54.99
    Buy Now
    x

    Dusty In Memphis

    Ranked 89/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Britain's greatest pop diva Dusty Springfield was the finest white soul singer of her era and this landmark Atlantic Records album from 1969 is a masterpiece, a perfect marriage of pop and soul...contains her top 10 hit Son Of A Preacher Man plus several other hit singles and classic tracks...


    Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include Son Of A Preacher Man, So Much Love, Breakfast In Bed, Just One Smile, I Don't Want To Hear It Anymore and Just A Little Lovin'. Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians - collectively known as the Memphis Cats - include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

    1. Just a Little Lovin'
    2. So Much Love
    3. Son of a Preacher Man
    4. I Don't Want to Hear It Anymore
    5. Don't Forget About Me
    6. Breakfast In Bed
    7. Just One Smile
    8. The Windmills of Your Mind
    9. In the Land of Make Believe
    10. No Easy Way Down
    11. I Can't Make It Alone
    12. Willie and Laura Mae Jones
    13. Hi-De-Ho (That Old Sweet Roll)
    14. What Do You Do When Love Dies
    Dusty Springfield
    $54.99
    200 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • The Nat King Cole Story The Nat King Cole Story Quick View

    $149.99
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    x

    The Nat King Cole Story

    Analogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
    ...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out! - David W. Robinson, Positive Feedback, Issue 52



    The results on this five 45rpm 180g LP set are simply astonishing, particularly if you've heard the originals. The transparency, dynamics and three-dimensionality create the intense sensation of being in the studio with the musicians and especially with Cole who appears as a visceral, floating apparition between the speakers. The size and three-dimensionality of the vocal image produces the sensation of the listener being a 'fly on the microphone mike stand' listening to Cole perform, surrounded by musicians. The arrangements and performances are faithful to the originals but the sound of course is far superior. The feeling is of sitting in on history by being there, not merely eavesdropping after the fact. Music = 10/11; Sound = 11/11 - Michael Fremer, Musicangle



    ...mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin - as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue. Stereophile Records To Die For - Michael Fremer, Stereophile, February 2010



    One of Nat King Cole's crowning achievements and a fittingly lavish celebration of a cultural and musical icon, The Nat King Cole Story offers a glorious overview of the career of one of the greatest and most beloved performers in popular music history. 38 tracks, many re-recorded in stereo for this anthology, offer a selection spanning his popular career.



    His beginnings leading the popular jazz-oriented Nat King Cole Trio are represented with selections including Route 66 and I Love You (For Sentimental Reasons). Hits including Nature Boy, Mona Lisa, Unforgettable, Orange Colored Sky, Night Lights and Looking Back are here to represent his unparalleled string of memorable hits as a popular vocalist. Calypso Blues and Ay Cosita Linda help illustrate the range his projects could cover. More contemporary to this anthology, selections including Wild Is Love are augmented here with two huge hits as a special bonus, Ramblin' Rose and Those Lazy, Hazy, Crazy Days of Summer to further expand the scope.



    A talent and voice for all times with a body of work that could and did help define their eras, Nat King Cole's career offers some of the finest, most enduring and treasured recordings ever made. Nat King Cole could never be fully served by any one set. But this wonderful cornucopia stands as a fantastic celebration for the enthusiast and a good starting point for someone just beginning to explore The Nat King Cole Story.



    Using the original first generation 2-track and 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings in this 45-RPM 180-gram five album set.



    Originally presented as a deluxe box set of 3 LPs in a canvas-bound embossed box with essays and pictures included in a album-sized booklet, The Nat King Cole Story was a prestigious release Capitol took obvious pride in. Complete with 5 LPs, canvas-bound embossed box and booklet with essays and pictures, Analogue Productions proudly recreates the experience for a new generation to cherish with this deluxe release. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.



    There are 38 songs in this collection. Of those, three are the same recordings included on other Analogue Productions Nat King Cole reissues. Stardust (track 28) is the same version included on Love Is The Thing. St. Louis Blues (track 30) is the same version included on the album of that title. And Paradise (track 33) is the same version included on The Very Thought Of You. Three more songs - Sweet Lorraine, It's Only A Paper Moon and (Get Your Kicks On) Route 66 - are songs that appear on After Midnight, however these versions are stereo re-recordings of the original arrangements from the 1940s.


    1. Straighten Up And Fly Right
    2. Sweet Lorraine
    3. It's Only A Paper Moon
    4. (Get Your Kicks On) Route 66
    5. (I Love You) For Sentimental Reasons
    6. The Christmas Song (Merry Christmas To You)
    7. Nature Boy
    8. Lush Life
    9. Calypso Blues
    10. Mona Lisa
    11. Orange Colored Sky
    12. Too Young
    13. Unforgettable
    14. Somewhere Along The Way
    15. Walkin' My Baby Back Home
    16. Pretend
    17. Blue Gardenia
    18. I Am In Love
    19. Answer Me, My Love
    20. Smile
    21. Darling, Je Vous Aime Beaucoup
    22. The Sand And The Sea
    23. If I May
    24. A Blossom Fell
    25. To The Ends Of The Earth
    26. Night Lights
    27. Ballerina
    28. Stardust
    29. Send For Me
    30. St. Louis Blues
    31. Looking Back
    32. Non Dimenticar (Don't Forget)
    33. Paradise
    34. Oh, Mary, Don't You Weep
    35. Ay, Cosita Linda
    36. Wild Is Love (spoken intro and song)
    37. Ramblin' Rose
    38. Those Lazy-Hazy-Crazy Days Of Summer
    Nat King Cole
    $149.99
    200 Gram Audiophile Virgin Vinyl 45 RPM Box Set - 5 LPs Sealed Buy Now
  • Just As I Am (Speakers Corner) Just As I Am (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Just As I Am (Speakers Corner)

    Just As I Am - anyone who sets off on a late career can already have earned himself quite a reputation, although in the case of Bill Withers it had had nothing to do with music at this stage. Withers served for many years with the US Navy, had a job as a milkman, and installed toilets in jets for American aeroplane construction companies; all the while he bombarded record companies with self-produced demo tapes which landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him on board and sent him into the recording studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald 'Duck' Dunn.



    In his debut album Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings. Harlem, an unadorned milieu-funk number about the New York slums, Grandma's Hands, with its obligatory retrospect of his childhood, and the sentimental ballad Ain't No Sunshine with its prayer-wheel-like »I know, I know ...«, repeated over and over again on the offbeat, are the musical credo of a experienced artist in his mid-thirties who at last is given a hearing. There's simply no alternative to this recording by the great songwriter with the small repertoire.



    Musicians:



    • Bill Withers (vocal, guitar)

    • Booker T. Jones (arranger, organ, guitar)

    • Steven Stills (guitar)

    • Donald Duck Dunn, Chris Ethridge (bass)

    • Al Jackson, Jim Keltner (drums)

    • Bobbie Hall Porter (percussion)




    Recording: 1971 at Sunset Sound Recorders by Bill Lazerus and at Wally Heider Recording Studio by Bill Halverson, both Hollywood, Ca.

    Production: Booker T. Jones





    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. Harlem
    2. Ain't No Sunshine

    3. Grandma's Hands
    4. Sweet Wanomi
    5. Everybody's Talkin'
    6. Do It Good
    7. Hope She'll Be Happier
    8. Let It Be
    9. I'm Her Daddy
    10. In My Heart
    11. Moanin' And Groanin'
    12. Better Off Dead
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Today! (Mono) Today! (Mono) Quick View

    $34.99
    Buy Now
    x

    Today! (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themseleves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Put simply, this is the Beach Boys at their mid-'60s prime. Ironically, the band's greatest evolutionary leap was spurred by its leader, Brian Wilson, who decided to drop out of the band's live performances after a December 1964 nervous breakdown to concentrate on honing the Beach Boys' studio sound. With Wilson's productions gaining a significant new depth and confidence (note the innovative modulations on 'Dance, Dance, Dance'), the first half of Today seems a logical, upbeat step forward from its predecessors. But it's the album's second act that steals the show, setting the stage for the triumph of Pet Sounds. Indeed, it's easy to imagine gorgeous, introspective tracks such as 'Please Let Me Wonder,' 'She Knows Me Too Well,' and 'In the Back of My Mind' intertwined with the best of Sounds. - Amazon.com

    1. Do You Wanna Dance?
    2. Good To My Baby
    3. Don't Hurt My Little Sister
    4. When I Grow Up
    5. Help Me, Ronda
    6. Dance, Dance, Dance
    7. Please Let Me Wonder
    8. I'm So Young
    9. Kiss Me, Baby
    10. She Knows Me Too Well
    11. In The Back Of My Mind
    12. Bull Sessions With The "Big Daddy"
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Summer Days (And Summer Nights!!) (Mono) Summer Days (And Summer Nights!!) (Mono) Quick View

    $34.99
    Buy Now
    x

    Summer Days (And Summer Nights!!) (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    One Of 10 Titles Featuring 33 1/3 Mono And Stereo Remastered Editions: Surfin' Usa, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (and Summer Nights!!), Beach Boys Party!, Pet Sounds And Smiley Smile


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.


    Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.


    All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.


    Still, bottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themselves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Summer Days features another Wilson world-beater production, California Girls, and the band's second No. 1 single, Help Me, Rhonda. Ever pressured by commercial concerns, Wilson and the band created what was in essence the true follow-up to the All Summer Long album. Still, there's a level of musical sophistication to tracks such as Salt Lake City, the Phil Spector tribute Then I Kissed Her, Summer Means New Love and Let Him Run Wild.

    1. The Girl From New York City
    2. Amusement Parks U.S.A.
    3. Then I Kissed Her
    4. Salt Lake City
    5. Girl Don't Tell Me
    6. Help Me, Rhonda
    7. California Girls
    8. Let Him Run Wild
    9. You're So Good To Me
    10. Summer Means New Love
    11. I'm Bugged At My Ol' Man
    12. And Your Dream Comes True
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
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    Miles Smiles (Speakers Corner)

    Except for the taping of a live performance at the Portland Festival, Miles Davis's discography for 1966 only lists the recordings made for the LP Miles Smiles! How strange when one considers the usual large output of Miles and his ensembles for Columbia Records in the Sixties.



    The bass player Ron Carter was best suited for the complicated rhythm part and remained Miles's 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as Freedom Jazz Dance by Eddie Harris and Jimmy Heath's Gingerbread Boy.



    Every second of the nine-minute-long Footprints by Shorter is an absolute highlight, while the drumming of the young Tony Williams in Freedom Jazz Dance is full of vitality, with a quick pulse, and even described as threatening in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That's exactly what Miles Smiles was upon its release 40 years ago - and that's what it is to this day! And that Miles Davis smiled for once thanks to the great musical relationship between the five individualists is certainly no mere rumour.



    Musicians:



    • Miles Davis

    • Wayne Shorter (tenor saxophone)

    • Herbie Hancock (piano)

    • Ron Carter (bass)

    • Tony Williams (drums)




    Recording: October 1966 at Columbia RecordsStudios, New York, by Frank Laico

    Production: Teo Macero




    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. Orbits
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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