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  • Born In The U.S.A. Born In The U.S.A. Quick View

    $24.99
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    Born In The U.S.A.

    Ranked 86/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time


    Mastered By Bob Ludwig Working Under The Supervision Of Springsteen & Engineer Toby Scott


    Born in the U.S.A. is the seventh studio album by American rock singer-songwriter Bruce Springsteen. A critical and commercial success, it found Springsteen marking a departure in his sound. While its predecessor, the dark and acoustic Nebraska, featured songs of pessimism and isolation, Born in the U.S.A.'s lyrics expressed signs of hope in the daily fight of the ordinary American in following the American Dream, a new feeling complemented by synthesized arrangements and a pop-flavored, radio-oriented sound that helped Springsteen to extend his popularity and appeal to mainstream audiences.

    1. Born In The U.S.A.
    2. Cover Me
    3. Darlington County
    4. Working On The Highway
    5. Downbound Train
    6. I'm On Fire
    7. No Surrender
    8. Bobby Jean
    9. I'm Goin' Down
    10. Glory Days
    11. Dancing In The Dark
    12. My Hometown
    Bruce Springsteen
    $24.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • The Album Collection Volume 1 1973-1984 (On Sale) The Album Collection Volume 1 1973-1984 (On Sale) On Sale Quick View

    $269.99 $174.99 Save $95.00 (35%)

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    The Album Collection Volume 1 1973-1984 (On Sale)


    First 7 Albums Recorded & Released For Columbia Records Between 1973 and 1984


    Newly Remastered From Original Analogue Masters By Acclaimed Engineer Bob Ludwig


    Recreations Of Original Packaging & Accompanied By A 60-Page Book


    "Last Thursday, at the Harvard Square theatre, I saw my rock'n'roll past flash before my eyes. And I saw something else: I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time." --Jon Landau, The Real Paper, May 22, 1974


    Columbia Records/Legacy Recordings will release Bruce Springsteen: The Album Collection Vol. 1 1973-1984, a boxed set comprised of remastered editions of the first seven albums recorded and released by Bruce Springsteen for Columbia Records between 1973 and 1984. All of the albums are newly remastered and all seven are making their remastered debut on vinyl.


    The seven albums are recreations of their original packaging and the set is accompanied by a 60-page book featuring rarely-seen photos, memorabilia and original press clippings from Springsteen's first decade as a recording artist.


    Acclaimed engineer Bob Ludwig, working with Springsteen and longtime engineer Toby Scott, has remastered these albums, all newly transferred from the original analogue masters using the Plangent Process playback system.
    Albums included:


    • Greetings From Asbury Park, N.J. (1973)

    • The Wild, The Innocent and The E Street Shuffle (1973)

    • Born To Run (1975)

    • Darkness On The Edge Of Town (1978)

    • The River (1980)

    • Nebraska (1982)

    • Born In The U.S.A. (1984)



    This title is not eligible for further discount.

    LP 1 - Greetings From Asbury Park, N.J. (1973)
    1. Blinded By The Light
    2. Growin' Up
    3. Mary Queen Of Arkansas
    4. Does This Bus Stop At 82nd Street?
    5. Lost In The Flood
    6. The Angel
    7. For You
    8. Spirit In The Night
    9. It's Hard To Be A Saint In The City


    LP 2 - The Wild, The Innocent and The E Street Shuffle (1973)
    1. The E Street Shuffle
    2. 4th Of July, Asbury Park (Sandy)
    3. Kitty's Back
    4. Wild Billy's Circus Story
    5. Incident On 57th Street
    6. Rosalita (Come Out Tonight)
    7. New York City Serenade


    LP 3 - Born To Run (1975)
    1. Thunder Road
    2. Tenth Avenue Freeze-Out
    3. Night
    4. Backstreets
    5. Born To Run
    6. She's The One
    7. Meeting Across The River
    8. Jungleland


    LP 4 - Darkness On The Edge Of Town (1978)
    1. Badlands
    2. Adam Raised A Cain
    3. Something In The Night
    4. Candy's Room
    5. Racing In The Street
    6. The Promised Land
    7. Factory
    8. Streets Of Fire
    9. Prove It All Night
    10. Darkness On The Edge Of Town


    LP 5 - The River (1980)
    1. The Ties That Bind
    2. Sherry Darling
    3. Jackson Cage
    4. Two Hearts
    5. Independence Day
    6. Hungry Heart
    7. Out In The Street
    8. Crush On You
    9. You Can Look (But You Better Not Touch)
    10. I Wanna Marry You
    11. The River


    LP 6 - The River (1980)
    1. Point Blank
    2. Cadillac Ranch
    3. I'm A Rocker
    4. Fade Away
    5. Stolen Car

    6. Ramrod

    7. The Price You Pay
    8. Drive All Night
    9. Wreck On The Highway


    LP 7 - Nebraska (1982)
    1. Nebraska
    2. Atlantic City
    3. Mansion On The Hill
    4. Johnny 99
    5. Highway Patrolman
    6. State Trooper
    7. Used Cars
    8. Open All Night
    9. My Father's House
    10. Reason To Believe


    LP 8 - Born In The U.S.A. (1984)
    1. Born In The U.S.A.
    2. Cover Me
    3. Darlington County
    4. Working On The Highway
    5. Downbound Train
    6. I'm On Fire
    7. No Surrender
    8. Bobby Jean
    9. I'm Goin' Down
    10. Glory Days
    11. Dancing In The Dark
    12. My Hometown

    Bruce Springsteen
    $269.99 $174.99 Save $95.00 (35%)
    180 Gram Audiophile Virgin Vinyl LP Box Set - 8 LPs Sealed Buy Now
  • Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A. Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A. Quick View

    $19.99
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    Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A.

    2014 marks the 30th anniversary of Bruce Springsteen's 'Born In The U.S.A.'
    Although it would become his biggest selling album with seven top 10 singles
    on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars
    says "any of those songs could be played with acoustic guitar alone and
    still be great." Taking this idea as its premise, 'Dead Man's Town: A Tribute to
    Born in the U.S.A' strips the album's twelve indelible originals to the core, with
    contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin
    Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced
    cover of "Born In The U.S.A," saying these artists are "reimagining 'Born in
    the U.S.A.'... with a reduced approach more influenced by that of the acoustic
    'Nebraska.


    Isbell says of his cover, ""Born In The U.S.A." is one of my favorites
    because so many people have seemingly misunderstood the lyrical content
    and the song's overall tone. When you listen to the demo, the dark, minor key
    arrangement makes it clear that this is not strictly a song of celebration.
    We wanted to stay true to that version." Amanda Shires adds, "I love that
    the song paints a picture of struggle in the face of the American dream, and
    the irony in the chorus is delivered with such force that it nearly
    transcends irony altogether."

    1. Born In The U.S.A. - Jason Isbell & Amanda Shires
    2. Cover Me - The Apache Relay
    3. Darlington Country - Quaker City Nighthawks
    4. Working On The Highway - Blitzen Trapper
    5. Downbound Train - Joe Pug
    6. I'm On Fire - Low
    7. No Surrender - Holly Williams
    8. Bobby Jean - Ryan Culwell
    9. I'm Goin' Down - Trampled By Turtles
    10. Glory Days - Justin Townes Earle
    11. Dancing In The Dark - Nicole Atkins
    12. My Hometown - North Mississippi Allstars
    Various Artists
    $19.99
    Vinyl LP Buy Now
  • Acoustic Live Acoustic Live Quick View

    $54.99
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    Acoustic Live

    200-gram Gatefold Double Lp


    Recorded Originally At 44.1khz/16-bit


    Remastered by Ryan Smith at Sterling Sound


    Stoughton Printing Old-style Tip On Jacket


    Plated And Pressed At Quality Record Pressings


    Guitarist and singer-songwriter Nils Lofgren in 1997 released a small treasure for longtime fans. Acoustic Live captures Lofgren alone in front of an appreciative audience, knocking out such favorites as You, No Mercy and Keith Don't Go, plus six new songs. Even with the new songs, there are no real revelations, only a selection of little gems that will put a smile on your face as you listen.


    Along with his work as a solo artist, Lofgren has marked more than 25 years as a member of Bruce Springsteen & The E Street Band as well as a former member of Crazy Horse and Grin. Lofgren joined Neil Young's band in 1968 at age 17, playing piano on the album After the Gold Rush. Lofgren would maintain a close musical relationship with Young, appearing on his Tonight's the Night album and tour among others. He was also briefly a member of Crazy Horse, appearing on their 1971 LP and contributing songs to their catalogue. From '71 to '74 Lofgren was active in Grin, the band he founded in '69. Solo albums and tours followed every year through the 1970s as Lofgren established himself as a top guitarist and live performer earning the respect and acclaim of his peers. Bruce Springsteen made the call in 1984 and Lofgren joined the E-Street Band for the Born in the USA tour. Lofgren was an instant hit with Springsteens fans through his playing and vibrant on stage persona. Lofgren remains a stalwart of the E-Street Band to the present day.


    Acoustic Live is an interesting and charming album from Nils Lofgren in 1997 as he follow on in the Unplugged tradition that became popular in the 1990s. It was actually recorded at The Barns Of Wolftrap, Vienna in Virginia on January 18th, 1997. - bestlivealbums.com


    This title is not eligible for discount.

    1. You
    2. Sticks and Stone
    3. Some Must Dream
    4. Little On Up
    5. Keith Don't Go
    6. Wonderland
    7. Big Tears Fall
    8. Believe
    9. Black Books
    10. To Your Heart
    11. Man In The Moon
    12. I'll Arise
    13. Blue Skies
    14. Tears On Ice
    15. All Out
    16. Mud In Your Eye
    17. No Mercy
    Nils Lofgren
    $54.99
    200 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Gig Harbor Audio Speaker Stand 24 Gig Harbor Audio Speaker Stand 24 Quick View

    $279.00
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    Gig Harbor Audio Speaker Stand 24

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


    GHA speaker stands were born out of necessity. Crafted under the sparks of a Tungsten Inert Gas welder, GHA stands do exactly what they should and nothing more. They are 1 piece, welded metal stands that accentuate and allow new and vintage speakers to present highly accurate, defined sound, correct mids, and tight full bass. They are made in the USA and have a lifetime guarantee.


    GHA stands don't ring, vibrate, have any screws, foam, or moving parts. They come with removable spikes and blue tack. They can be filled with sand or any media of choice. Powder coated colors are: black & white. Custom colors are available.

    Gig Harbor Audio
    $279.00
    GHA Speaker Stand Buy Now
  • Gig Harbor Audio Speaker Stand 18 Gig Harbor Audio Speaker Stand 18 Quick View

    $269.00
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    Gig Harbor Audio Speaker Stand 18

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


    GHA speaker stands were born out of necessity. Crafted under the sparks of a Tungsten Inert Gas welder, GHA stands do exactly what they should and nothing more. They are 1 piece, welded metal stands that accentuate and allow new and vintage speakers to present highly accurate, defined sound, correct mids, and tight full bass. They are made in the USA and have a lifetime guarantee.


    GHA stands don't ring, vibrate, have any screws, foam, or moving parts. They come with removable spikes and blue tack. They can be filled with sand or any media of choice. Powder coated colors are: black & white. Custom colors are available.

    Gig Harbor Audio
    $269.00
    GHA Speaker Stand Buy Now
  • NDR 60 Years Jazz Edition No. 1 - Dizzy Gillespie NDR 60 Years Jazz Edition No. 1 - Dizzy Gillespie Quick View

    $32.99
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    NDR 60 Years Jazz Edition No. 1 - Dizzy Gillespie

    Original Remastered


    Mono


    The story behind the bent trumpet


    It is just a few days since the accident that gave the career of the trumpeter Dizzy Gillespie a new boost and made the main figure of this captivating Jazz history appear that bit crazier, that bit more "Dizzier". At the end of the year 1953, according to the legend, Lorraine Gillespie, Dizzy's wife, was celebrating her birthday in Manhattan; there were a lot of musicians, dancers and actors present and, after performing for the birthday girl, Dizzy's trumpet was left lying unattended on the stage while the trumpeter was outside in front of the club giving an interview. The two dancing comedians "Stump & Stumpy" (Jimmy Cross and Eddie Hartman) were capering around the stage and one of them fell on the instrument and damaged it so that the bell was bent upwards at an angle of 45 degrees. Dizzy, the story continues, tried to play the mutilated instrument and noticed just how near to his ear his own sound suddenly was, nearer at least than with a normal trumpet. He had the damaged instrument repaired, but ordered a new trumpet from a manufacturer with exactly the same kink as the accident had caused.


    If all of that is true, the first jazz recording in the archive of today's NDR was played either with the repaired trumpet or with a substitute instrument -Mister Gillespie, who came on the 9th of March 1953 with his quintet for a studio recording to Hamburg's studio 10(which at the time was merged with the Cologne broadcaster under the name of "Nordwestdeutscher Rundfunk" - NWDR), is not only wearing - even though there is no audience - a decorative Tyrolean hat like the popular singing comedian and EX-GI Billy Mo; the ornately decorated trumpet he plays has no kink, it is absolutely straight (as verified in the photos by Susanne Schapowalow). The "old" Dizzy, so to speak, becomes a prominent guest on this remarkable day in Hamburg, and the "new" Dizzy has just ordered his future trade mark from the trumpet manufacturer. "60 Years Jazz in the NDR" could hardly have kicked off more auspiciously.


    In 1953 John Birks Gillespie is 36 years old and a world star in Jazz. Born in 1917 in the small town of Cheraw/South Carolina, the youngest of nine children, he is known in the scene as "Dizzy" because, alongside the inventors of bebop Charlie Parker and Bud Powell, he likes to play the mad intellectual with goatee beard, Basque beret and round sunglasses. He cultivates the role of provocateur, in 1964 he even stands for election as president of the USA. However, the history of bebop has already been written when he comes to Hamburg in the spring of 1953; now the time has come for Dizzy, the spirited oddball, to reinvent himself - until in 1968 with a grandiose big band at the Berlin Jazz Festival and from then on, again and again, he sets important milestones in a great career, including NDR concerts of course. He never switches styles and sounds as drastically as, for example, Miles Davis - Dizzy was always Dizzy - but ever new musical formations led up to the "United Nations Orchestra" with whom he guested in the last years before his death on 6 January 1993 all over the world including on northern German festival stages. As often as possible, the recording vans of NDR were always there.


    In March 1953, Gillespie is accompanied by the baritone saxophonist Bill Graham, a musician who in the years beforehand had been part of the "Dee Gee Days", the "Savoy Sessions" (the album of this title became a classic of modern Jazz). Graham contributed not only magnificent solos in the sessions such as now in Hamburg; he also wrote "Oh-sho-be-do-be" a light-hearted ditty about the whispered conversations of young lovers which became a genuine classic in Gillespie's repertoire. At the piano in the Hamburg studio sits Wade Legge, barely thirty years old at the time, and one of the greatest but highly underestimated and unfortunately almost forgotten talents of the time. Legge's partner of many years, Lou Hackney, plays bass, and Al Jones is on percussion.


    Among other places, this European tour also brought the band to Paris; they recorded five tracks on a stop at the Hamburg studio. Gershwin's "They Can't Take That Away From Me" and "Alone Together" by Arthur Schwartz and Howard Dietz are followed by two of those compositions laced with Latino rhythms that Dizzy had developed with the percussionist Chano Pozo and the arranger Gil Fuller: "Manteca" and "Tin-Tin-Deo". The short but extremely sweet program ends with "I Can't Get Started", a masterpiece for posterity written by Vernon Duke and Ira Gershwin.


    The power of imagination is really not sufficient to conceive of the interaction of Gillespie's quintet with the other band in this studio session - or how on this 9th of March what was probably the most important modern quintet in the German-speaking world performed alongside Dizzy. Hans Koller had formed the band around himself. Koller was born in 1921 in Vienna. After time spent as an American prisoner of war, in 1946 he returned to his home city to found a Jazz club, and the saxophone sound he made his own influenced at least a generation. The trombonist Albert Mangelsdorff was not even 25 years old in March 1953, and it is not so long since he swapped the guitar for the trombone as a professional musician. Jutta Hipp is the pianist. Born in Leipzig in 1935, she was regarded as the greatest piano talent of her time; her career took off vertically, but ended abruptly and tragically shortly after she moved to the USA. She never played piano again and she never returned to Germany. She died in 2003 in New York, almost completely forgotten. Shorty Roeder on bass and the percussionist Karl Sanner are the top rhythmists of their age - and this band of twenty-somethings (Koller is the oldest at 32, and with a certain amount of bravado he christened them the "New Jazz Stars") is showing quite clearly that Jazz in Europe wants to and will take other paths than Dizzy in the motherland of the genre.


    Koller selected some quite standard fare; "The Way You Look Tonight" is followed by "Indian Summer", "You Go to My Head" is followed by "All the Things You Are". Old friends, all very familiar - but the interpretation that the quintet gives these tracks is cooler than anything considered cool or fashionable up to then in the USA. What would have been going through Mr. Gillespie's keen mind when he heard just how uncompromisingly these young Krauts and Koller were advancing the renewal of music which had begun to develop further and beyond the Dizzy standard at home in the USA ?


    Anyone in the NWDR studio in Hamburg on the 9th of March 1953 who could read minds would probably have witnessed an international dialogue, which has ever since repeatedly influenced the Jazz world. "60 years Jazz in the NDR" - and what an event stands at the very beginning!

    Side A - Dizzy Gillespie Quartet
    1. They Can't Take That Away From Me
    2. Alone Together
    3. Manteca
    4. Tin Tin Deo
    5. I Can't Get Started


    Side B - Hans Koller New Jazz Stars
    6. The Way You Look Tonight
    7. Indian Summer
    8. You Go To My Head
    9. All The Things You Are

    Dizzy Gillespie
    $32.99
    Vinyl LP - Sealed Buy Now
  • GrooveWasher Record Cleaning Kit 3 COLORS AVAILABLE GrooveWasher Record Cleaning Kit Quick View

    $32.99
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    GrooveWasher Record Cleaning Kit

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


    I have been using this cleaner since it was released...the results are amazing! This is a must for any record collector and would recommend this to anyone looking for the best way to clean their vinyl records! GrooveWasher...or nothing for me! Christopher Burns


    Hands down, the best record cleaner on the market. Levi E.


    The GrooveWasher Record Cleaning Kit includes:



    • Hand painted poplar wood handle in Red Hot Red or South Beach Green -OR- Solid Milled American Black Walnut handle* with hand rubbed oil polyurethane finish
    • One All Purpose Cleaning Pad (Red Base)--with velcro on the base to secure the pad to the handle and allow easy removal for cleaning or replacement.
    • One 2 oz bottle of G2 Fluid with mist spray applicator.
    • Record label protector mask
    • GrooveWasher Record Cleaning Booklet

    *The GrooveWasher Starter Kit handle is milled from a single piece of American poplar wood, hand painted with oil enamel. We designed the handle shape to be easy to grip while cleaning your records. Hand crafted in our plant in North Kansas City, MO, USA.


    G2 Fluid--Science


    The GrooveWasher G2 Fluid is the result of years of research and testing. The selection of ingredients was guided by the formulations of the D series fluids of the 1970s. G2 Fluid is designed for maximum cleaning effectiveness of the delicate vinyl surface and microgroove. Anti-static action on contact. Honest cleaning to release the honest sound of the recording.


    G2 does not fix scratches or scuffs. Once the analog signal in the microgroove is lost, nothing will recover it.


    A two ounce spray bottle has more than 300 fine mist sprays. Enough to clean both sides of 50 records! (YMMV). 2 oz-4 oz Combo Fluid Packs and 8 ounce refill bottles are available for separate purchase.


    Some vinyl record cleaning fluids on the market today are plain distilled water. Or worse, have a high level of alcohol which is an ineffective cleaner and can harm vinyl records. Some can leave a layer in the microgroove that reduces sound fidelity.


    G2 Fluid Contains:


    • Surfactants: State of the art surfactants, designed to dissolve the oils from fingerprints and effectively clean the vinyl record's delicate surface.
    • Super wetting agents:A specialty chemical combined with a blending agent that reduces the fluid's viscosity so it can penetrate to the bottom of the microgroove and spread the G2 Fluid across the record evenly.
    • Emulsifiers: Holds the oils, dirt, mildew and microdust particles in suspension until the microfiber fabric cleaning pad absorbs and pulls the contaminants from the record surface. The emulsifiers restore the record's natural shiny surface.
    • Purified, deionized water: Deionized water is the best carrier for the active cleaning ingredients and eliminates static electric charges on the record's surface on contact.

    Cleaning Pad Design & Science


    The GrooveWasher cleaning pads feature the highest quality split microfiber and other absorbent fabrics. These fabrics are effective in removing the contaminants borne in the G2 Fluid from the record's microgroove. The velcro backed pad design allows the pad to be washed or replaced. The cleaning pads are hand made in our plant in North Kansas City, MO, USA.


    Record Cleaning Instruction Booklet


    Each GrooveWasher Starter Kit includes an Instruction Booklet with helpful information on record cleaning and using the GrooveWasher System.


    GrooveWasher is the best manual record cleaner on Earth. And likely Mars and Jupiter too. Nate Goyer, The Vinyl Guide Podcast


    Designed and hand crafted by GrooveWasher in North Kansas City, MO, USA

    GrooveWasher
    $32.99
    Record Cleaning Kit - 3 Colors Available
    Buy Now
  • Rachmaninov Piano Concerto Rachmaninov Piano Concerto Quick View

    $44.99
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    Rachmaninov Piano Concerto

    The Russian pianist Svjatoslav Richter is now regarded as one of the most outstanding artists of the present day. He was born in 1915 at Zhitomir in the Ukraine, the son of a musical family of German extraction. His father, who had been trained at the Vienna Conservatoire, was a highly regarded pianist and music teacher, who also did some composing; his mother was a gifted amateur musician. The artistic atmosphere of the family house had a decisive influence on the development of the brilliant boy, who was an excellent pianist by the time he had reached the age of eight. Ten years later he gave his first piano recital in Odessa, where he worked for a time as a chorus repetiteur. At the age of 22, he went to Moscow, where he completed his training under one of Russia's foremost piano teachers, Heinrich Neuhaus. For many years, Richter confined his activities as a piano soloist to Russia and eastern Europe. In 1959, however, he traveled by way of Helsinki to western Europe, where a few recordings had already made his name a legend. His concerts in the western world were sensational successes whose repercussions were felt for months afterwards, and he celebrated his greatest triumphs of all during his tour of the U.S.A. in 1960, traveling right across the continent to Los Angeles and San Francisco.
    1. Satz: Moderato

    2. Satz: Adagio sostenuto

    3. Satz: Allegro scherzando



    Six Preludes


    1. No. 12, C Major, Op. 32, No. 1

    2. No. 3, B Major, Op. 23, No. 2

    3. No. 6, g minor, Op. 23, No. 5

    4. No. 13, b minor, Op. 32, No. 2

    5. No. 5 D Major, Op. 23, No. 4

    6. No. 8 c minor, Op. 23, No. 7

    Sviatoslav Richter
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Stravinsky - Petruchka (Speakers Corner) Stravinsky - Petruchka (Speakers Corner) Quick View

    $34.99
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    Stravinsky - Petruchka (Speakers Corner)

    Petrushka was born of Stravinsky's vision of a long-haired musician hammering indiscriminately at the piano keys and engaging in a furious contest with the orchestra which »answers with vehement protests and acoustic fisticuffs«. As was the case with The Rite of Spring and The Firebird, Sergei Diaghilev and his Russian ballet had their share in ensuring that the 'burlesque' in four scenes would be suitable for the stage.
    The clown-doll Petrushka revels in his spiteful teasing and pranks at the Shrovetide fair.


    The orchestra contributes swirling dance figures, blaring brass and scurrying strings to his high-spirited clownery - but then the Moor enters and dances with the Ballerina, arousing jealousy in Petrushka. Although the clown-doll does not survive this bitter-sweet story, he triumphs at the end, his ghost mocking the crowd at the fair.
    This highly inventive music combines folksong, popular music and the waltz, all bound together by exhilating rhythms which are often taken to thunderous extremes. With its outstanding sound, this recording is a must-have in any Stravinsky collection.


    Recording: May 1959 at the Northrop Memorial Auditorium, Minnesota, USA, by C.R. Fine
    Production: Wilma Cozart-Fine and Clair Van Ausdall


    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The Minneapolis Symphony Orchestra



    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. Petrouchka - Burlesque Scenes In Four Tableaux - The Shrovetide Fair; Russian Dance
    2. Petrouchka - Burlesque Scenes In Four Tableaux - In Petrouchka's Room
    3. Petrouchka - Burlesque Scenes In Four Tableaux - In The Moor's Room; Dance Of The Ballerina And The Moor
    4. Petrouchka - Burlesque Scenes In Four Tableaux - Grand Carnival - Dance Of Gypsies, Coachmen And Grooms; The Maskers; Death Of Petrouchka
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Teacher Don't Teach Me Nonsense Teacher Don't Teach Me Nonsense Quick View

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    Teacher Don't Teach Me Nonsense

    Teacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.


    Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.


    Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.

    1. Teacher Don't Teach Me Nonsense
    2. Look and Laugh
    3. Just Like That
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
  • Roadwork Roadwork Quick View

    $39.99
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    Roadwork


    The Edgar Winter/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Celebrate 4 Decades Of Edgar Winter's White Trash


    First Time 180 Gram White Vinyl!


    Featuring Guitar Legends: Johnny Winter & Rick Derringer


    The legendary rocker and blues statesman Edgar Winter continues to enthrall audiences the world over.
    With his unique brand of musical genius and keyboard, sax and vocal prowess, Edgar's style will always be truly
    unmatched in purity and longevity.


    While he tours, produces and records non-stop, it's no secret that his live shows have always been top notch
    and legendary. In 1972, Edgar Winter along with his band White Trash played a series of shows at the famed Apollo
    Theatre and Academy Of Music in New York City, plus the Whisky A Go-Go in L.A. Luckily, Epic Records captured
    the prolific event on tape and the amazing album Roadwork was born.


    For Roadwork, the artist surely becomes a superstar on this mammoth 2 LP set. Featuring rock and soul classics
    like Chuck Berry's Back In the U.S.A. and Otis Redding's I Can't Turn You Loose, plus tunes from his first two
    albums like the epic 17 minute version of Tobacco Road, Roadwork proves to be a never ending festival of rock,
    blues, gospel and R&B earth shattering performances. The band features his friends like guitar hero Rick Derringer
    as well as power vocalist Jerry LaCroix, and of course his late great brother Johnny Winter brings the house down
    with his surprise visit on the smash hit Rock and Roll, Hoochie Koo.


    The masterpiece was also a primer for a lot of rockers who for the first time would be treated to the likes of
    musical pioneers like Bobby "Blue" Bland thanks to the late great Jerry LaCroix's shuddering vocal performance
    on the album closer Turn On Your Lovelight.


    Edgar Winter's artistry is no stranger to the Friday Music label, therefore it is with much honor to announce
    the first time 180 Gram Audiophile Vinyl release of his classic Edgar Winter's White Trash Roadwork album. For
    a very short time, this monumental masterwork is being presented on 180 Gram White Vinyl and featuring the
    original gatefold LP artwork, not seen in years in this format.


    Roadwork by Edgar Winter's White Trash Featuring Johnny Winter and Rick Derringer Four sides of pure
    rock, soul and rhythm and blues stunning limited edition white vinyl courtesy of your friends at Friday Music.


    People are always asking me Where's Your Brother?

    LP 1
    1. Save the Planet
    2. Jive, Jive, Jive
    3. I Can't Turn You Loose
    4. Still Alive and Well
    5. Back In the U.S.A.
    6. Rock and Roll Hoochie Koo


    LP 2
    1. Tobacco Road
    2. Cool Fool
    3. Do Yourself a Favor
    4. Turn On Your Lovelight

    Edgar Winter's White Trash
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Long May You Sing Long May You Sing Quick View

    $39.99
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    Long May You Sing

    Direct Metal Master Cut Vinyl


    Paul O'Brien is a songwriter with deep roots and broad horizons. An English-born child of Irish immigrants, he cut his teeth on Irish music. A natural story teller, Paul O'Brien has developed an eclectic folk style that is broadly appealing and not easily categorized.


    A working class poet from British Columbia with a knack for straightforward language held aloft by a sweet gift of melody ... - Boulevard Magazine


    The second studio album from Stockfisch records is an album of Canadian classics plus a brand new song written by Paul. On this album Paul O'Brien is joined (among others) by master Canadian guitar player and composer Don Ross. On the album there are songs written by Gordon Lightfoot, Joni Mitchell, Neil Young, and Leonard Cohen to name but a few.


    There's something which connects all the songs on this album: all are by Canadian composers. This is much more than a mere collection of hits - thanks to the poetic, strong and never sentimental interpretations of Paul O'Brien.


    Canada is often not taken so seriously - particularly in Europe it is often regarded as a mere extension of the USA, a secret 51st federal state, at the most a paradise for sled dogs and canoe enthusiasts. Paul O'Brien breaks with these clichÉs on his album Long May You Sing and opens up a whole new perspective. He openly admits to have felt like a child in a sweet shop, picking out these songs by the great Canadian composers.


    Paul O'Brien about this recording: This collection of songs is the audio equivalent of the "big kid in the candy store". To be able to choose my favourite songs written by Canadian writers was one of the most enjoyable experiences I as a singer could have. On the other hand however, it was the most frustrating because there were so many songs I could have, and perhaps should have chosen. I have a feeling this will be but Volume 1 of a long labour of love.


    All of these songs have in some way touched me more than the fact they are amazing pieces of art. It was not simply cherry picking (although when I look now at the track list it looks just like cherry picking). I have taken a few artistic liberties with these tunes, and I truly hope I do not offend anyone, but it seemed to me that I had to try at least to add a little of me to the performances.


    Paul O'Brien was brought up in England, received an Irish-Catholic education and formed his own musical identity in pubs and at festivals, with the inevitable mixture of positive & strengthening, but also negative and sobering experiences. In 2004, enough was enough - he shut his guitar away in its case and moved with his family to Canada, settling high up in the North-West - a barren landscape, the beauty of which he often documents with photos on Facebook (including pics of the beloved family Labrador Dooley).


    Even at the risk of sounding sentimental: this country and this landscape changed him - changed the musician within - in a very positive and creative sense. He took the banished guitar out of its case and the music flowed. This artistic output reached new heights on his album for Stockfisch Records Walk Back Home. The more recent album, Long May You Sing, could even top that - it is a hymn to his new way of life.


    All songs are by Canadian writers - from Bruce Cockburn, Gordon Lightfoot and Paul O'Brien right up to Neil Young, whose long Long May You Run inspired the title of the album. The original impulse for this project is not a secret. The idea came while thinking about doing something for Joni Mitchell's 70th birthday. As a tribute Paul decided to record a version of Big Yellow Taxi.


    A big part in this production was played by Canadian master-guitarist and composer Don Ross, who also contributed two solo instrumental pieces. One particular piece just had to be on the album, for all those who wish to celebrate Canada's independent musical integrity: Leonard Cohen's Hallelujah. All these songs move Paul emotionally - in his own words more than just in their function as fantastic works of art. This project is for him a mixture of thankfulness, fascination and positive energy from the heart of a very special country. the album has the greatness, the potential and the chance as volume one of a long labour of love' to go to the top of Paul's personal hit-parade.


    This title is not eligible for discount.

    1. Long May You Run
    2. Silvia's River
    3. Jasper
    4. Cold Missouri Waters
    5. Hallelujah
    6. Big Yellow Taxi
    7. If You Could Read My Mind
    8. I Will Remember You
    9. Pacing The cage/Creation Dream
    10. Northwest Passage
    11. Sonny's Dream
    Paul O'Brien
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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