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  • Mister Guitar (Speakers Corner) Mister Guitar (Speakers Corner) Quick View

    $34.99
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    Mister Guitar (Speakers Corner)

    At a time when rock 'n' roll-crazy teenagers in the USA and elsewhere were dancing their feet off to the beat of Elvis Presley and Bill Haley, probably no one was interested as to where this music actually originated. The focal point of the folk movement was Tennessee: it was here that everyone came who had used their grandfathers' songs and fiddle tunes to create the pop-oriented Nashville Sound, a sound which became American music's trademark and export hit.



    Chet Atkins is one of the people who helped to create this special sound and who kept an Argus-eyed watch on its originality and development. In addition to the recordings he made in his own studio, he was also a producer and studio guitarist for RCA.



    This album features Chet Atkins as "Mister Guitar", who - as a soloist - only allowed a small and highly discreet rhythm group to accompany him. The result is a refreshingly pure and unadulterated steel-string sound without frills and padding and so has little in common with the commercial country music of the masses. With his relaxed, technically perfect and highly variable playing technique, Atkins shows us what the New World has to offer in the way of folk music: highly melodic numbers which delight the ear with the simplest of means.





    Musicians:



    • Chet Atkins (guitar) and band




    Recording: 1959 in Nashville, Tennessee, by Bob Farris and Bill Porter

    Production: Chet Atkins




    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. I Know That You Know
    2. Rainbow
    3. Hello Bluebird
    4. Siesta
    5. Country Style
    6. Show Me The Way Go Home
    7. Im Forever Blowing Bubbles
    8. Backwoods
    9. Country Gentleman
    10. Slinkey
    11. Jessie
    12. Concerto In C Minor
    Chet Atkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In Hollywood (Speakers Corner) In Hollywood (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    In Hollywood (Speakers Corner)

    When stringed instruments are employed, it is often an indication that the protagonist is somewhat mature. It is an unwritten law that sooner or later every rock, jazz or folk musician will bathe in soft tones for once. Chet Atkins, however, was light years away from his artistic zenith, came up with a wealth of ideas and was in a great position with regards to recording facilities when he set down his Hollywood album in 1959. Two years earlier, "Mister Guitar" had become boss of the newly founded RCA Studio in Nashville. Here he recorded several records, which reflected his ideas of an appealing, catchy Nashville Sound as an answer to the declining rock and roll.


    The Hollywood numbers were by no means dynamite movie tracks or showstoppers. Dennis Farnon's delicate, lush arrangements rather more pay homage to the maestro with his no-frills art of playing. The gentle Italo evergreen Santa Lucia, Chaplin's beautiful Limelight with its violins and the time-honoured Greensleeves - all of them flawlessly performed - are a real pleasure for the ears. Atkins greatly admired the superb string orchestra and two years later he re-recorded the album using the tapes from the Hollywood session to create this new version.

    Musicians:



    • Chet Atkins (guitar)
    • Howard Roberts (guitar)
    • Jethro Burns (mandolin)
    • Clifford Hils (bass)
    • George Callender (bass)
    • Larry Bunker (drum & strings)
    • Jack Sperling(drum & strings)


    Recording: October 1958 in Hollywood

    Production: Chet Atkins




    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 emphasize 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. Armen's Theme
    2. Let It Be Me
    3. Theme From Picnic
    4. Theme From A Dream
    5. Estrelita
    6. Jitterbug Waltz
    7. Little Old Lady
    8. Limelight
    9. The Three Bells
    10. Santa Lucia
    11. Greensleeves
    12. Meet Mr. Callaghan
    Chet Atkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chester & Lester Chester & Lester Quick View

    $29.99
    Buy Now
    x

    Chester & Lester

    180 Gram Audiophile Vinyl Gatefold Package!


    Mastered By Kevin Gray at Cohearent Audio


    Pressed at RTI


    The jam session recording Chester & Lester was awarded a Grammy for Best Country Instrumental Performance at the 1976 awards ceremony.


    Chester & Lester was probably the only jam session record to win a Grammy™. Today, such an album would merely seem like clever marketing; two virtuosos from different genres, country and pop, joining forces. Not so in 1976. Truth was, Chet Atkins and Les Paul had way more in common than many realized. Each made groundbreaking records that put electric guitars on the map and influenced the sound of rock. Both experimented with electronics. The electric guitar models named for both men over half a century ago are considered classics, still produced today by the same companies. Three decades can't diminish Chester & Lester's wonderfully free musical and personal interplay. On record, their divergent personalities were reflected in their verbal bantering, Chet's taciturn personality and dry humor a terrific foil for Les's ornery schoolkid exuberance. It was something both admired about the record.


    Chester & Lester is a beautiful and fun album by two masters. It was recorded in the mid-'70s when Chet Atkins was in his fifties and Les Paul was in his sixties. The latter had been in retirement for a decade before the recording of this album. Nashville studio musicians, including Randy Goodrum on piano and Larrie Londin on drums, back up the master guitarists, but this is by no means a country album. In fact, this album swings on classics such as Birth of the Blues, Avalon, and Caravan. Other classic songs, including It's Been a Long Time and It Had to Be You, are beautifully rendered, featuring Les Paul's instantly recognizable ringing bell tone and Chet Atkins' fluid, slightly twangy sound. The recording has an informal feel, with between-song banter (and even some joking in the middle of songs) included on the record, which adds to the enjoyment and warmth of this album. The listener knows that the musicians are having a great time. According to the liner notes, only two songs have any overdubs, so, You hear the music just as it came down. And it all came down beautifully. - Tim Griggs, allmusic.com


    Features:

    180g Vinyl

    Exhibit Records Audiophile Series

    Gatefold Package

    Mastered By Kevin Gray at Cohearent Audio!

    Pressed at RTI


    Musicians:

    Chet Atkins, guitar

    Les Paul, guitar

    Randy Goodrum, piano

    Henry Strzelecki or Bob Moore, bass

    Larrie Londin, drums

    Paul Yandell, Ray Edenton, or Bobby Thompson - rhythm guitar

    1. It's Been A Long Time
    2. Medley: Moonglow / Picnic (Theme from Picnic)
    3. Caravan
    4. It Had To Be You
    5. Out of Nowhere
    6. Avalon
    7. Birth of the Blues
    8. Someday Sweetheart
    9. Deed I Do
    10. Lover Come Back To Me
    Chet Atkins & Les Paul
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Neck And Neck Neck And Neck Quick View

    $34.99
    Buy Now
    x

    Neck And Neck

    Includes 2 Grammy Award Winning Tracks


    Originally released in 1990, two generations of leading and groundbreaking guitarists combined their efforts to create this legendary album. American Country music legend Chet Atkins and British singer-songwriter, guitarist and Dire Straits front man Mark Knopfler joined forces to produce the wonderful album Neck And Neck.


    The single Poor Boy Blues won a Grammy Award for Best Country Collaboration with Vocals. So Soft Your Goodbye won a Grammy Award for Best Country Instrumental Performance. The reissue of this classic album is pressed on 180 gram audiophile vinyl.

    1. Poor Boy Blues
    2. Sweet Dreams
    3. There'll Be Some Changes Made
    4. Just One Time
    5. So Soft, Your Goodbye
    6. Yakety Axe
    7. Tears
    8. Tahitian Skies
    9. I'll See You In My Dreams
    10. The Next Time I'm In Town
    Chet Atkins & Mark Knopfler
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • H.R. Is A Dirty Guitar Player H.R. Is A Dirty Guitar Player Quick View

    $24.99
    Buy Now
    x

    H.R. Is A Dirty Guitar Player

    In the pantheon of under-the-radar American guitar heroes, Howard Roberts looms large. A remarkably versatile musician who was one of Los Angeles' most in-demand session players from the early 1950s through the 1970s, Roberts' career encompassed an incredible array of studio assignments. He recorded with a dizzying assortment of acts, including Elvis Presley, Frank Sinatra, the Beach Boys, the Monkees, Dean Martin, Sonny and Cher, the Jackson 5, Peggy Lee, Eddie Cochran, Chet Atkins and the Electric Prunes. He also played on countless film and television soundtracks; his guitar work is featured prominently in the iconic theme music of The Twilight Zone, The Munsters and I Dream of Jeannie.


    Roberts was also an accomplished musical educator, co-founding Hollywood's Guitar Institute of Technology, writing a regular instructional column on jazz improvisation for Guitar Player magazine, and penning several highly-regarded guitar instruction books. As a guitar teacher, one of his students was a teenaged Phil Spector, for whom Roberts would later work as a session man.


    Impressive as his session resume is, for many guitar aficionados, the real highlights of Howard Roberts' body of work are the instrumental albums he released under his own name throughout his career. One of his best-loved solo releases is the memorably titled H.R. Is A Dirty Guitar Player, originally released by Capitol Records in 1963. Recorded at the legendary Studio A in the Capitol Tower, with a band that includes fellow studio legends Chuck Berghofer and Earl Palmer on bass and drums, H.R. Is A Dirty Guitar Player is a potent showcase for Roberts' fluid, swinging guitar work. The material offers ample opportunity for the artist to demonstrate his versatility, encompassing pop standards 9Lerner, Loewe If Ever I Would Leave You), bossa nova (Antonio Carlos Jobim's One Note Samba) and jazz (tunes by Herbie Hancock, Count Basie and Duke Ellington), along with such Roberts originals as Smolderin', Turista, Deep Fry and Dirty Old Bossa Nova.


    Long unavailable in its original form, this vintage instrumental gem has been restored to its original vinyl glory by Sundazed Music. The album has been sourced from the original stereo masters and pressed on 180 gram vinyl, with complete original cover art.
    1.Watermelon Man
    2. Smolderin'
    3. Liâl Darlin'
    4. Turista
    5. If Ever I Would Leave You
    6. One O'Clock Jump
    7. Deep Fry
    8. Rough Ridin'
    9. Satin Doll
    10. Smokin'
    11. One Note Samba
    12. Dirty Old Bossa Nova
    Howard Roberts
    $24.99
    180 Gram Audiophile Virgin Vinyl LP- Sealed Buy Now
  • Elvis Is Back! (Speakers Corner) Elvis Is Back! (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis Is Back! (Speakers Corner)

    During the King's artistically unproductive period of military service, no costs or efforts were spared (e.g. A Date With Elvis, RCA LPM-2011), and no consolatory promises of things to come were left unsaid by the management in order to keep Elvis alive and well in the minds of his vast circle of fans. At last the great coup was landed: Elvis Is Back was what everyone was waiting to hear and American radio and television broadcasting stations made a gigantic medial feast of it.



    With the ink scarcely dry on his demobilization papers, Elvis entered the studio in March 1960 and recorded a whole series of numbers which later became worldwide hits, such as Are You Lonesome Tonight and It's Now Or Never. Released as singles, these tender ballads created a sensation, while the LP with numbers such as Dirty, Dirty Feeling, Like A Baby and The Thrill Of Your Love underlined Elvis's enhanced qualities as a rock, blues and gospel singer. That his voice - despite everyone's fears - had lost nothing of its erotic thrill is more than amply demonstrated in his rendering of Fever alone, which is accompanied merely by bass and percussion.



    With its amazing array of varying styles, this must surely be one of Elvis's most genial albums and was unrivaled right up until his great comeback in 1968 (From Elvis In Memphis, RCA LSP-4155).





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Floyd Cramer(piano)

    • Scotty Moore (guitar)

    • Boots Randolph (saxophone)

    • Hank Garland (bass, guitar)

    • Charlie Hodge (harmony)

    • Bob Moore (bass)

    • D.J. Fontana (drums)

    • Hoyt Hawkins, Neal Matthews, Gordon Stoker, Ray C. Walker (vocal)




    March 1960 at RCA Studios, Hollywood, CA. and April 1960 in Nashville, TS., USA,
    by Bill Porter

    Production: Chet Atkins





    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. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby

    12. Reconsider Baby
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Foggy Mountain Jamboree Foggy Mountain Jamboree Quick View

    $19.99
    Buy Now
    x

    Foggy Mountain Jamboree

    180 Gram Audiophile Mono Vinyl Gatefold Package


    Mastered by Kevin Gray at Cohearent Audio!


    Pressed at RTI!


    One of the most important and influential records in the history of American Roots Music. Includes appearances by numerous Foggy Mountain Boys including Chet Atkins & Josh Buck Graves.


    Widely regarded as one of bluegrass' most influential recordings, Foggy Mountain Jamboree introduced audiences -- more specifically radio listeners -- to the crystal-clear vocals and peerless musicianship of former Bill Monroe Bluegrass Boys Lester Flatt and Earl Scruggs. Amassed between 1951 and 1955, the 12 tracks that made the cut served as a veritable blueprint for a genre that had been growing in popularity since the late '40s. While numerous Foggy Mountain Boys appear throughout -- Chet Atkins, Josh Buck Graves -- Flatt's fluid tenor and rhythm guitar work anchored the sessions, Scruggs' machine-gun banjo work provided the steam, and fiddler Chubby Wise, along with mandolin player Curly Seckler, carried the whole thing home without a care in the world. Flint River Special, Earl's Breakdown, and Foggy Mountain Special became part of American culture, celebrating both its trailblazing work ethic and spirituality with equal amounts of grace and hellfire. Foggy Mountain Jamboree is essential listening for anyone with even the most remote interest in bluegrass. - allmusic.com


    Features:

    180 Gram Vinyl

    Mono

    Exhibit Records Audiophile Series

    Gatefold Package

    Mastered by Kevin Gray at Cohearent Audio!

    Pressed at RTI!


    Musicians:

    Earl Sruggs, banjo

    Lester Flatt, guitar

    1. Flint Hill Special
    2. Some Old Day
    3. Earl's Breakdown
    4. Jimmie Brown, The Newsboy
    5. Foggy Mountain Special
    6. It Won't Be Long
    7. Shuckin' The Corn
    8. Blue Ridge Cabin Home
    9. Randy Lynn Rag
    10. Your Love Is Like A Flower
    11. Foggy Mountain Chimes
    12. Reunion In Heaven
    Lester Flatt & Earl Scruggs
    $19.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Eric Johnson: Live From Austin, Texas (Pre-Order) Eric Johnson: Live From Austin, Texas (Pre-Order) Quick View

    $22.99
    Buy Now
    x

    Eric Johnson: Live From Austin, Texas (Pre-Order)

    Fasten your seatbelts for an extraordinary ride
    with guitar hero Eric Johnson. This is the performance that fellow
    guitarists, wannabes and fans have been waiting and dying for since this
    show first aired in 1989. And for good reason: Johnson's playing has a
    way of connecting to fans of every guitar style while still eliciting raves
    from the likes of Carlos Santana, Johnny Winter, Jeff Beck, Stevie Ray
    Vaughan and even country music legend Chet Atkins. His inspirations are
    the "3J's:" Jimi Hendrix, Jerry Reed, and Jeff Beck, but his style ranges
    wide and free throughout the entirety of guitar history while still infusing
    fresh ideas of his own.


    A long-time Austin mainstay, he took up guitar
    at age eleven and had his first professional group at fifteen. In 1974, he
    defied the musical mainstream by forming Austin's first jazz/rock fusion
    band, the Electromagnets, and he's been making guitar history ever since.
    "Guitar genius" is an easy phrase to throw around, but when it comes to
    blending fires and finesse, Eric Johnson has it all.
    - Terry Lickona (producer Austin City Limits)

    1. Righteous
    2. Love Or Confusion
    3. Steve's Boogie
    4. Trail Of Tears
    5. Western Flyer
    6. East Wes
    7. C.W.
    8. Camel's Night Out
    9. Emerald Eyes
    10. Cliffs Of Dover
    11. Desert Rose
    12. Zap
    13. Are You Experienced?
    Eric Johnson
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Ascension Heights (Pure Pleasure) Ascension Heights (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Ascension Heights (Pure Pleasure)

    At the pimply age of 15, Surrey-born Anthony 'Top' Topham stepped onto stage in May 1963 at the Eel Pie Island Club in Twickenham with his new blues-wailing band - The Yardbirds. A few months later he was replaced with Eric Clapton and after that a certain Jeff Beck and Jimmy Page also joined that volatile crew. When you consider what a staggering influence Cream, Beck and Led Zeppelin have had on everything in rock then and now - it's a damn shame that Top Topham got musically lost in the mix somehow and has never been given the catalyst credit he so deserves.



    The album Ascension Heights has always been a £100+ vinyl rarity, so its reissue here is to be welcomed. But it has also divided Blues purists for years because - for a blues label release - it's a slightly strange record! Firstly it's entirely instrumental - and not in a blues way either. It doesn't seem to quite know what it is. One minute it has the playfulness of Django Reinhardt jazz noodlings on Spider Drag, the next minute it's Sixties Chet Atkins on Globetrottin', the next second its funky Blood, Sweat and Tears without the vocals on the brass filled Mini-Minor-Mo. It also features Pete Wingfield on Piano. There are even times on Hot Ginger where it sounds like a soulful version of Fleetwood Mac's debut album! A heady mix to say the least! It's a varied album, daring in its choices and remember - most are original songs by Topham. Ascension Heights is a grower that bears repeated listening.



    Attention: Both sides of this LP were cut at 45rpm.



    Musicians:



    • Top Topham (guitar, percussion)

    • Greg Bowen (trumpet)

    • Chris Pyne (trombone)

    • Alan Skidmore (saxophone)

    • Rick Hayward (guitar)

    • Pete Wingfield (piano, organ)

    • Herbie Flowers (bass)

    • Duster Bennett (harmonica)

    • Mike Vernon (percussion)

    • John Marshall (drums)



    Recording: Autumn 1969 at CBS Studios, London.

    Production: Mike Vernon



    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.



    Side One


    1. Sawbuk
    2. Mini-Minor-Mo
    3. Hop House
    4. Ridin' The Blinds
    5. Hot Ginger
    6. Funks Elegy


    Side Two


    1. Ascension Heights
    2. Tuxedo Junction
    3. Globetrottin'
    4. Spider Drag
    5. Mean Old Pullman
    6. How Sweet It Is (To Be Loved By You)

    Top Topham
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis Presley: Gold Records Vol. 4 (Speakers Corner)

    At first sight, it does not look as though Elvis's 31st album was destined to be a hit. But if you take a look at his artistic biography in the year of its release - 1968 - then you will recognise the clever gimmicks that his wide-awake management employed to captivate rock 'n' roll fans when Elvis was somewhat 'stiff in the hips'. In this fourth Gold Edition, a tried and tested method was used to create a new LP: namely, a compilation of single hits from the years 1961 to 1967. The result was just what fans wanted! Alongside sentimental songs such as Love Letters, the tearjerker Lonely Man and the sobbing, heartstring tugging ballad It Hurts Me, we find spirited rock 'n' roll (Witchcraft, Ain't That Loving You Baby) and honky-tonk blues (A Mess Of Blues) in a toned-down 12-beat measure. In contrast, Don't Drag That String Around is cheerful, light and springy and, - for a change - not a blues number.
    Then we have the country song Devil In Disguise with its angry lyrics, and the soul title What'd I Say by Ray Charles with an electric sound that is lent by the Rhodes piano. All in all, this LP is a great collection from the grand old days of rock 'n' roll.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: Juyl 1960 - June 1966 at RCA Studio B in Nashville, Tennessee, RCA Studios and Radio Recorders in Hollywood

    Production: Steve Sholes, Chet Atkins, George Stoll, Felton Jarvis, a.o.


    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. Love Letters
    2. Witchcraft
    3. It Hurts Me
    4. What'd I Say
    5. Please Don't Drag That String Around
    6. Indescribably Blue
    7. You're The Devil In Disguise
    8. Lonely Man
    9. A Mess Of Blues
    10. Ask Me
    11. Ain't That Loving You Baby
    12. Just Tell Her Jim Said Hello
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
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