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  • The Chirping Crickets (200 Gram Vinyl) The Chirping Crickets (200 Gram Vinyl) Quick View

    $34.99
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    The Chirping Crickets (200 Gram Vinyl)

    Ranked 420/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    Country, Rockabilly And R&B Fused Into Epochal Rock 'n' Roll


    Remastered By Kevin Gray At Cohearent Audio From The Original Analog Master Tapes


    Plating And 200-Gram Vinyl Pressing By Quality Record Pressings


    Old-style Tip-on Gatefold Jacket From Stoughton Printing


    One of rock's greatest albums, this is the debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime. The Chirping Crickets contains the group's number one single That'll Be the Day and its Top Ten hit Oh, Boy!. Other Crickets classics include Not Fade Away, Maybe Baby, and I'm Looking for Someone to Love.


    These are among the best rock 'n' roll songs of the 1950s or ever, making this one of the most significant album debuts in rock 'n' roll history - ranking with Elvis Presley and Meet the Beatles, writes AllMusic.


    What has Analogue Productions done to kick this classic album up a notch? For starters, our version features stellar remastering by Kevin Gray at Cohearent Audio. Followed by state-of-the-art plating and pressing on 200-gram heavyweight vinyl at Quality Record Pressings, maker of the world's finest-sounding LPs. Stoughton Printing provides a sturdy old-style tip-on jacket to round out the package.


    Born Charles Hardin Holley on September 7, 1936, in Lubbock, Texas, Holly was nicknamed Buddy by his mother. She felt that his given name was too big for her little boy. Holly, the altered form of his last name, would later result from a misspelling in his first recording contract. Holly learned to play piano and fiddle at an early age, while his older brothers taught him the basics of guitar.


    In early 1956, Holly and his band began recording demos and singles in Nashville under the name Buddy Holly and the Three Tunes, but the group's lineup was later revised and dubbed The Crickets. Holly wrote and recorded his breakthrough hit, That'll Be the Day, with The Crickets in 1957. The song's title and refrain are a reference to a line uttered by John Wayne in the 1956 film The Searchers. Between August 1957 and August 1958, Holly and the Crickets charted seven different Top 40 singles.


    Composer and singer John Fogerty, of Creedence Clearwater Revival fame, inducted Buddy Holly into the Rock And Roll Hall of Fame at the 1986 Hall of Fame induction ceremony. What Buddy Holly meant to him, Fogerty said, was destiny calling. Fogerty, 12, bought That'll Be The Day and soon began dreaming of forming his own combo, like the group of musicians - The Crickets - he saw on the album cover. And in Liverpool, England, the same thing was going on with four other guys. They named their group The Beatles, because Buddy Holly's group was called The Crickets.


    We are, each of us, made up of the people we love and the people we admire, Fogerty, said. We take those reflections, and hopefully, grow.


    Holly's talented life was cut short in a plane crash on Feb. 3, 1959, that also claimed the lives of Ritchie Valens and J.P. The Big Bopper Richardson. This album is a tribute to what was, and what might have been a lengthy pioneering musical career.


    This title is not eligible for discount.

    1. Oh, Boy!
    2. Not Fade Away
    3. You've Got Love
    4. Maybe Baby
    5. It's Too Late
    6. Tell Me How
    7. That'll Be The Day
    8. I'm Looking For Someone To Love
    9. An Empty Cup (And A Broken Date)
    10. Send Me Some Lovin'
    11. Last Night
    12. Rock Me My Baby
    Buddy Holly
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Chirping Crickets The Chirping Crickets Quick View

    $27.99
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    The Chirping Crickets

    The debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime, The Chirping Crickets contains the group's number one single That'll Be the Day and its Top Ten hit Oh, Boy!. Other Crickets classics include Not Fade Away, Maybe Baby, and I'm Looking for Someone to Love. The rest of the 12 tracks are not up to the standard set by those five, but those five are among the best rock & roll songs of the 1950s or ever, making this one of the most significant album debuts in rock & roll history, ranking with Elvis Presley and Meet the Beatles.

    -All Music Guide
    LP1
    1. Oh, Boy!
    2. Not Fade Away
    3. You've Got Love
    4. Maybe Baby
    5. It's Too Late
    6. Tell Me How
    7. Blue Days, Black Nights*
    8. Rock Around With Ollie Vee*


    LP2
    1. That'll Be The Day
    2. I'm Looking For Someone To Love
    3. An Empty Cup (And a Broken Date)
    4. Send Me Some Lovin'
    5. Last Night
    6. Rock Me My Baby
    7. Don't Come Back Knockin'*
    8. I'm Changing All Those Channels*


    *Bonus Tracks

    Buddy Holly
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Greatest Hits Greatest Hits Quick View

    $27.99
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    Greatest Hits

    Ranked 92/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    This 19-song set from Vinyl Passion features remastered versions of Buddy Holly's best and brightest culled from such classic albums as The Chirping Crickets (1957) and Buddy Holly (1958) and including such highlights as the top ten gems Peggy Sue, Oh, Boy! and That'll Be the Day.

    1. That'll Be The Day (The Crickets)
    2. Peggy Sue
    3. Oh, Boy! (The Crickets)
    4. Maybe Baby (The Crickets)
    5. Listen To Me
    6. Rave On
    7. Think It Over (The Crickets)
    8. Fool's Paradise (The Crickets)
    9. Early In The Morning
    10. Heartbeat
    11. It Doesn't Matter Anymore
    12. Raining In My Heart
    13. Midnight Shift
    14. Peggy Sue Got Married
    15. True Love Ways
    16. Learning The Game
    17. What To Do
    18. (You're So Square) Baby I Don't Care
    19. Valley Of Tears
    Buddy Holly
    $27.99
    Vinyl LP - Sealed Buy Now
  • Reverie Reverie Quick View

    $19.99
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    Reverie

    Reverie came to fruition when Joe Henry and his fellow musicians convened in Henrys basement studio for three days of exploration. The result is an all acoustic album more full of life, from the birds chirping through the open windows to the ticking and shifting of the musicians, than any Henry has recorded.


    And thats saying a lot: for more than two decades Grammy-winner Henry has produced some of the most celebrated names in music, from Ornette Coleman and Elvis Costello to Ani DiFranco and Madonna.


    Working with his regular stable of musicians and guests including master guitarist Marc Ribot (Tom Waits, Elvis Costello), singer Jean McClain and organist Patrick Warren, along with a special appearance from recently produced Lisa Hannigan, Henry has produced another masterful set of songs.

    1. Heaven's Escape
    2. Odetta
    3. After the War
    4. Sticks & Stone
    5. Grand Street
    6. Dark Tears
    7. Strung
    8. Tomorrow Is October
    9. Piano Furnace
    10. Deathbed Version
    11. Room At Arles
    12. Eyes Out For You
    13. Unspeakable
    14. The World And All I Know
    Joe Henry
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • LP LP Quick View

    $19.99
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    LP

    Discovery is the recording project of Rostam Batmanglij and Wes Miles, friends who began recording together in the summer of 2005. One year later they had committed themselves to their respective bands, Vampire Weekend and Ra Ra Riot, but nonetheless continued to record together when they both found themselves in the same city. The project is many things: it's partly an attempt to realize Wes' concept of a band where everyone plays synthesizers, and of Rostam's concept for an album where handclaps keep the backbeat instead of snares drums. It's an embrace and also a commentary on the pop music of the past decade, of booming 808 bass and jittery sixteenth note high-hats. Elements of European electronic dance music skittering in double-time over steady R&B. If soul music is secularized, sexualized gospel, Discovery is an attempt to see if soul music can survive being plasticized, roboticized, quantized, chopped, and finally, screwed. The album features Rostam and Wes each singing half the songs and guest vocals from Ezra Koenig (Vampire Weekend) and Angel Deradoorian (Dirty Projecters).


    Cascades of synths that belong on a My Bloody Valentine record and electronic flurries that sound like a flock of robins chirping incessantly on a Spring morning. - Pitchfork

    1. Orange Shirt
    2. Osaka Loop Line
    3. Can You Discover?
    4. I Wanna Be Your Boyfriend
    5. So Insane
    6. Swing Tree
    7. Carby
    8. I Want You Back (In Discovery)
    9. It's Not My Fault (It's My Fault)
    10. Slang Tang
    Discovery
    $19.99
    Vinyl LP - Sealed Buy Now
  • Buddy Holly (200 Gram Vinyl) Buddy Holly (200 Gram Vinyl) Quick View

    $34.99
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    Buddy Holly (200 Gram Vinyl)

    Pioneer Of Rock 'n' Roll In His Solo Album Debut!


    200-Gram Vinyl Pressed At Quality Record Pressings


    All-Analog Mastering By Kevin Gray At Cohearant Audio


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Rock 'n' roll legend Buddy Holly produced some of
    the most distinctive and influential music of his era.
    Three months after the release of The Chirping Crickets
    came this self-titled 1958 classic, Buddy's last album
    released prior to the plane crash in Iowa that struck
    him down in 1959 at age 22.


    What has Analogue Productions done to kick this classic
    album up a notch? For starters, our version features
    stellar remastering by Kevin Gray at Cohearent
    Audio. Followed by state-of-the-art plating and pressing
    on 200-gram heavyweight vinyl at Quality Record
    Pressings, maker of the world's finest-sounding LPs.
    Stoughton Printing provides a sturdy old-style tip-on
    gatefold jacket with added photos to round out the
    package.


    Born on Sept. 7, 1936 in Lubbock, Texas, Buddy Holly
    was well-versed in several music styles and was a
    seasoned performer by age 16.


    When Buddy Holly & The Crickets broke through
    nationally in 1957, they were marketed by Decca Records
    as two different acts whose records were released
    on two different Decca subsidiaries - Brunswick
    for Crickets records, Coral for Holly records. But
    there was no real musical distinction between the two,
    except perhaps that the "Crickets" sides had more
    prominent backup vocals.


    This reissue marks the debut album credited to Buddy
    Holly. It features Holly's Top Ten single "Peggy Sue"
    plus several songs that have turned out to be standards:
    "I'm Gonna Love You Too," "Listen to Me," "Everyday,"
    "Words of Love," and "Rave On."


    This title is not eligible for discount.

    1. I'm Gonna Love You Too
    2. Peggy Sue
    3. Look at Me
    4. Listen to Me
    5. Valley of Tears
    6. Ready Teddy
    7. Everyday
    8. Mailman, Bring Me No More Blues
    9. Words of Love
    10. (You're So Square) Baby I Don't Care
    11. Rave On
    12. Little Baby
    Buddy Holly
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Right Now (Speakers Corner) Right Now (Speakers Corner) Quick View

    $34.99
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    Right Now (Speakers Corner)

    A great deal has been said about Blues and Rock'n'Roll musicians being inspired to great things by folk music. But one hears little about those who work quietly in the background, far removed from dazzling light shows, power amps and fog machines, and who create new strains of tender plants from the roots of traditional folk, so to speak. One such person is Wizz Jones from south England. He can write songs, and he can sing - but it would be far too simple to describe him as a songwriter. His cultivated and versatile performance technique on the guitar bears witness to his personal aspiration for perfection on his instrument. With Jones all this culminates in highly original high-end folk: he's particularly laid-back in groovy numbers (Right Now, No More Time To Try), where the elastic and springy sound of the guitar is enhanced with chirping sitar and wavering bottleneck slides so typical of the times. Alongside these are the carefully re-worked traditional melodies (American Land), a 17th-century tune (Raven) where the singer plays 'call-and-response' with himself, and a solid 16-bar blues (Deep Water) in the early Chicago style. Particular attention should be paid to the numbers in which he collaborates with Alan Tunbridge and is fired by his genial ideas - specially recommended: Mary Go 'Round.



    Musicians:



    • Wizz Jones (vocals, guitar)

    • Sandy Jones (banjo)

    • Pete Berryman (guitar)

    • Reanna Sutcliffe (piano, harpischord, vocals)

    • John Renbourn (sitar, harmonica)

    • Andy Fernbach (piano)

    • Sue Draheim (vocals)

    • Malcolm Pool (bass)

    • Ian Hoyle (drums)




    Recording: 1972 by Colin Caldwell at Marquee Studios, London

    Production: John Renbourn




    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. Which of Them You Love the Best
    2. One Grain of Sand
    3. City of the Angels
    4. The Raven
    5. Right Now
    6. Find a Man for You Girl
    7. American Land
    8. No More Time to Try
    9. Mary Go 'Round
    10. Deep Water
    Wizz Jones
    $34.99
    180 Gram Audiophile Virgin Imported Vinyl LP - Sealed Buy Now
  • Communique (45 RPM) (Pre-Order) (On Sale) Communique (45 RPM) (Pre-Order) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Communique (45 RPM) (Pre-Order) (On Sale)


    Smooth, Effortless, Relaxed, Tuneful, And Deceivingly Simple: Dire Straits' Communique Teems With Technical Perfectionism, Southern-Styled Grooves, And Low-Key Blues


    Reference-Level Detail, Depth, Soundstaging, Balance, And Presence: Communique Has Never Sounded Better Than On Mobile Fidelity's 180g 45RPM 2LP Version


    Mark Knopfler's Mesmerizing Textures, Intricate Lines, And Crisp Tones Pair With Engaging Storytelling And Tight Rhythms: Every Song An Example Of Understated Virtuosity


    The performances on Dire Straits' Communique are so smooth and effortless, they were originally criticized for replicating the blueprints of the band's breakout debut. Time, however, has a way of changing perspectives and exposing the truth. More than 35 years after its original release in June 1979, Communique rightfully takes its place as the group's most underrated record - a nine-track set spiked with engaging storytelling, relaxed vibes, and deceiving simplicity.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of Communique elevates Dire Straits' sophomore album to an even higher plane. Recorded in the Bahamas by Muscle Shoals veterans Barry Beckett and Jerry Wexler, the songs benefit from a laidback approach that makes guitarist/vocalist Mark Knopfler and company's stellar playing seem even more fluent - particularly when experienced on this collector's 45RPM version, on which the wider grooves allow for more detail retrieval and deeper musical insight.


    Knopfler's mesmerizing guitar textures and composed vocals appear as if they're right in front of you, holding court amidst expansive soundstages and deep-black backgrounds. Details, imaging, and presence are on a level associated with the finest audiophile recordings. You'll be hard-pressed to find another LP with cleaner, pinpoint-accurate tones. Mobile Fidelity's LP also brings into transparent view Knopfler's seemingly perfect intricate lines as well as the simpatico accompaniment from his band mates. Whole, lively, and balanced, the bass and drums arrive with a solidity rarely heard on albums of this era. Communique has truly never sounded better.


    Of course, the audiophile sonics mean little if the artistic content is lacking. Needless to say, Dire Straits' technical perfectionism and creative elan prevail throughout. Knopfler's penchant for sketching cynical characters is further developed on moody tracks like Where Do You Think You're Going and News, while Wexler's presence at the boards ensures the band keeps the rhythms extra tight. The quartet's low-key blues and swampy, Southern-styled grooves turn every song into an exercise in understated virtuosity.


    Refusing to give into excess, magnetic tunes such as Lady Writer and Angel of Mercy split a fine line between insinuating and insisting. The group shows off a combination of control, virtuosity, and tunefulness that harkens back to a rock n' roll's classic period while also pointing the way ahead. Need indisputable evidence of Dire Straits' compositional strengths? Cue up the closing Follow Me Home on this pressing and get lost amidst the peacefulness of the gentle surf and chirping crickets that frame the song. Heavenly.


    The sequence serves as additional proof that Communique remains one of the best-sounding rock records ever made.


    This title is not eligible for further discount.

    1. Once Upon a Time in the West
    2. News
    3. Where Do You Think You're Going?
    4. Communique
    5. Lady Writer
    6. Angel of Mercy
    7. Portobello Belle
    8. Single-Handed Sailor
    9. Follow Me Home
    Dire Straits
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Automaton Automaton Quick View

    $17.99
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    Automaton

    Gossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
    urban-spelunking field recorder whose full-length debut Automaton dissolves
    the genre-breaking electronica of Autechre and Boards of Canada into a
    bottomless sea of found sound and ambient atmosphere. It's less an album than
    an environment all its own, or a journey into the unexplored. And whether it's
    inspiring a trip deep into the discography of Steve Reich or into California's
    beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
    exploration that brought Automaton to life.


    Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
    stories about seeing Black Flag and the Germs play and with a set of cousins
    who'd get him started listening to hip-hop. (Especially instrumentals by
    iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
    Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
    as well as listening intently to Slayer and Cannibal Corpse on the way to
    ferocious hardcore shows on the fringes of Los Angeles.


    By the time he graduated high school, he was a hardcore kid with a heavy
    grounding in hip-hop who'd developed so tremendously as a guitarist that he
    was practicing notoriously formidable Django Reinhardt songs for fun. The
    connection might not seem obvious, but it was there nonetheless-these were
    three distinct musical forms equally dedicated to passion, individual technique
    and total commitment to expression.


    He won admission to the prestigious Berklee School of Music in Boston, where
    his first semesters in the fall of 2009 were everything he'd hoped. But the more
    he studied, the clearer it became that he'd need to strike out on his own: "So
    many professors would tell their students what the right thing to do was in a
    creative setting," he says now. "There is no right way."


    He'd once used his computer just to help with his composition homework, but
    now he was restless. So he began to focus on the potential of electronic music:
    "I realized it was like having every component of a band at your fingertips," he
    says. "It felt free and genuine with no distractions." He'd begun to make his own
    field recordings, too, capturing the sounds of Boston at sunrise and stirring
    them into his beat experiments. Intense study of movie sound and foley artistry,
    like pouring sand across drum cymbals or using spent shells from a gun range
    for percussion, gave him a whole new vocabulary, and he found further
    inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
    Derbyshire-people who blew open the boundaries of their own disciplines.
    Then in July 2013, he began to make what would become his first full-length
    album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
    under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
    summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
    During a month in Japan, he recorded "terrifying trains" and cicadas and the
    squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
    in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
    level in California's Ansel Adams Wilderness Area. Then he'd come
    home-whether "home" at that particular moment was his own studio, a capsule
    hotel in Japan, a friend's place in Boston or a temporary space in New York-and
    "make accidents happen," he says, with recorders and samplers and guitar and
    (this time) a stable of analog synthesizers.


    The result was Gossamer's Automaton, a precise and gentle dreamscape of
    experimental electronica, where the ambient atmosphere of Gas drifts across
    the fractured beats of Autechre or Boards of Canada. It starts with its own
    sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
    of synthesizer, and then shifts into the haunting "Print," which transplants the
    sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
    is like a Tortoise song that never touches solid ground, while tracks like [3] and
    [5] recall the Brian Eno of Fourth World, somehow ancient and futuristic at
    once. When the crickets start chirping on closer "-;- ", it's a signal that the
    day-and the journey-are both coming to an end. It's might be his first album,
    but it's also a first step towards something new.


    "Automaton is me," Reiner explains. "It's my process. It's a symbol of having
    accepted that there is a difference between being alone and being lonely. It's a
    coping mechanism for the struggle to realize and balance what I am and am not
    in control of in my life. It reminds me of playing Bioshock and watching Blade
    Runner at the same time while naked in the jungle on another planet. It makes
    me think of watching an old home video of myself and seeing Neptune right
    outside my window. The list goes on and on-I could go forever."

    1. Thoughtform
    2. Print
    3. 3d Relief
    4. Okuma
    5. J - Cruise
    6. Off World
    7. Truax
    8. For Sleep
    Gossamer
    $17.99
    Vinyl LP - Sealed Buy Now
  • Caravanserai (Speakers Corner) Caravanserai (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Caravanserai (Speakers Corner)

    To attempt to categorise Carlos Santana's music is, for the prophets of rock music, rather like dancing on the edge of a volcano. While the New York Times acclaimed the band as a reincarnation of Dizzy Gillespie's Cuban-jazz bigband from the end of the Forties, the specialist magazine Rolling Stone spoke of a »methadrine trip without visions«. Organ-player Gregg Rolie offered a very simple explanation of the origins of the highly differentiated sound colouring and the throb and chirp of the Afro-Cuban polyrhythms: he succinctly remarked that each member of the multi-cultural band just played the music which he had grown up with.



    Just how thrilling this sounds is already evident from the first number on the disc, with its sounds of nature, twisted rhythms, and little snatches of melody, which - as in several other titles - remains spellbinding even without the fascinating drive of Santana's lead-sound. Of course there is plenty of solo material on the guitar which manifests itself in exuberant improvisations with a fusion of rock, salsa and jazz elements. When listening to this well-oiled rhythm machine, one quite rightly gets the impression that this unique band has stretched itself to its limits, and it is not by mere coincidence that they split up shortly afterwards. What has remained is one of the most powerful Santana records ever made.



    Musicians:



    • Carlos Santana (guitar, percussion)

    • Hadley Caliman (saxophone)

    • Gregg Rolie (organ, piano)

    • Wendy Haas (piano)

    • Tom Coster (electric piano)

    • Neal Schon (guitar)

    • Douglas Rauch (guitar, bass)

    • Tom Rutley (bass)

    • Mike Shrieve (drums)

    • Jose Chepito Areas, Armando Peraza (percussion)



    Recording: February and May 1972

    Production: Carlos Santana and Michael Shrieve



    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. Eternal Caravan Of Reincarnation
    2. Waves Within
    3. Look Up (To See What's Coming Down)
    4. Just In Time To See The Sun
    5. Song Of The Wind
    6. All The Love Of The Universe
    7. Future Primitive
    8. Stone Flower
    9. La Fuente Del Ritmo
    10. Every Step Of The Way


    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • La Folia De La Spagna (Speakers Corner) La Folia De La Spagna (Speakers Corner) Quick View

    $34.99
    Buy Now
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    La Folia De La Spagna (Speakers Corner)

    First mentioned around 1500 in Portugal, no forms or melodies have come down to us for the Folia. Described by historians as a noisy dance which was performed by masked and disguised figures who leapt about as though they had lost their reason, a tranquil, sarabande-like form asserted itself in Europe in the early 17th century.



    GrÉgorio Paniagua, director of the Atrium Musicae de Madrid, demonstrates once again his virtuosity in his treatment of historical material. His arrangements are not confined to medieval and baroque instruments but also employ a whole arsenal of percussion, such as various small drums, triangle, tambourine, castanets and xylophone. As the title of the LP suggests, the ensemble adds spice to the airy variety of timbres with a small touch of madness here and there. Unbelievably, a jazz solo is heard which recalls the Pink Panther Theme, and the Orient is conjured up by two Indian tunes (ragas) in which the sitar chirps passionately to the powerful plop-plop-plop of tabla rhythms.



    With its high resolution sound which places a high demand on hi-fi equipment in order to get the best reproduction, this record is both cult and legend.




    Musicians:



    • The Atrium Musicae de Madrid conducted by Dr. Don GrÉgorio Paniagua Rodriguez




    Recording: June 1980 by Jean-François Pontefract

    Production: Eva Coutaz




    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. Fons vitae/Dementia praecox angelorum Supra solmamirevt

    2. Extravagans/Laurea minima/In vitro
    3. Oratio pro-folia/Fama volat Citrus - Hesperides
    4. Principalis. Fermescens/Inica exacta Adverso flumine
    5. Parsimonia aristocraciae
    6. Subtilis/De profundis - Extra muros
    7. Vulgaris - Sine populi notione Vagula et blandula
    8. Nordica et desolata/Aurea mediocritas
    9. Nobilissima/Degradans et corruptae
    10. De pastoribus/Mathematica dies irae /Crepuscularis/Sine nomine/Tristis est anima mea/Equites fortis armaturae/Audaces fortuna juvat/Sine praeputium/Ecclesiastica
    11. Theatralis et hipocritae/Ruralis Alter indica perfecta
    12. De Tolerentia aetherea/Fuga ficta et carrus triumphalis
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Balmorhea Balmorhea Quick View

    $16.99
    Buy Now
    x

    Balmorhea


    ...an exemplary experiment in restraint, lush with
    a slow-burning, wordless, and ambient Americana
    that manages to captivate while avoiding the
    histrionics of its post-rock forebears.
    - THE NEW YORKER


    ...they create minimalist, cinematic music that
    combines modern, experimental acoustic sounds
    with classical qualities.
    - NPR


    This - not steak finger baskets or soft-serve ice
    cream - is what you should like about Texas.
    - The ONION / A.V. CLUB


    Balmorhea flashes brilliance only to highlight a
    slow-burning constancy that's at the core of one
    of the year's early slow wonders.
    - PITCHFORK


    For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined
    their creative partnership as the core members of the band Balmorhea. Though their first
    album on Western Vinyl Rivers Arms (2008) garnered some remarkable press, their
    self-titled debut, recorded in 2006 and released in 2007 best captures the duo's unique
    magic as it first blossomed. With no label, distributor, manager, publicist, or booking agent
    the duo quietly self-released their first recordings and started playing live shows. Now,
    seven years later Western Vinyl is honored to have the opportunity reissue the band's
    self-titled album, and make it available on vinyl for the first time ever.


    In preparation for this special reissue, the audio was lovingly remastered, drawing out
    even more of the nuances magnifying the sounds of Muller and Lowe's fingers on the
    instruments, and teasing out the textures that set these recordings apart from the rest of
    their catalog. Simple and sincere, these songs and ambient sounds the duo captured in
    these recordings are strangely inviting. Throughout the album the distant sounds of Texas
    grackles, the warm summer rain, the steady rhythm of crickets chirping, and creaking
    wooden stools, all seeping in to cradle the notes in a restrained din of primordial wonder.


    It's hard to imagine Western Vinyl without Balmorhea. After our fateful meeting in 2007,
    we forged a deep and lasting relationship we're all grateful for. We met at an Austin performance on the eve of their first US tour in support of their recently self-released debut
    album. Their show that night was one of the most powerful performances I'd ever seen,
    and as I looked around the room, it was apparent that I wasn't alone. With the help of a
    cellist the group briefly transformed the dingy lounge into a vibrant pulsing cell. I had
    experienced deeply moving shows before, but the ecstatic emotions they conjured were
    new to me. Calling it electrifying, might sound clichÉ, but as the hair on my arms and legs
    stood at attention, my eyes squinted a bit with concentration, and my head cocked to the
    right, the electricity that passed over me felt very real. Over the next few years I had the
    pleasure of experiencing dozens of Balmorhea shows, each with a slightly different story
    to tell. - Brian Sampson, Western Vinyl

    1. Attesa
    2. Baleen Morning
    3. Dream of Thaw
    4. In The Rowans
    5. A Circumnavigation
    6. En Route
    7. If You Only Knew The Rain
    8. And I Hear The Soft Rustling...
    9. We Will Rebuild With Smooth Stones
    Balmorhea
    $16.99
    Vinyl LP - Sealed Buy Now
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