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  • If I Should Go Before You If I Should Go Before You Quick View

    $24.99
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    If I Should Go Before You

    World-renowned singer, songwriter and performer City and Colour (aka Dallas Green), returns with his fifth album.
    1. Woman
    2. Northern Blues
    3. Mizzy C
    4. If I Should Go Before You
    5. Killing Time
    6. Wasted Love
    7. Runaway
    8. Lover Come Back

    9. Map Of The World
    10. Friends
    11. Blood
    City And Colour
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Sometimes (Awaiting Repress) Sometimes (Awaiting Repress) Quick View

    $24.99
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    Sometimes (Awaiting Repress)

    Highly acclaimed debut album, now available on high quality double 180g vinyl! Main songwriter in Alexisonfire, Dallas Green, demonstrates his wide talent by producing an ear catching debut solo album.
    1. Off By Heart
    2. Like Knives
    3. Hello, I'm in Delaware
    4. Save Your Scissors
    5. In the Water I am Beautiful
    6. Day Old hate
    7. Sam Malone
    8. Comin' Home
    City And Colour
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • The Hurry And The Harm (Awaiting Repress) The Hurry And The Harm (Awaiting Repress) Quick View

    $24.99
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    The Hurry And The Harm (Awaiting Repress)

    City and Colour have announced details of their long-awaited new album, The Hurry And The Harm, which is set to be released on June 4th.


    Good Morning!


    Today is album announce day and i finally get to share all the fun stuff.


    I am excited to introduce all of you to my upcoming album - The Hurry and The Harm.


    The support you all showed, for the first song I shared two weeks ago, of space and time, was overwhelming. Thank you!!! it means the world to me.


    I had an amazing time recording The Hurry and The Harm in Nashville this winter. Alex Newport joined me as producer again and I couldn't be prouder of the talented group of guys that joined me. Jack Lawrence played bass (and has since joined me on the road), Matt Chamberlain and James Gadson took turns on drums, Bo Koster worked the keys, Spencer Cullum Jr added pedal steel and both Anthony Lamarchina & Karen Winkelmann contributed to the string arrangement.


    I never thought I'd want a picture of myself on the cover of a record, but here we are. I sent Dustin Rabin one of my favorite lyrics on the record and the album artwork was born:
    I've always been dark, with light somewhere in the distance


    Over the next few weeks more info will continue to follow. For now, I'm very excited to share this with everyone and grateful for all the years we've shared that led to this record.

    1. The Hurry and The Harm
    3. Of Space and Time
    4. The Lonely Life
    5. Paradise
    6. Commentators
    7. Thirst
    8. Two Coins
    9. Take Care
    10. Ladies and Gentlemen
    11. The Golden State
    12. Death's Song
    City And Colour
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Peaceful Road / Rain Peaceful Road / Rain Quick View

    $11.99
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    Peaceful Road / Rain

    Two never-before-released tracks from the If I Should Go Before You sessions in Nashville. Pressed on 150-gram 12 black vinyl and cut at 45rpm.
    1. Peaceful Road
    2. Rain
    City And Colour
    $11.99
    12 Vinyl Single 45RPM - Sealed Buy Now
  • So Much Forever So Much Forever Quick View

    $18.99
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    So Much Forever

    After More Heart Than Brains was released in 2009, Greetings From Tuskan (Joëlle Lê) and Buck 65 (Rich Terfry) directly started working on a follow up record. This turned out to be a high mountain to climb and it wasn't until September 2013 that everything starting to come together. A half-decade removed from the ethereal hopeless romanticism of 2009 Bike For Three! have returned with their sophomore LP on Fake Four, Inc.


    The album begins with the sound of a solitary heart beating underscored by Joëlle's eerie, soothing atmospherics. From there the urgency of "Full Moon" kicks in and Rich is at the podium, unraveling his innermost thoughts through tightly knit stanzas and abstracted fragments.


    Joëlle's aural shapes and colours have found a focus that push Rich's words and performance to new places. Both artists feeding off each others darkest states and lingering demons. Joëlle imagined a mesmerizing foundation for Rich's poetry and associate thoughts. The result is the music of a shared lucid dream and a conversation held in several different languages.


    The listener is left to connect the dots on cryptic tracks like "You Can Be Everything" and "The Muse Inside Me", as Buck's frantic internal dialogue refracts off of Joëlle's arpeggiating synths, rich, multi-hued textures and subtle backing vocals.


    So Much Forever retains its thematic continuity through Rich's candid writing and Joëlle's kaleidoscopic collages whilst allowing the protagonist to explore a wide range of deliveries. On "Conflation", Buck is a beat poet lost in time, placing his anguish in a larger context and wrapping up the record with the thesis statement "My love will level this city."


    So Much Forever can be seen as the logical next step in their story, another page in their shared diary that sees Joëlle taking up more vocal duties and Rich exploring new corners of his imagination.


    Oh yes, they still haven't met. More close than ever.

    1. Intro
    2. Full Moon
    3. Agony
    4. Heart As Hell
    5. Successful With Heavy Losses
    6. Wolf Sister
    7. Ethereal Love
    8. The Last Romance
    9. Sublimation
    10. You Can Be Everything
    11. The Muse Inside Me
    12. Stay Close Until We Reach The End
    13. The Dream
    14. Conflation
    15. Outro
    Bike For Three!
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • South Of Nowhere South Of Nowhere Quick View

    $21.99
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    South Of Nowhere

    Spanish Gold, which features drummer Patrick Hallahan (My Morning Jacket), guitarist Adrian Quesada (formerly of Grupo Fantasma) and guitarist and lead vocalist Dante Schwebel (City and Colour, formerly of Hacienda), release their debut album South of Nowhere on BMG/Del Mar Records.


    Produced by the trio along with Collin Dupuis (JEFF the Brotherhood, Bombino), South of Nowhere was recorded by Dupuis at Dan Auerbach's Easy Eye Studio in Nashville and at Lalaland in Louisville. Additional recording was done with Jim Eno (Spoon, Poliça) at Public Hi-Fi in Austin and Sam Patlove (The Octopus Project) at Big Orange in Austin.


    Of making the new album, Schwebel comments, "We kept finding that we had a lot of the same reference points during the recording. It became evident that we were still children of the MTV era.


    We grew up with MTV when it was still a music channel. The way that the programming crossed genres from R&B to hip hop, rock, soul and pop music is how we approach records. It's an album of all those styles. Like watching a random hour of MTV programming circa 1986-1996. It's a nod to Michael Jackson, Dr. Dre, Madonna, the Beastie Boys or Tom Petty, all with a Texas border town setting. It all adds up to a fun listen that you can keep on repeat."

    1. One Track Mind
    2. South of Nowhere
    3. Out On The Street
    4. Movin On
    5. Day Drinkin
    6. Don't Leave Me Dry
    7. Ride on Up
    8. Lonely Ride
    9. Reach for Me
    10. Shangri La
    11. Stay With Me
    Spanish Gold
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Generation Indigo Generation Indigo Quick View

    $17.99
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    Generation Indigo

    At the end of 2010, Poly Styrene, the unforgettable frontwoman and iconic face of the seminal U.K. punk band X-ray Spex announced her return to the music scene with the album Generation Indigo produced by Youth (The Verve, Killing Joke, The Fireman, Edwyn Collins).


    Poly Styrene remains a genuine icon and one of the main influences on the Riot Grrri scenes with bands like Yeah Yeah Yeahs, The Gossip, LeTigre and others recognizing her fiery, irrepressible presence. With her great self-styled image, brilliantly sharp lyrics and powerful presence, Poly's indomitable spirit still inspires.


    Generation Indigo kicks off with the mighty, power-pop of I Luv Ur Sneakers and maintains the quick pace with first single Virtual Boyfriend before then moving into dubstep territories on the title track Generation Indigo. The album takes in everything from neo-X-ray Spex punk rock on Thrash City and L.U.V to the Trojan-reggae infused grooves of No Rockefeller, Code Pink Dub and Colour Blind whilst stand out songs, Thrash City and White Gold attest to the power of Poly's soaring vocals. Poly showcases humorous musings on pop culture and fashion whilst also tackling heavier subject matter with her politically aware and intelligent lyrics.


    1. I Luv Ur Sneakers

    2. Virtual Boyfriend
    3. Generation Indigo
    4. Kitsch
    5. White Gold
    6. L.U.V.
    7. Ghoulish
    8. Code Pink Dub
    9. Colour Blind
    10. Thrash City
    11. No Rockefeller
    12. Electric Blue Monsoon

    Poly Styrene
    $17.99
    Vinyl LP - Sealed Buy Now
  • Makes A King Makes A King Quick View

    $22.99
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    Makes A King

    THE VERY BEST return this Spring with their their most ambitious and richly textured album to date, Makes A King, released 10th April on Moshi Moshi Records.


    It's been a long, strange trip for Johan Hugo and Esau Mwamwaya, the Swedish-Malawian duo behind The Very Best's exuberant global pop. One which crosses continents as well as musical genres. It's also a trip, according to Johan, with no end in sight. "We're constantly evolving," he says with a laugh. "Not just in the sense that we're trying to change our sound. But we're constantly on a new journey which colours the music we make."


    This particular journey began in October 2013, following a performance at Malawi's Lake of Stars festival when Johan stayed on in the capital, Lilongwe, to record some demos. Initial sessions were promising, but to really move ahead Johan felt they needed a change of scene. "When we were ready to get into writing and production we wanted to get away from Lilongwe and city life," he says. "We found a house about five hours drive from the capital in a village called M'dala Chikowa. It was an amazing experience recording there, especially because the community is half Christian, half Muslim. In a world often divided between the West and the 'other' it was amazing to see people living in peace and harmony despite differences in religion and culture."

    1. Nkhondo
    2. Hear Me
    3. Let Go
    4. Guju Guju
    5. Bilimankhwe (feat. Jerere)
    6. Sweka
    7. Mwana Wanga
    8. Mariana (feat. Seye)
    9. The Dead and the Dreaming (feat. Seye)
    10. Kanyale
    11. Umasiye (feat. Baaba Maal)
    12. Ufumu
    13. Makes a King (feat. Jutty Taylor)
    The Very Best
    $22.99
    Vinyl LP - Sealed Buy Now
  • Cold Fact Cold Fact Quick View

    $25.99
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    Cold Fact

    First Official Reissue!


    Mastered from the Original Tapes


    Co-produced by Motown Guitar God Dennis Coffey & Mike Theodore


    Featuring Members of the Legendary Motown Players The Funk Bros.


    Limited Edition Vinyl LP on 180 Gram Wax


    Its one of the lost classics of the 60s, a psychedelic masterpiece drenched in colour and inspired by life, love, poverty, rebellion. The album is Cold Fact, and whats more intriguing is that its maker a shadowy figure known as Rodriguez was, for many years, lost too. A decade ago, he was rediscovered working as a menial day laborer in Detroit, Michigan. He was unaware that his defining album had become not only a cult classic, but for the people of South Africa, a beacon of revolution.


    Rodriguez recorded Cold Fact his debut album in 1969, and released it in March 1970. Its crushingly good stuff, filled with tales of bad drugs, lost love, and itchy-footed songs about life in late 60s inner-city America. Gun sales are soaring/Housewives find life boring/Divorce the only answer/Smoking causes cancer, says the Dylan-esque
    Establishment Blues.


    But the album sank without trace, thanks, in part, to some of Rodriguezs more idiosyncratic behavior, like performing at an industry showcase with his back to the audience throughout. When the follow-up, 1972s Coming From Reality, also sold poorly, Rodriguez called an end to his recording career. Hed never even played a proper gig. And he got on with life. Over the years, he turned his hand to local politics, gaining a degree in philosophy, factory work and eventually, hard labour.


    As his music career became a memory, Rodriguezs legend was growing on the other side of the world. In South Africa, Australia and New Zealand, Cold Fact had become a major word of mouth success, particularly among young people in the South African armed forces, who identified with its counter-cultural bent. But Rodriguez was an enigma not even the label knew where to find him and his demise became the subject of debate and conjecture. Some rumours said hed died of a drug overdose or burned to death on stage. Others said he was in a mental institution, or in prison for murdering his girlfriend. Barring a couple of sold out Australian tours in 1979 and 1981, nothing had been heard of him for almost 30 years.


    But the tide began to turn in 1996, when journalist Craig Bartholemew set out to get to the bottom of the mystery. After many dead ends, he found Rodriguez alive, well, free and perfectly sane in Detroit, ending years of speculation. Rodriguez himself had no idea about his fame in South Africa (the album had gone multi-platinum, Rodriguez has received not so much as a Rand in royalties), and embarked on a triumphant South African tour followed, filling 5,000 capacity venues across the country. A documentary named Dead Men Dont Tour: Rodriguez in South Africa 1998 was screened on national TV.


    Rodriguez is spoken of in the same reverent tones as The Doors, Love and Jimi Hendrix.



    1. Sugar Man

    2. Only Good For Conversation

    3. Crucify Your Mind

    4. This Is Not A Song, It's An Outburst: Or, The Establishment Blues

    5. Hate Street Dialogue

    6. Forget It

    7. Inner City Blues

    8. I Wonder

    9. Jane S. Piddy

    10. Gommorah (A Nursery Rhyme)

    11. Rich Folks Hoax

    12. Like Janis

    13. I'll Slip Away

    14. You'd Like To Admit It
    Rodriguez
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Albeniz: Suite Espanola (Speakers Corner) Albeniz: Suite Espanola (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Albeniz: Suite Espanola (Speakers Corner)

    The Suite española, written by the piano virtuoso and composer Isaac AlbÉniz, is one of the most outstanding works in the history of Spanish music. AlbÉniz invites the listener to join him on a musical journey through eight great Spanish cities, each steeped in tradition, investing each scene with local colouring as an homage.



    AlbÉniz made full use of musical folk idioms combined with dazzling virtuosity in many of his other works too, and deeply impressed Debussy and Ravel, as is testified by their own compositions.



    Originally conceived for the piano, the Suite has been arranged for large orchestra by Rafael FrÜhbeck de Burgos who makes the most of the orchestra's tonal palette to underline the expressivity of the music. The final movement (Cuba) is replaced by Cordoba, a piano piece from AlbÉniz's Cantos de España, op. 132, also arranged by FrÜhbeck de Burgos for orchestra. The obvious advantages of the arranger himself conducting the orchestra are well demonstrated by the present highly successful recording.



    The precision of the rhythmic interjections and the melodic flow are highly impressive. The music evokes various scenes, such as the impression of a barren Spanish landscape in the shimmering heat or bustling life in the various cities of Spain.



    Recording: November 1967 at Kingsway Hall, London by Kenneth E. Wilkinson / Production: John Mordler





    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.

    AlbÉniz: Suite española (Transcription by FrÜhbeck de Burgos)
    Issac Albeniz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Compadres (Speakers Corner) Compadres (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Compadres (Speakers Corner)

    To this day, the typical sound colouring of the Dave Brubeck Quartet is quite distinctive and unmistakable thanks to Paul Desmond's tenor saxophone. But Gerry Mulligan's low-pitched horn and his restrained swing also offers enough appeal to make one want to listen to these somewhat less popular but - for all that - very worthwhile recording by the Quartet.



    The Quartet's concert tour of Mexico's major cities in 1968 was a great success and so Dave Brubeck's recording company had no qualms in making live recordings of the group - complemented by bassist Jack Six and drummer Alan Dawson. Themes from indigenous folk music were skilfully coupled with new compositions with the result that the LP Compadres with its concert excerpts was in great demand and became a top hit.
    This carefully remastered new pressing will certainly contribute to the popularity of Dave Brubeck and Gerry Mulligan long after their demise.



    Musicians:



    • Dave Brubeck (piano)

    • Gerry Mulligan (bassoon)

    • Jack Six (bass)

    • Alan Dawson (drums)




    Recording: 1968 live in Mexico by John Guerriere and Russ Payne

    Production: Teo Macero



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. Jumping Bean
    2. Adios Mariquita Linda
    3. Indian Song
    4. Tender Woman
    5. Amapola
    6. Lullaby De Mexico
    7. Sapito
    8. Recuerdo
    Dave Brubeck
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Consummation (Pure Pleasure) Consummation (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Consummation (Pure Pleasure)

    Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. This set introduced Jones' best-known composition, A Child Is Born, and also has a colourful rendition of his sly Tiptoe, and finds the big band ripping the roof off during the lengthy and very exciting Fingers. The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic.




    Musicians:



    • Thad Jones (trumpet, fluegel horn, conductor)

    • Billy Harper (tenor saxophone, flute)

    • Jimmy Knepper (trombone)

    • Jerome Richardson (alto saxophone, soprano saxophone, flute)

    • Joe Farrell (basson, clarinet)

    • Roland Hanna (electric piano, piano)

    • David Spinozza (guitar)

    • Mel Lewis (drums)




    Recording: January and May 1970 at A&R Studios, New York City, by Don Hahn

    Production: Sonny Lester



    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.  Dedication

    2.  It Only Happens Every Time

    3.  Tiptoe

    4.  A Child Is Born

    5.  Us


    1.  Ahunk Ahunk

    2.  Fingers

    3.  Consummation

    Thad Jones
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    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. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tyranny And Mutation (Speakers Corner) Tyranny And Mutation (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Tyranny And Mutation (Speakers Corner)

    Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.


    After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?

    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal, keyboards)

    • Albert Bouchard (drums, vocal)



    Recording: 1972 at Columbia Studios, New York City, by Tim Geelan

    Production: Murray Krugman and Sandy Pearlman




    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. The Red & The Black
    2. O.D.'d On Life Itself
    3. Hot Rails To Hell
    4. 7 Screaming Diz-Busters
    5. Baby Ice Dog
    6. Wings Wetted Down
    7. Teen Archer
    8. Mistress Of The Salmon Salt (Quicklime Girl)
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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