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Classic Christmas 80'S

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  • The Classic Christmas '80s Album The Classic Christmas '80s Album Quick View

    $19.99
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    The Classic Christmas '80s Album

    The Classic Christmas '80s Album features your favorite holiday songs from the 1980s as performed by Whitney Houston, Hall & Oates, The Waitresses, Wham!, Run-DMC and more!
    1. Christmas Wrapping - The Waitresses
    2. Last Christmas - Wham!
    3. Hazy Shade of Winter - The Bangles
    4. Christmas in Hollis - RUN-DMC
    5. Jingle Bell Rock - Daryl Hall & John Oates
    6. Do You Hear What I Hear? - Whitney Houston
    7. Christmas Is the Time to Say I Love You - Billy Squier
    8. Run Rudolph Run - Dave Edmunds
    9. Zat You Santa Claus - Buster Poindexter and His Banshees Of Blue
    10. Santa Claus Is Coming to Town - The Pointer Sisters
    11. Christmas Time Is Here - Ray Parker Jr.
    12. The Twelve Days of Christmas - Bob & Doug McKenzie
    13. This One's for the Children - New Kids On The Block
    14. Slick Nick, You Devil You - Fishbone
    15. Silent Night - The Hooters
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Elvis' Christmas Album (Speakers Corner) Elvis' Christmas Album (Speakers Corner) Quick View

    $34.99
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    Elvis' Christmas Album (Speakers Corner)

    Wild rock'n'roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his Christmas Album with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of Santa Claus Is Back In Town just as successfully as Peace In The Valley, an inspirational gospel song praising nature. Of course it goes without saying that White Christmas - the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million - is included on the album. And Elvis's sentimental interpretation of Silent Night may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it's Christmas, the coveted sticker can be found on the re-release.



    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. Santa Claus Is Back In Town
    2. White Christmas
    3. Here Comes Santa Claus (Right Down Santa Claus Lane)
    4. I'll Be Home For Christmas
    5. Blue Christmas
    6. Santa Bring My Baby Back (To Me)
    7. O Little Town Of Bethlehem
    8. Silent Night
    9. (There'll Be) Peace in the Valley (For Me)
    10. I Believe
    11. Take My Hand, Precious Lord
    12. It Is No Secret (What God Can Do)
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Christmas And The Beads Of Sweat (Pure Pleasure) Christmas And The Beads Of Sweat (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Christmas And The Beads Of Sweat (Pure Pleasure)

    Laura Nyro's third Columbia effort is easily the equal of her previous two. The overwhelming strength of her songwriting and distinctive arrangements fuel Christmas And The Beads Of Sweat. Her unmistakable style of delivery maintains the continual examination of herself as a performer. The results are uniformly interesting and provocative as she continues to draw upon her love of jazz, folk, and R&B.

    Conceptually, this album is as potent as her previous effort, New York Tendaberry, but in a much different way. Rather than hanging together thematically, Christmas And The Beads Of Sweat features two inclusive and distinctive sides of music -- with different musicians and producers for each.

    The first five tracks feature Nyro backed by the Swampers from Muscle Shoals, AL, and include the talents of Roger Hawkins (drums), Eddie Hinton (guitar), Dave Hood (bass), Barry Becket (vibraphone), and Jack Jennings (percussion), with Arif Mardin producing. While this pairing might seem initially incongruous, the quintet had been concurrently working with the likes of Dusty Springfield and Cher and had gained a rightful reputation as a consummate backup band.

    The final four pieces are steeped in noir more atypical of her previous efforts. The all-star cast of New York City session heavyweights are led by Felix Cavaliere (producer) and features fellow Rascals member Dino Danelli (drums), Ralph McDonald (percussion), Chuck Rainey (bass), Cornell Dupree (guitar), Duane Allman (guitar), and Alice Coltrane (stringed harp), among others.

    As with all of Nyro's recordings, at the heart of this effort are her ageless compositions and arrangements. A motif connecting such disparate tunes as the upbeat When I Was A Freeport And You Were The Main Drag to the hauntingly beautiful Christmas In My Soul and Beads Of Sweat is the aching hollowness that came with the disillusionment that Vietnam, Kent State, and racial relations brought upon America in 1970. As she had done with Save The Country some four years earlier, Nyro's cathartic expressionism is captured at its most fervent on this album.

    -Lindsay Planer/AMG

    Musicians:

    • Laura Nyro (guitar, piano, keyboard, vocal)
    • Joe Farrell (woodwinds)
    • Felix Cavaliere (organ, keyboards, percussion)
    • Duane Allman, Cornell Dupree (guitar)
    • Alice Coltrane (harp)
    • Barry Beckett (vocal, vibraphone)
    • Chuck Rainey, David Hood (bass)
    • Dino Danelli, Roger Hawkins (drums)

    About Pure Pleasure

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

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

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

    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

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

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

    1. Brown Earth
    2. When I Was A Freeport And You Were The Main Drag
    3. Blackpatch
    4. Been On A Train
    5. Up On The Roof
    6. Upstairs By A Chinese Lamp
    7. Map To The Treasure
    8. Beads Of Sweat
    9. Christmas In My Soul
    Laura Nyro
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Scrooged Soundtrack Scrooged Soundtrack Quick View

    $19.99
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    Scrooged Soundtrack

    Scrooged is a 1988 American Christmas comedy film. The soundtrack features updates on Christmas classics as
    well as original material by Dan Hartman and Denise Love, Mark Lennon, Robbie Robertson, and Buster Poindexter.
    The album's sound, as well as its roster of artists, give it the feel of a time capsule buried in the late '80s. Continuing
    with it's soundtrack reissue campaing, UMe will be reissuing this classic soundtrack back on vinyl for the first time in
    years
    1. Put A Little Love In Your Heart - Annie Lennox & Al Green
    2. A Wonderlife Like - Mark Lennon
    3. Sweetest Thing - New Voices Of Freedom featuring Adriane McDonald & George Pendergrass
    4. The Love You Take - Dan Hartman & Denise Lopez
    5. Get Up 'N' Dance - Kool Moe Dee
    6. We Three Kings O Orient Are - Miles Davis, Larry Carlton, David Sanborn & Paul Shaffer
    7. Christmas Must Be Tonight - Robbie Robertson
    8. Brown Eyed Girl - Buster Poindexter
    9. The Christmas Song (Chestnuts Roasting On An Open Fire) - Natalie Cole
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Corelli: Concerto Grosso No. 8 (Speakers Corner) Corelli: Concerto Grosso No. 8 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Corelli: Concerto Grosso No. 8 (Speakers Corner)

    The musical press has showered praise upon the Stuttgarter Kammerorchester and its founder and conductor Karl MÜnchinger for their spectacular performances. This DECCA recording now presents a delightful choice of works performed by this South German ensemble.



    The programme opens in a splendidly festive Baroque spirit with Arcangelo Corelli's famous Christmas Concerto, a work which is typical for the concerto grosso form with its alternation of tutti and solo passages. The instrumental soloists in particular dazzle with their finely chiselled playing and ravishing tone over the gentle sway of the strings. MÜnchinger has achieved a veritable miracle with his arrangement of Johann Pachelbel's Canon, originally composed for the organ, for each and every instrument of the orchestra enhances the magic of this music. Carlo Ricciotti's Concertino No. 2 offers us an insight into the various musical forms of the early 18th century.



    The programme ends with Christoph Willibald Gluck's vigourous Chaconne whose splendour and pomp is taken to new dramatic heights by the Stuttgarter Kammerorchester.



    Light a candle and settle down for a delightful evening of entertainment: this excellent recording ensures that you will enjoy every minute to the full - and not just at Christmas time.



    Recording : October/ November 1960 at Victoria Hall, Geneva by Roy G. Wallace / Production: James Walker





    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.

    Corelli: Concerto Grosso No. 8 / Pachelbel: Canon / Ricciotti: Concertino No. 2
    Gluck: Chaconne - Stuttgart Chamber Orchestra conducted by Karl MÜnchinger
    Karl Munchinger
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • X-Communicate X-Communicate Quick View

    $16.99
    Buy Now
    x

    X-Communicate

    Sometimes you have to rip it up and start again. It was a tough
    call for Dee Dee. Dum Dum Girls was her guise for most of a
    decade, an outlet through which she's crafted a resonant,
    instantly-identifiable body of work. Over the course of three
    albums, four EPs, and an array of singles, Dum Dum Girls
    morphed from the girl-group-gone-bad moves of their 2010
    debut, I Will Be, to the plush noir-pop of 2014's Too True, a dark
    heart burning bright. But as her music evolved, she found that for
    many she would be forever refracted through the prism of Dum
    Dum Girls' early work: retro-leaning female harmonies, a
    backdrop of lo-fi, fuzzed up guitars.


    In 2015, she decided to shed her skin, ditching Dee Dee for her
    real name, Kristin, and adding Kontrol. It was a spontaneous idea
    that resonated. The challenge was to start fresh, go further back
    into her relationship to music. Sweep all her loves together into
    one genreless experience. "The first music I felt was mine was
    classic 80s pop and 90s R&B, from Tiffany, Janet Jackson and
    Madonna to TLC, SWV, and Aaliyah," she says. "But for years I
    was hellbent on the rock'n'roll thing, revering Joan Jett, Patti
    Smith, Chrissie Hynde, -- a rebellion against her classical vocal
    training -- but I was like, fuck it, I'm just going to try it all. I'm
    going to pretend I'm Kate Bush covering Mariah.


    Refocused and inspired, Kristin wrote 62 songs, whittled the list
    to ten for X-Communicate, and finished the album with the help
    of new producers Kurt Feldman (who had produced her Christmas
    single a few years back) and Andrew Miller (who played
    guitar on the first Dum Dum Girls album and had joined the band
    in its last incarnation).


    Arguably the biggest shift, beyond the music itself, is that as
    Kristin Kontrol she tells her stories using a sonic palette splashed
    with bold pop melodies, her vocals showcasing a range hitherto
    unexplored on record. The songs that emerge from Kristin's
    universe -- a menagerie of new wave and R&B, European synth
    pop, and experimental disco -- are both familiar and unique,
    using genre rather than adhering to it, with a distinct nod to the
    present. It may be a leap into the unknown, but "little risk means
    little reward," as Karen O once counseled her. I feel free. I kind
    of excommunicated myself. Even if I have to rebuild my whole
    career, I'd rather work hard than feel stagnant. I feel excited
    again, and that's priceless.

    1. Show Me
    2. White Street
    3. (Don't) Wannabe
    4. X-Communicate
    5. Skin Shed
    6. Drive the Night
    7. What is Love
    8. Face 2 Face
    9. Going thru the Motions
    10. Smoke Rings
    Kristin Kontrol
    $16.99
    Vinyl LP - Sealed Buy Now
  • Seductive Reasoning (Speakers Corner) Seductive Reasoning (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Seductive Reasoning (Speakers Corner)

    Thanks to their undeniable musical talent, which allowed them to be taken seriously in the folk scene, the industrious Roche sisters' career began when they were young. The duo began by singing Christmas carols, doo-wop song syllable puzzles, and tricky barbershop harmonies. They finally caught the attention of Paul Simon, who brought the gifted girls in as backup singers on his LP There Goes Rhymin' Simon, and was primarily responsible for the birth of their first recording. The lavishly produced album achieved high critical acclaim. Although it was a worthy professional debut, the public was hesitant to buy the album. The specialist magazine Rolling Stone commented drily and somewhat at a loss that the Roches weren't everyone's cup of tea.



    Maggie and Terre Roche are a well-rehearsed vocal team however: with a range from hazy, finely balanced voices singing as one, right up to pearly, radiant brilliance, the Roche sisters enthusiastically penned a songbook which is almost without exception their very own creation. Mechanical bluegrass music (Wigglin' Man), a steam-train character (If You Emptied ...) and a somewhat crude and unrefined country aura make the subtle lyrics easily accessible to all, but the LP also offers the listener wonderfully ill-humoured verse (The Mountain People) and story-like prose (West Virginia). This is a truly exceptional album, and well worth being discovered!



    Musicians:



    • Maggie Roche (piano, guitar)

    • Terre Roche (guitar)

    • Paul Simon (guitar)

    • Pete Carr (guitar)

    • Jimmy Johnson (guitar)

    • Barry Beckett (keyboard)

    • David Hood (bass)

    • Roger Hawkins(drums)



    Recording: 1973 in the Morgan Studios, London, and 1974 in the Muscle Shoals Studios, Sheffield, Alabama

    Production: Paul Simon, Paul Samwell-Smith, David Hood and Jimmy Johnson




    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. Underneath the Moon
    2. Down the Dream
    3. Wigglin' Man
    4. West Virginia
    5. If You Empty Out All Your Pockets You Could Not Make the Change
    6. Telephone Bill
    7. Malachy's
    8. Burden of Proof
    9. The Mountain People
    10. Jill of All Trades
    Maggie & Terre Roche
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Heal Heal Quick View

    $17.99
    Buy Now
    x

    Heal

    From the first bars of HEAL, the exhilarating melodic stomp of 'Goshen '97' puts you right into Tim Showalter's fervent
    teenage mindset. We find him in his family's basement den in Goshen, IN, feeling alienated but even at 15 years old,
    believing in the alchemy and power of music to heal your troubles. "The record is called HEAL, but it's not a soft, gentle
    healing, it's like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst
    parts. And that's how I got better." HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria,
    confusion and clarity.It is deeply personal and unwittingly anthemic.


    Showalter was on tour, walking home on a mild autumn night in Malmo, Sweden, when he first felt the weight of the
    personal crisis that would ignite him to write HEAL. "It was a culmination of pressure," Showalter recalls. "My marriage
    was suffering, I'd released a record I was disappointed in, I didn't like how I looked or acted so I'd gone on tour, I was
    gone about two years!I didn't take time to think about failure, but I knew I was going deeper and deeper I was thinking,
    I have this life, but it's not my life,I haven't done it right "


    When Showalter returned, he wrote 30 songs in three weeks, a process that proved difficult, but cathartic and at times
    invigorating.Previous Strand Of Oaks records were more skeletal, raw examples of folk-rooted Americana with occasional
    rock and electronic currents,that have now come to the fore.HEAL is a bold new beginning,with a thrilling full-tilt sound
    that draws on Showalter's love of '70s, '80s and '90s rock and pop, with the singer and guitarist playing the intense
    valedictory confessor.


    Crucial to HEAL's sound was the man who Showalter chose to mix the record, the stellar alt-rock icon John Congleton.
    Showalter also re-connected with Ben Vehorn, synth expert and studio engineer extraordinaire, and drummer Steve
    Clements,who provides HEAL's thunderous ,sinewy drive. Songs such as 'Shut In','Plymouth' and'Woke Up To The Light'
    have a classic construction and mood,recalling '70s power-pop/ballads and the yearning ache of Big Star'slate, great Chris
    Bell. Many of the songs on HEAL reveal an electronic undercarriage and towering drums that push the album's wired
    dynamic to its stretching point, especially on'For Me',which expertly bridges the album's twin decades of influences.And
    if 'Goshen '97'recalls the molten energy of Dinosaur Jr, that actually is J Mascis on lead guitar. Despite the initials, the
    album's smoldering 7-minute epic 'JM' is not a Mascis tribute, but to the late Jason Molina, about having his music as
    comfort no matter how bad things get.


    Which brings usto another crisis, this time much more serious and immediate. HEAL was scheduled for mixing on Dec.
    26, 2013.Driving on the freeway Christmas Day, Showalter and his wife were involved in a car accident with a semi-truck,
    and were fortunate to walk away with their lives. Showalter suffered a, "pretty severe," head trauma, "which affected me
    much more than Irealized at the time."Fearing delays, Showalter didn't let Congelton know about it,so the mixing session
    went ahead. "Being on the verge of death, and my thoughts being so closely tied to that, changed the album's direction,"
    Showalter claims. "Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at
    that exact moment,somewhere between almost dying and being absolutely fearless."


    HEAL is not just a saviour for its creator, but for anyone who needs reminding of music's ability to heal, or just thrill.
    Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 15 might get his chance.
    Finally, he and Strand Of Oaks have much to celebrate.

    1. Goshen '97
    2. HEAL
    3. Same Emotions
    4. Shut In
    5. Woke Up To The Light
    6. JM
    7. Plymouth
    8. Mirage Year
    9. For Me
    10. Wait For Love
    Strand Of Oaks
    $17.99
    Vinyl LP - Sealed Buy Now
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