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  • Elvis' Golden Records Elvis' Golden Records Quick View

    $31.99
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    Elvis' Golden Records

    Featuring 14 of his top charting hit singles Elvis' Golden Records went on to become one of his most memorable titles in his huge arsenal of masterful rock and roll albums. Thanks to his finest rock smashes like Heartbreak Hotel, Don't Be Cruel, Hound Dog and Jailhouse Rock, this collection of Elvis Presley's biggest hits originally released in 1958 was another blockbuster for The King as it topped the the pop charts, making this one of his most revered. This 55th Anniversary Edition 180 Gram Audiophile gatefold vinyl edition is made available again in all its high fidelity glory.
    Side One
    1. Hound Dog
    2. Loving You
    3. All Shook Up
    4. Heartbreak Hotel
    5. Jailhouse Rock
    6. Love Me
    7. Too Much


    Side Two
    1. Don't Be Cruel
    2. That's When Your Heartaches Begin
    3. (Let Me Be Your) Teddy Bear
    4. Love Me Tender
    5. Treat Me Nice
    6. Anyway You Want Me
    (That's How I Will Be)
    7. I Want You, I Need You, I Love You

    Elvis Presley
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Elvis' Golden Records Volume 1 (Colored Vinyl) (Pre-Order) Elvis' Golden Records Volume 1 (Colored Vinyl) (Pre-Order) Quick View

    $32.99
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    Elvis' Golden Records Volume 1 (Colored Vinyl) (Pre-Order)

    The King Of Rock & Roll - His Greatest Hits

    First Time On 180 Gram Audiophile Red Colored Vinyl

    Mastered Impeccably & Pressed At R.T.I.

    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as a struggling young truck driver, Elvis cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known. The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long-term deal, and his first RCA single Heartbreak Hotel forever etched The King Of Rock And Roll trademark to his name. He would eventually become the most successful solo artist of all time!

    1. Hound Dog
    2. Loving You
    3. All Shook Up
    4. Heartbreak Hotel
    5. Jailhouse Rock
    6. Love Me
    7. Too Much
    8. Don't Be Cruel
    9. That's When Your Heartaches Begin
    10. (Let Me Be Your) Teddy Bear
    11. Love Me Tender
    12. Treat Me Nice
    13. Anyway You Want Me (That's How I Will Be)
    14. I Want You, I Need You, I Love You
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • Elvis' Golden Records No. 1 (Speakers Corner) Elvis' Golden Records No. 1 (Speakers Corner) Quick View

    $34.99
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    Elvis' Golden Records No. 1 (Speakers Corner)

    Have we got the lot? The King of Rock'n'Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of Golden Records, rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles. This was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can't go wrong here.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: January 1956 - September 1957 in Hollywood, New York and Nashville in mono

    Production: Steve Sholes


    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. Hound Dog
    2. Loving You
    3. All Shook Up
    4. Heartbreak Hotel
    5. Jailhouse Rock
    6. Love Me
    7. Too Much
    8. Don't Be Cruel
    9. That's When Your Heartaches Begin
    10. (Let Me Be Your) Teddy Bear
    11. Love Me Tender
    12. Treat Me Nice
    13. Anyway You Want Me (That's How I Will Be)
    14. I Want You, I Need You, I Love You
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono - Sealed Buy Now
  • Elvis Presley Golden Records Volume 3 Elvis Presley Golden Records Volume 3 Quick View

    $54.99
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    x

    Elvis Presley Golden Records Volume 3

    Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!

    Numbered Deluxe Laminated Gatefold Jackets!

    Only 2500 Numbered Limited Edition Copies Worldwide!


    Out of all the records Elvis Presley made, this is one of the absolute audiophile classics among his catalog. And the songs - every one of them - are worth inclusion in any collection. Don't miss a true classic.


    Features:

    Numbered Deluxe Laminated Double Gatefold Jackets

    Only 2500 Numbered Limited Edition Copies Worldwide!

    Audiophile 180 gram, 45rpm Vinyl Double LP

    Pressed at RTI

    Mastered by Bernie Grundman from the Original Analog Master Tapes!


    This title is not eligible for discount.

    1. It's Now Or Never
    2. Stuck On You
    3. Fame and Fortune
    4. I Gotta Know
    5. Surrender
    6. I Feel So Bad
    7. Are You Lonesome Tonight
    8. (Marie's the Name) His Latest Flame
    9. Little Sister
    10. Good Luck Charm
    11. Anything That's Part of You
    12. She's Not You
    Elvis Presley
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Golden Age of Harpsichord Music (Speakers Corner) The Golden Age of Harpsichord Music (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Golden Age of Harpsichord Music (Speakers Corner)

    The harpsichord, sometimes disrespectfully referred to as a plucked instrument with keys, left its stamp on the musical language of the Baroque as no other. Whether employed as a continuous bass to accompany delicate chamber music, or heard in heady open-air concerts, or just as a solo instrument, its bright sound, rich in overtones, was highly esteemed by all important composers and musicians of the era. Due to the construction of the instrument it is not possible to play with a differentiated volume of sound, so performers made a virtue of necessity in that they concentrated upon lively phrasing and a well-considered choice of register.



    In the present recording Rafael Puyana plays a two-manual Pleyel harpsichord and interprets a wide and varied range of European keyboard works from the 17th and 18th centuries. Along with compositions by Louis Couperin and Domenico Scarlatti's, both of whom had a great influence on style in their day, this compilation has at its heart works by the English composers John Bull, William Byrd and Peter Philips, which are taken from the most famous collection of all Baroque compositions, the Fitzwilliam Virginal Book. Short notes on the back cover provide useful information on the works' historical context.



    Musicians:



    • Besard, Couperin, Francisque, Scarlatti, Freixanet, Bach, Bull, Byrd, Philips, Peerson, and AlbÉniz - Rafael Puyana (harpischord)




    Recording: April and May 1962 at Ballroom Studio A of Fine Recording, New York City, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart-Fine and Harold Lawrence




    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. Branle Gay
    2. Tombeau de M. de Blancrocher
    3. Branle de Montirande
    4. Sonata in E Major, K. 381
    5. Sonata in A Major
    6. Concerto in D Minor, after Alessandro Marcello
    7. Les Buffons
    8. La Volta
    9. Pavana Dolorosa-Galiarda Dolorosa
    10. My Lady Carey's Dompe
    11. The Primrose-The Fall of the Leafe
    12. The King's Hunt
    13. Sinata In D Major
    Rafael Puyana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • His Hand In Mine (Speakers Corner) His Hand In Mine (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    His Hand In Mine (Speakers Corner)

    Almost everyone loves gospel songs. After all - it is inspirational music about good news and hope and warms the heart without demanding religious belief. But what in God's name makes these songs so enjoyable? Why are they music to one's ears? Is it because of the simple yet unique melodies, the soft or rocking grooves, or the prayer wheel-like verses that are sung alternately by a soloist and chorus? Elvis fans might well be able to answer this question just by taking a quick look at the cover, while other more undiscerning lovers of black folk spirituality would say that this is a well-produced, professional album that cannot be equalled.



    Elvis lets his young, flexible voice swing sonorously here, lightly and airily there, all the while supported by a top-notch vocal backing group. The rich vocal harmonies are sung with true passion, and it is certainly no coincidence that one is reminded of the sound of the Golden Gate Quartet. In one moment the voices soar to celestial heights, in another they plunge down to a deep rumbling bass, not to forget the soft and springy rhythm section. For John Bush (allmusic.com), »this LP isn't just one of Elvis' best LPs, it's one of the best (and best-recorded) gospel sessions of all time.«



    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. His Hand In Mine
    2. I'm Gonna Walk Dem Golden Stairs
    3. In My Father's House
    4. Milky White Way
    5. Known Only to Him
    6. I Believe in the Man in the Sky
    7. Joshua Fit the Battle Traditional
    8. He Knows Just What I Need
    9. Swing Down Sweet Chariot
    10. Mansion Over the Hilltop
    11. If We Never Meet Again
    12. Working on the Building
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Casual Victim Pile: Austin 2010 (Discontinued) (On Sale) Casual Victim Pile: Austin 2010 (Discontinued) (On Sale) On Sale Quick View

    $19.99 $13.99 Save $6.00 (30%)

    Buy Now
    x

    Casual Victim Pile: Austin 2010 (Discontinued) (On Sale)

    Matador's Casual Victim Pile: Austin 2010, features 17 songs from a newer generation of Austin bands (plus a couple of wildly talented ringers from Denton for good measure). Of the albums 19 songs, 18 are previously unreleased, Harlems Beautiful & Very Smart being the only current exception. Only Harlem, The Golden Boys, The Distant Seconds and Elvis have released full albums previously, while several of the bands on this album (Flesh Lights, Dikes Of Holland, KOSL, The Stuffies, The Persimmons) are making their recorded debuts.

    1. Follow That Bird! The Ghosts That Wake You
    2. The Young Blister
    3. Woven Bones Spirits Roam
    4. Flesh Lights Crush On You
    5. Dikes Of Holland Little City Girl
    6. Tre Orsi The Engineer
    7. The Distant Seconds Akron Bureau
    8. Kingdom Of Suicide Lovers Hoboken Snow
    9. Elvis Mommys Little Soliders
    10. Love Collector First 48
    11. Bad Sports Cant Remember Your Name
    12. Wild America Drink It Dry
    13. Harlem Beautiful & Very Smart
    14. The Stuffies No Ones Gonna Miss You
    15. The Golden Boys Older Than You
    16. The No No No Hopes Nobodys Fool
    17. The Teeners - Nazis On Film
    18. The Persimmons The Notice
    19. Lost Controls Entirely Wired For Sound

    Various Artists
    $19.99 $13.99 Save $6.00 (30%)
    Vinyl LP - 2 LPs Sealed Buy Now
  • Gentle Spirit (Awaiting Repress) Gentle Spirit (Awaiting Repress) Quick View

    $24.99
    Buy Now
    x

    Gentle Spirit (Awaiting Repress)

    Jonathan Wilsons music is steeped equally in the woodsy contours of his Blue Ridge origins and the atmospheric guitar reveries of Neil Young and Quicksilver Messenger Service. Gentle Spirit, an expansive double set conceived specifically for vinyl, was recorded to analog tape and is remarkably evocative of that golden late 60s, early 70s period when rural and urban sensibilities colluded to produce some of rocks most imperishable recordings.


    Gentle Spirit was recorded at his former studio in Laurel Canyon, the location of the very scene Wilson is credited with revitalizing through his personal studio and well-known jam sessions. In addition to making his own music, Wilson is also a producer, engineer and custom guitar-maker.


    Whether hes producing young artists like the band Dawes or collaborating with renowned artists like Erykah Badu, Jackson Browne, Robbie Robertson or Elvis Costello, Wilson is as dedicated, visionary and soulful as anyone in music today, qualities that can be heard in the many textures, layers and easy born nuances prevalent throughout Gentle Spirit.

    1. Gentle Spirit

    2. Can We Really Party Today?
    3. Desert Raven
    4. Canyon in the Rain
    5. Natural Rhapsody
    6. Ballad of the Pines
    7. The Way I Feel
    8. Don't Give Your Heart to a Rambler
    9. Woe Is Me
    10. Waters Down
    11. Rolling Universe
    12. Magic Everywhere
    13. Valley of the Silver Moon
    Jonathan Wilson
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Heat Is On (Speakers Corner) The Heat Is On (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    The Heat Is On (Speakers Corner)

    A glance at the discs, which rocked through the charts under the simple name of "Isley Brothers" will give you an idea of how a long-lasting and self-generative family enterprise (The Times) became a true soul factory. After a brisk start with popular rock'n'roll music, similar to that which a large number of black vocal groups turned out in the Fifties, followed a long march from one record company to another - all of whom were hard pushed to equate the dynamic musicality of these brothers with the 'own sound' of their productions. After hopping from one record label to the next, and not even getting a long-lasting break with the potent Motown label Tamla, golden days arrived when they set up their own label - T-Neck.


    Amidst the turmoil created by strong competition from superb studio albums, the Isleys landed a smash hit in 1975 with The Heat Is On, an album which achieved double platinum status with its collection of perfectly written numbers. Powerful, funky volleys (Fight The Power), gyrating riffs as a launch pad for harmonious vocals and a creative solo (The Heat Is On) go their own way, which is also apparent in the bell-like, airy ballads that swing along tastefully - quite without the sugar-sweet strings so popular at that time.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:



    • Ernie Isley (guitar, drums, percussion, vocals)
    • Chris Jasper (keyboards)
    • O'Kelly Isley, Ronald Isley, Rudolph Isley (vocals)
    • Marvin Isley (bass)


    Recording: 1975 at Kendun Recorders, Burbank (CA), by Kent Duncan

    Production: The Isley Brothers



    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. Fight the Power, Pts. 1 & 2
    2. The Heat Is On, Pts. 1 & 2
    3. Hope You Feel Better Love, Pts. 1 & 2
    4. For the Love of You, Pts. 1 & 2
    5. Sensuality, Pts. 1 & 2
    6. Make Me Say It Again Girl, Pts. 1 & 2
    7. Fight the Power, Pts. 1 & 2
    Isley Brothers
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lady Day (Pure Pleasure) Lady Day (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Lady Day (Pure Pleasure)

    Excerpt from George Avakian's notes on the album sleeve:



    When planning this album, I had a hellish time trying to choose what I thought were the absolute cream of Billie Holiday. In the course of this wrestling, it struck me that not only were Billie's vocals incredibly perfect, but that I could not remember a single instance of anyone playing a bad solo or even a bad phrase among the hundred or more performances I had to choose from in the golden period of her work. Checking over records (which was almost unnecessary, because I could still remember them almost note for note) was a rather beautiful and somewhat shattering experience. Jazz, a product of so many things - musical evolution, the social scene of a particular time, the economic atmosphere of the moment, what somebody had for breakfast that day - and none of those tings will ever come together again as they did when these records were made.



    Musicians:



    • Billie Holiday (vocal)

    • Ben Webster, Lester Young (tenor saxophone)

    • Johnny Hodges (alto saxophone)

    • Roy Eldridge, Buck Clayton (trumpet)

    • Benny Goodman, Art Shaw (clarinet)

    • John Truehart (guitar)

    • Teddy Wilson (piano)

    • John Kirby (bass)

    • Cozy Cole, Joe Jones (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. Miss Brown To You
    2. I Wished On the Moon
    3. What A Little Moonlight Can Do
    4. If You Were Mine
    5. Summertime
    6. Billie's Blues
    7. I Must Have That Man
    8. Foolin' Myself
    9. Easy Living
    10. Me, Myself and I
    11. A Sailboat In the Moonlight
    12. I Cried For You
    Billie Holiday
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Firebird (Speakers Corner) Stravinsky - Firebird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Firebird (Speakers Corner)

    The Firebird can almost be described as a work of fate, since it is not only the first of several ballets that Stravinsky wrote for Sergei Diaghilev and his Ballets Russes but also marks his international breakthrough as a composer. In comparison with his other earlier stage works, the ecstatic, sharply contoured Rite of Spring for example, The Firebird, with its melodic character, is a far gentler work altogether.


    There are unmistakable reminiscences of the musical language of Rimsky-Korsakov and Tchaikovsky as well as snatches of late-Romantic harmonies; all this lends the music the charm of Russian tradition.
    In his performance, Dorati chooses the golden mean in that he has his ensemble produce a highly colourful but by no means glaring sound. Thus the listener is given the opportunity to follow the development of the finely chiselled motifs which are so characteristic of this early composition. Happily, the chamber-music-like transparency is preserved even in the loud, more exposed passages - the sound leaves the loudspeakers with a sprightly, athletic tread, as it were.


    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The London Symphony Orchestra



    Recording: June 1959 at Watford Town Hall, London, by C. R. Fine and Robert Eberenz
    Production: Wilma Cozart-Fine and Harold Lawrence




    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.



    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Babes In The Wood (Pure Pleasure) Babes In The Wood (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Babes In The Wood (Pure Pleasure)

    Babes In The Wood is Mary Black's finest, most consistently pleasing album. There is no filler here, and her song selection, culled from new songwriters such as Noel Brazil and classic folkies such as Richard Thompson, is impeccable. The acoustic arrangements (including guitar, piano, mandolin, dobro, and accordion) are carried out by her longtime backing musicians, although the music has a decidedly more pop than Celtic flavor on this album. As with most of her releases, there are many romantic ballads sung with a subtly that adds emotional weight to every song. The main difference on this album is an omnipresent religious tone, whether it's overt in the gospel opener Still Believing or just below the surface in songs such as The Golden Mile. Even a few of the love songs refer to having faith that love will come around again after heartbreak (Just Around the Corner). However, the album is peppered with playful, upbeat tunes that propel the album forward to the final song, a wonderful cover of Joni Mitchells's Urge For Going. A great introduction to the music of Mary Black, and a must-own for fans.



    Musicians:



    • Mary Black (vocal)

    • Pat Crowley (piano, accordion, vocal)

    • Maire Breatnach (synthesizer, fiddle)

    • Declan Sinnott (dobro, guitar, mandolin, vocal)

    • Carl Geraghty (saxophone)

    • Garvan Gallagher (bass)

    • Noel Bridgeman (percussion)



    Recording: March - June 1991 at Ringsend Road Studios, Dublin (Ireland), by Andrew Boland

    Production: Declan Sinnott




    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. Still Believing
    2. Bright Blue Rose
    3. Golden Mile
    4. Babes in the Wood
    5. The Thorn upon the Rose
    6. Just Around the Corner

    7. Brand New Star
    8. Prayer for Love
    9. Adam at the Window
    10. The Dimming of the Day
    11. Might as Well Be a Slave

    12. The Urge for Going
    Mary Black
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Graduate (Speakers Corner) The Graduate (Speakers Corner) Quick View

    $34.99
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    The Graduate (Speakers Corner)

    With his film The Graduate, which was crowned with an Oscar and five Golden Globes, director Mike Nichols created far more than just the story of the erotic initiation of the college graduate Benjamin. Not only the scenario but also the production modalities were revolutionary. For the very first time the crusted morals of the American upper class were attacked by means of film, an Alfa Romeo - a European car - was advertised most effectively, and a soundtrack was put together from already existent, successful pop numbers. No words are really necessary about the music, since numbers such as Sound Of Silence, Mrs. Robinson and Scarborough Fair have entered into the annals of musical culture ever since they were used in the film. It is astounding to note how seamlessly the various works fit snugly into the film's context, as though they had been specially written for the scenes.



    This soundtrack is a monument to Dustin Hoffman, who played his first big role in the film, and it catapulted Simon & Garfunkel right to the top of the list of ballad singers. But it also recalls to memory the peppy, instrumental insertion numbers by Dave Grusin, who virtually fell into oblivion after all the hype about this provocative movie.



    Musicians:



    • Paul Simon (guitar, vocal)

    • Art Garfunkel (vocal)

    • Dave Grusin




    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 Sound Of Silence - Simon And Garfunkel
    2. The Singleman Party Foxtrot - David Grusin
    3. Mrs. Robinson - Simon And Garfunkel
    4. Sunporch Cha-Cha-Cha - David Grusin
    5. Scarborough Fair / Canticle (Inerlude) - Simon And Garfunkel
    6. On The Strip - David Grusin
    7. April Come She Will - Simon And Garfunkel
    8. The Folks - David Grusin
    9. Scarborough Fair / Canticle - Simon And Garfunkel
    10. A Great Effect - David Grusin
    11. The Big Bright Green Pleasure Machine - Simon And Garfunkel
    12. Whew - David Grusin
    13. Mrs. Robinson - Simon And Garfunkel
    14. The Sound Of Silence - Simon And Garfunkel
    Simon & Garfunkel
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • You And Me (Discontinued) (On Sale) You And Me (Discontinued) (On Sale) On Sale Quick View

    $11.99 $8.39 Save $3.60 (30%)

    Buy Now
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    You And Me (Discontinued) (On Sale)

    You & Me is Kevin Barker's debut album, released by Gnomonsong. Though it's his first solo release under his own name, Barker's no newcomer to the scene--he's spent the last few years recording, touring, and collaborating with Devendra Banhart, Joanna Newsom, Vashti Bunyan, Vetiver, Antony and the Johnsons, and Espers, to name just a few. Essentially acting as everyone's favorite sideman, Barker has influenced and helped create a sound with which this generation is happily familiar. During his college days, Barker became interested in the finger-style guitar playing of John Fahey and Bert Jansch and began to record under the name Currituck County. This solo project (sometime a duo with Vetiver / Espers drummer Otto Hauser) recorded albums for Teenbeat Records, Troubleman Unlimited, and the UK's Track and Field Organisation. Now Barker has assembled an unbelievable group of musicians for You & Me. Produced by Thom Monahan (Vetiver, Lilys, Gary Louris, Devendra Banhart), the album features Pat Sansone (Wilco), Joanna Newsom, Jonathan Wilson (Elvis Costello, Jenny Lewis), Eric Johnson (Shins, Fruit Bats), and Otto Hauser (Vetiver, Espers). Full of sunny, rural country rock, You & Me recalls the rustic grooves of The Band and The Grateful Dead, the heady melancholy of Roy Harper, and the golden harmonies of CSNY.
    1. Little Picture of You
    2. You & Me
    3. Mountain & Bear
    4. Amber
    5. Walking Along
    6. My Lady
    7. I Will Fly
    8. Bless You on Your Way
    9. Tiny Tattered Tale (Bonus track)
    10. Ten Toes To Sister Sky (Bonus track)
    11. Jerry Jeff On The Radio (Bonus track)
    Kevin Barker
    $11.99 $8.39 Save $3.60 (30%)
    Vinyl LP - Sealed Buy Now
  • Stiff Stiff Quick View

    $19.99
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    Stiff

    Three years on from their critically acclaimed "barbeque" record Corsicana Lemonade, White Denim are back with more than just a new album to commemorate. Their sixth record, Stiff - out 25 March 2016 via Downtown/Sony Red - is a return to the Austin quartet's frenetic rock band roots, and is both a jubilant thrill ride and joyous celebration of their past ten years. Heading into the studio with an external producer to oversee a whole album for the first time - and even writing a tune with Cass McCombs ('Thank You') - the band teamed up with the legendary Ethan Johns (Paul McCartney, Laura Marling, The Staves) to produce their first truly live record, one teeming with a cool '70s undertow, tumultuous riffs and a feverish energy that's resulted in arguably some of their biggest and brawniest songs to date.


    With drummer Joshua Block and guitarist Austin Jenkins now pursuing other production ventures, vocalist/guitarist James Petralli and bassist Steve Terebecki spent a long time reassessing exactly what White Denim meant to them. "The big thing for Steve and I was trying to define what made us want to keep going," Petralli explains of the album's early days. "What's our partnership about? What's cool about this? We learnt a lot making D and Corsicana Lemonade. We wanted to take some of those lessons and apply it back to our original mission statement. We were trying to get back to some of the things that made us excited about the band in the first place."


    Opener 'Had 2 Know (Personal)' is the embodiment of that mission statement. Described by Petralli as "a reassertion of our initial intent to make songs that satisfy our urge to play fast", it sets the tone brilliantly for the bulk of Stiff, right from its idiosyncratic, Red Krayola-sampling beginning to its huge, golden era chorus. While it remains distinctively White Denim, there's a reinvigoration permeating through its riffs via new guitarist Jonathan Horne and a beefed-up rhythm section thanks to the work of new drummer Jeffrey Olson. Every single high octane turn - from the tremendously fun 'Ha Ha Ha Ha (Yeah)' to the outrageously shredding 'Holda You (I'm Psycho)' - sounds like a band re-energised and revitalised, resulting in what Petralli describes as a "high heat, high energy, good times record". Having previously sold out Shepherd's Bush Empire and having toured with Tame Impala and Arctic Monkeys, Stiff is full to the brim with songs that sound ready to now lift White Denim to similar heights.


    For the most part, Stiff is an album crammed with adrenaline-fuelled sing-alongs that show off the band's staple technical abilities. But it's also one that sees some new shades that they've developed along the way, too. Citing new wave and the razor-sharp pop punk of Buzzcocks as influences this time round, there's an addictive Elvis Costello circa This Year's Model quality to 'Real Deal Momma', a tune that highlights the band's love for hummable synthesisers and curious, affecting oddities. Then there's the cow bell calm and backing vocals laden brilliance of 'I'm The One (Big Big Fun)', that along with 'Take It Easy (Ever After Lasting Love)' (a song Petralli says "wants to be on a collection of doo wop songs written in 2016") shows a softer and more intricate side to the band while fully emphasising Petralli's vocal excellence.


    Of the artwork - which was created by collagist Eugenia Loli - was inspired and worked from the band's previous album covers and videos as a visual template. Ultimately, it's a fleeting visit to a place the band have been before, with the covers of Workout Holiday and D being collages too. Stiff was even originally stylised 'Stif', which when spelt backwards spells out the title of their second full-length Fits. Then there's 'Mirrored In Reverse', a nod to the Fits track 'Mirrored And Reverse'. "I mean, we're ten!" Petralli says in disbelief while explaining all of the record's throwbacks. "We did think about naming this record Ten and referencing the Pearl Jam cover!"


    Recorded with nothing but equipment that Petralli describes as being "past a certain point in the '70s", he explains that Stiff is an album made "entirely the old way". "It was tracked live to 16-track tape with very little overdubs," he says. "It was very hardcore record making - traditional in every aspect." Recorded with Ethan Johns in Asheville, North Carolina over a twenty-day period, Petralli and the band had an intense but deeply educational time with Johns. "It was really cool. The guy had these stories that were just unbelievable. He started talking about playing with Jimmy Page when he was a kid, and he lived in the studio where The Rolling Stones and The Faces would just hang out. Having Ethan in the room pushing us really made it more of an 'in the moment' and a visual thing. Capturing live performances is what he does really well."


    To make things even more celebratory, there was an extra ten day stint spent with go-to White Denim man Jim Vollentine, who Petralli describes as "my guy, man". He continues: "we've made a lot of records together now. When we left the studio in Asheville with Ethan, we thought we gotta work on this record some more, you know? Though it was really just mixing, which we did with respect to Ethan's arrangements and his recording. I feel like I really haven't made anything like this before."


    Ultimately, Stiff is the sound of a band finding their feet again and having the time of their lives. It's a record that refuses to buckle under the pressures of life, instead offering up a soundtrack to sing, dance, shout and scream along to. As a White Denim album, it's a joyride through the past ten years of the band's idiosyncratic catalogue while simultaneously pushing things further forward into new territories. "It's similar to our first record [Workout Holiday] in that we found the initial energy and just went with that," Petralli says of the initial studio spark that started it all. "We thought, what's the fundamental thing that made us want to get into a van and quit our terrible jobs and start this whole thing in the first place? And it was loud, fast-playing, rock and roll."

    1. Had 2 Know (Personal)
    2. Ha Ha Ha Ha (Yeah)
    3. Holda You (I'm Psycho)
    4. There's a Brain in My Head
    5. Take It Easy (Ever After Lasting Love)
    6. (I'm the One) Big Big Fun
    7. Real Deal Momma
    8. Mirrored in Reverse
    9. Thank You
    White Denim
    $19.99
    Vinyl LP - Sealed Buy Now
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