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  • Empty Sky (Pre-Order) Empty Sky (Pre-Order) Quick View

    $24.99
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    Empty Sky (Pre-Order)

    Empty Sky is the debut studio album by British singer-songwriter Elton John, originally released on June 6, 1969. It would not be released in the United States until January of 1975 (on MCA), with different cover art, well after John's fame had been established internationally.
    1. Empty Sky
    2. Val-Hala
    3. Western Ford Gateway
    4. Hymn 2000
    5. Lady What's Tomorrow
    6. Sails
    7. The Scaffold
    8. Skyline Pigeon
    9. Gulliver / Hay Chewed / Reprise
    Elton John
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • The Sky Is An Empty Eye The Sky Is An Empty Eye Quick View

    $18.99
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    The Sky Is An Empty Eye

    Tompkins Square presents the first-time reissue of this rare private press album released in 1987 by guitarist Tom Armstrong. For fans of moody, folk-psych instrumentals.
    1. White Pines
    2. The Thing
    3. Dream Waltz

    4. Burleske

    5. Keller

    6. The Sky Is An Empty Eye
    7. Winter Lament

    8. Mama's Baby

    9. Bebop

    10. Thunder Clouds
    Tom Armstrong
    $18.99
    Vinyl LP - Sealed Buy Now
  • Big Sky Country Big Sky Country Quick View

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    Big Sky Country

    From the opening strums of Big Sky Country, the newest album - 6th, overall - from Sweden's Sofia Talvik, you know you're in for an aural pleasure experience. Her sweet, rich and enveloping voice immediately draws you in and the fullness of the songs captures your attention, enhanced by the just-right production. Acoustic-based, melody-built - a fine, fine work. Even though this young lady is from Sweden, I'd place her at the forefront of the American vanguard. One listen will tell you why and how.


    "Aha Aha" opens the album and straps you in for the ride down this dusty, sun-setting musical highway; "Big Sky Country" is a melodic and melancholic, near Irish-folk-feel singalong while "Dusty Heart, Empty Hand" is pure Nashville with its pedal steel runs and banjo. "Lullaby" is a sweet, gentle piano based track with interestingly contradictory lyrics (" everything's beautiful - still you wish you were dead "); "A Matter Of The Hearts" is a vocal showcase - you can hear the natural skill in her singing and the feeling she conveys; "Bonfire" is a uptempo acoustic piece (without percussion) that builds with dramatic (yet not overboard) flair. "Fairground" is an acoustic shuffle with beautiful background harmonies and one of the album's standouts; "So" closes out the album in a subdued yet emotional manner.

    - Rob Ross (Pop Dose)

    Sofia Talvik
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Sky Is Crying (200 Gram Vinyl) The Sky Is Crying (200 Gram Vinyl) Quick View

    $34.99
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    The Sky Is Crying (200 Gram Vinyl)

    200-Gram Vinyl Pressed At Quality Record Pressings


    All-Analog Mastering By Ryan K. Smith At Sterling Sound From The Original Tapes


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    "The new remastering sounds amazing. Better than it ever did. I'm happy and pleasantly surprised."


    -Chris "Whipper" Layton, Double Trouble drummer


    "This is visceral, hair-raising stuff."


    -Andy Aledort, senior editor of Guitar World


    "These recordings have never sounded this good, and likely will never sound better. Layers seem to have been stripped away, and the music seems to have been set free. Vaughan's guitar has new bite and edge...sonically, all questions have now been answered..."


    -Robert Baird, Stereophile


    The Sky Is Crying was released after SRV's 1990 helicopter crash that took his life. The posthumously assembled 10-track outtakes collection actually proves to be one of Vaughan's most consistent albums, rivaling In Step as the best outside of the Greatest Hits collection. These songs were recorded in sessions spanning from 1984's Couldn't Stand the Weather to 1989's In Step and were left off of the LPs for whatever reason (or, in the case of Soul to Soul's "Empty Arms," a different version was used).


    What makes the record work is its eclectic diversity - Vaughan plays slide guitar on "Boot Hill" and acoustic on "Life By The Drop"; he smokes on the slow blues of "May I Have a Talk With You" and the title track just as much as on the up-tempo Lonnie Mack cover, "Wham"; and he shows the jazzy side of his playing on Hendrix's "Little Wing" and Kenny Burrell's "Chitlins Con Carne."


    1. Boot Hill
    2. The Sky Is Crying
    3. Empty Arms
    4. Little Wing
    5. Wham
    6. May I Have A Talk With You
    7. Close To You
    8. Chitlins Con Carne
    9. So Excited
    10. Life By The Drop
    Stevie Ray Vaughan
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sky Is Crying (45 RPM) The Sky Is Crying (45 RPM) Quick View

    $54.99
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    The Sky Is Crying (45 RPM)

    200-Gram Vinyl Pressed At Quality Record Pressings


    All-Analog Mastering By Ryan K. Smith At Sterling Sound From The Original Tapes


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    "The new remastering sounds amazing. Better than it ever did. I'm happy and pleasantly surprised."


    -Chris "Whipper" Layton, Double Trouble drummer


    "This is visceral, hair-raising stuff."


    -Andy Aledort, senior editor of Guitar World


    "These recordings have never sounded this good, and likely will never sound better. Layers seem to have been stripped away, and the music seems to have been set free. Vaughan's guitar has new bite and edge...sonically, all questions have now been answered..."


    -Robert Baird, Stereophile


    The Sky Is Crying was released after SRV's 1990 helicopter crash that took his life. The posthumously assembled 10-track outtakes collection actually proves to be one of Vaughan's most consistent albums, rivaling In Step as the best outside of the Greatest Hits collection. These songs were recorded in sessions spanning from 1984's Couldn't Stand the Weather to 1989's In Step and were left off of the LPs for whatever reason (or, in the case of Soul to Soul's "Empty Arms," a different version was used).


    What makes the record work is its eclectic diversity - Vaughan plays slide guitar on "Boot Hill" and acoustic on "Life By The Drop"; he smokes on the slow blues of "May I Have a Talk With You" and the title track just as much as on the up-tempo Lonnie Mack cover, "Wham"; and he shows the jazzy side of his playing on Hendrix's "Little Wing" and Kenny Burrell's "Chitlins Con Carne."


    LP 1
    1. Boot Hill
    2. The Sky Is Crying
    3. Empty Arms
    4. Little Wing
    5. Wham


    LP 2
    1. May I Have A Talk With You
    2. Close To You
    3. Chitlins Con Carne
    4. So Excited
    5. Life By The Drop

    Stevie Ray Vaughan
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Silence & Tears Silence & Tears Quick View

    $23.99
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    Silence & Tears

    Kent-based sextet Galley Beggar - who take their name from a mischievous spirit in English folklore - describe their mission as 'to imagine the next phase of English folk-rock' on their third album, Silence & Tears. "We've always loved English folk, but when we formed in 2009 it felt like nothing much was happening to carry the style forward," says guitarist Mat Fowler, "so we thought, we love listening to folk-rock and we love playing it - why not try to write something in that vein?"


    The results can be heard on their earlier albums, Reformation House and Galley Beggar, and now on Silence & Tears. "Our first record was very folky," reflects Mat, "but since then we've moved towards a more electric rock feel." Indeed, the eight tracks on the new album span traditional song, Gothic balladry and peculiarly British acid rock, the mood alternately fragile and robust, with sweet vocal harmonies (led by Maria O'Donnell), lyrical guitar playing from Mat and his cohort David Ellis, and added texture from the violin of Celine Marshall (calling to mind Mr. Fox's Carolanne Pegg), all anchored by Bill Lynn's steady bass and Paul Dadswell's deft drumming. The material spans reworkings of the ancient classics Geordie and Jack Orion, brooding ballads like Adam & Eve and the otherworldy Empty Sky, and the intense 9-minute epic Pay My Body Home, which triumphantly recalls folk-rock's early 70s glory days.


    Silence & Tears may echo centuries of folk tradition, but its crisp, punchy sound is resolutely modern, despite calling on retro flourishes such as phasing, wah-wah and backwards guitar. Much of that is down to the fact that it was recorded at the profoundly analogue Toe Rag studios, where White Stripes, Tame Impala, the Zutons and many others have also worked with renowned producer-engineer Liam Watson. "We made our first two albums ourselves," says Mat, "so this was the first time someone else has produced us. Recording at Toe Rag was just wonderful - to see all that incredible gear at work, and to have a tangible recording experience rather than staring at a screen, was amazing. And watching Liam at work is mesmerising - the sounds he gets onto tape are better than they are in real life!"


    In an era when bands such as Trembling Bells, Circulus and Wolf People have brought folk-rock to the fore again, the hypnotic interplay and inspired jamming on Silence & Tears is sure to find an enthusiastic audience. "We've already got a few festivals lined up this summer, including Leigh Folk Festival and Wessex Festival, and several other shows are still being arranged," says Mat. "It's an honour to be compared to other folk-rock bands - but we like to think we've got something of our own to offer too."

    1. Adam And Eve
    2. Pay My Body Home
    3. Empty Sky
    4. Jack Onion
    5. Geordie
    6. Silence And Tears
    7. Sanctuary Song
    8. Deliver Him
    Galley Beggar
    $23.99
    Vinyl LP - Sealed Buy Now
  • Axe To Fall Axe To Fall Quick View

    $16.99
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    Axe To Fall

    After nearly 20 years, such a glorious run of releases and a live show that's gone from flailing kids flailing against kids to legendary exorcism for both band and audience - watch the pit during "The Saddest Day" and tell me it's not the closest thing to a near-religious experience atheists will ever have - Converge could be forgiven for releasing an endeavour that was simply good, okay, just maintaining their status quo. After all, it's much easier to win the title than retain it, and even the greats slip from time to time. Axe To Fall (Converge's third release for indie institution Epitaph Records), however, is no such relapse.
    True to themselves and their art, as always, no matter the cost, Axe To Fall continues to push relentlessly forward, much like a shark that needs to always keep swimming to survive. Where No Heroes was a refinement and broadening of hostilities declared on previous assaults such as Jane Doe, Axe To Fall returns to the more AmRep-inspired noisecore abrasions of You Fail Me while also updating and making vital the thrash influences that defined earlier Converge efforts (Caring and Killing, Petitioning the Empty Sky) and retaining the hardcore hostilities and frantic pace so vital to their foundation. Of course, the experimental anguish and pleading for salvation are no mere sharpening of past knives but yet another leap forward in an existence full of them.


    From frenetic, frantic opening track "Dark Horse," which is a downhill avalanche of ferocity culminating in one of the heaviest riffs Converge have ever laid listeners to waste with, to "Worms Will Feed," an ominous exploration that ebbs and flows, building upon crashing then retreating waves of music and lyrical condemnations ("the worms will find a way, the rats will find a way"), to the barely restrained chaos of "Losing Battle" and Axe To Fall's sanguine, beautiful, climatic seven-minute-plus dÉnouement, "Wretched Word," Axe To Fall isn't just another mere "release" or record from spoiled kids discovering metal and crying about how difficult life is in the suburbs. Axe To Fall is a nearly two-decade culmination of hard roads travelled and unwanted, but necessary, lessons learned, of prayers for salvation lost to the wind and too-fleeting nights where everything was still, if only for a moment, consumed by morning's inevitable advance, of crushing defeats and the realization that the war only ends when we do, and it's not one we can win, merely endure. Once again recorded by Converge's resident engineering genius Kurt Ballou, whose God City Recording Studios has become the Mecca for aggressive music's elite to congregate at for assistance realizing their sonic sermons (from Trap Them and Genghis Tron to Torche and Buried Inside), Axe To Fall is as sonically dense a tapestry and punishing a release as Converge have ever conceived, once again perfectly echoing musically Bannon's heart-ripped-out-of-chest-but-still-beating lyrics. It's the summation of experiences learned working on records such as No Heroes and You Fail Me, also recorded by Ballou at God City, and it surpasses them.


    But even while Converge and Axe To Fall stand alone - as Bannon is so fond of saying live: "we're born into this world alone, and we die alone, so make your mark while you're here" - they've never forgotten the core values of the hardcore scene they were raised in, and raised others on: community. Axe To Fall is Converge's most collaborative effort to date, even while paradoxically sounding as focused as ever. Axe To Fall features the likes of John Pettibone (Undertow, Himsa), Ulf Cederlund (Entombed, Disfear), Cave In's Steve Brodsky, Adam McGrath and J.R. Connors, F. Sean Martin (Hatebreed), George Hirsch (Blacklisted) and Genghis Tron's Mookie Singerman, Hamilton Jordan and Michael Sochynsky, amongst others, contributing to its dense sonic soundscapes. Even Steve Von Till (of legendary star destroyers Neurosis) graces the record on "Cruel Bloom," an ignoring of musical confines that sounds akin to something Tom Waits and Mr. Bungle might concoct if trapped in a watering hole on the fringes of Purgatory right before the end-time hit.

    1. Dark Horse
    2. Reap What You Sow
    3. Axe to Fall
    4. Effigy
    5. Worms Will Feed/Rats Will Feast
    6. Wishing Well
    7. Damages
    8. Losing Battle
    9. Dead Beat
    10. Cutter
    11. Slave Driver
    12. Cruel Bloom
    13. Wretched World
    Converge
    $16.99
    Vinyl LP Buy Now
  • The Wilderness The Wilderness Quick View

    $24.99
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    The Wilderness

    Features An 8-Panel Gatefold Jacket With O-Card Slipcase


    The Wilderness is Explosions In The Sky's sixth album, and first non-soundtrack release since 2011's Take Care, Take Care, Take Care. True to its title, The Wilderness explores the infinite unknown, utilizing several of the band's own definitions of "space (outer space, mental space, physical geography of space) as compositional tools. The band uses their gift for dynamics and texture in new and unique ways-rather than intuitively fill those empty spaces, they shine a light into them to illuminate all the colors of the dark. From the electronic textures of the opening track to the ambient dissolve of closer "Landing Cliffs," The Wilderness is an aggressively modern and forward-thinking work-one that wouldn't seem the slightest bit out of place on a shelf between original pressings of Meddle and Obscured By Clouds. It is an album where shoegaze, electronic experimentation, punk damaged dub, noise, and ambient folk somehow coexist without a hint of contrivance-and cohere into some of the most memorable and listenable moments of the band's expansive body of work-"proper" studio albums and major motion picture soundtracks alike.


    The progressive ambience of early Peter Gabriel, the triumphant romanticism of The Cure in their prime, and the more melancholy moments of Fleetwood Mac all inform the curious beauty of The Wilderness. The uncanny ability to reconcile the tension between discordant, nightmarish cacophony and laid-back, Laurel Canyon-inspired folk-rock is a cornerstone of this album, and the center of Explosions In The Sky's remarkable evolution. If The Earth Is Not A Cold Dead Place was the defining album of Explosions In The Sky's career, The Wilderness is the band's [re]defining album.

    1. Wilderness
    2. The Ecstatics
    3. Tangle Formations
    4. Logic Of A Dream
    5. Disintegration Anxiety
    6. Losing The Light
    7. Infinite Orbit
    8. Colors In Space
    9. Landing Cliffs
    Explosions In The Sky
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Run For Cover Run For Cover Quick View

    $24.99
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    Run For Cover

    Run For Cover took the heavy metal ingredients of Gary Moore's previous two albums and added a little pop refinement to the mix. Thankfully, this did not compromise the overall heaviness of the record, and Moore even achieves a successful remake of his classic ballad Empty Rooms. Calling on his many friends to help in the studio, Moore obtains fantastic vocal performances from former Deep Purple bassist/vocalist Glenn Hughes on Reach for the Sky and All Messed Up; and former Thin Lizzy leader and childhood friend Philip Lynott on the dramatic Military Man. The latter also trades vocals with Moore on the album's biggest single Out in the Fields. Written about the religious turmoil in their native Ireland, it was actually Lynott's final recorded performance before his tragic death. It also presaged the musical and lyrical Irish themes which would dominate Moore's future work.


    - Eduardo Rivadavia (All Music Guide)

    1. Run for Cover
    2. Reach for the Sky
    3. Military Man
    4. Empty Rooms
    5. Out in the Fields
    6. Nothing to Lose
    7. Once in a Lifetime
    8. All Messed Up
    9. Listen to Your Heartbeat
    Gary Moore
    $24.99
    Vinyl LP - Sealed Buy Now
  • Trouble Trouble Quick View

    $19.99
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    Trouble

    The first thing you might notice about Hospitality's sophomore album
    Trouble is what you don't hear. The process of completing Trouble
    was, for the band, one of learning to accept silence, to let that empty
    space exist no matter what it might awaken or evoke. You could catch
    glimpses of these dark and unexplored places in the margins of
    Hospitality's 2012 self-titled debut, but they are at the very heart of
    Trouble. If you listen closely, you can hear a band pushing against their
    own boundaries and limitations until they find the very air around
    them subtly but perceptibly changed.


    In its lyrics and its musical construction, Trouble is an album that
    wonders about the mysteries that lurk just beyond our field of vision.
    Slyly and sympathetically, Papini ponders a Saturday afternoon fishing
    trip as a wrenching interplay of life and death, the perfect blue sky at
    an air show as a setting for a soured romance. Papini elaborates: "Most
    of the songs are about everyday environments that arouse anxiety or
    unease. The ocean isn't meant for people; we aren't supposed to be
    there, and some of the animals that live there are much bigger and
    faster than we are in the water. I think a lot of the songs deal with this
    'out of place' kind of theme, feelings of unease and the questions of
    what is under you or what surrounds you."


    The album unfolds like a walk on the beach or a journey to a place
    you didn't know you were going. Perhaps a darker sound overall, but
    Trouble begins with the trademark Hospitality pop then unfurls to
    reward the listener with the more expansive stripped-down
    instrumentation of side B. And here, again, is that distinctively present
    silence, creating a space where an undulating synthesizer feels as alive
    and mysterious as a single voice in a room.

    1. Nightingale
    2. Going Out
    3. I Miss Your Bones
    4. Inauguration
    5. Rockets and Jets
    6. Sullivan
    7. It's Not Serious
    8. Last Words
    9. Sunship
    10. Call Me After
    Hospitality
    $19.99
    Vinyl LP - Sealed Buy Now
  • And His Mother Called Him Bill (Speakers Corner) And His Mother Called Him Bill (Speakers Corner) Quick View

    $34.99
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    And His Mother Called Him Bill (Speakers Corner)

    When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger's own compositions.



    The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.



    Full of informality and soulful verve, these recordings feel like they are an afterthought, an unwillingness to completely let go, a eulogy whose final words are questions, elegantly stated and met with only the echo of their last vibrations ringing in an empty room, full of wondering, longing, and helplessness, but above all the point of the questions themselves: "Is this enough?" or "Can there ever be enough to pay an adequate tribute to this man?"
    They are interesting questions, because only five years later we would all be saying the same thing about Ellington. For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.






    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Clark Terry (fluegel horn)

    • Lawrence Brown, Chuck Connors (trombone)

    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, clarinet)

    • Jimmy Hamilton (tenor saxophone, clarinet)

    • Paul Gonsalves (tenor saxophone)

    • Aaron Bell (bass)

    • Steve Little (drums)




    Recording: August and September 1967 in RCA Victor's Studio A, New York City, by Ed Begley

    Production: Brad McCuen





    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. Boo-Dah
    2. U.M.M.G. (Upper Manhattan Medical Group)
    3. Blood Count 9

    4. Smada
    5. Rock Skippin' at the Blue Note

    6. Rain Check
    7. Midriff
    8. My Little Brown Book
    9. Lotus Blossom
    10. Snibor
    11. After All
    12. All Day Long
    13. Lotus Blossom
    14. Day Dream
    15. The Intimacy of the Blues
    16. Charpoy
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Circle The Circle Quick View

    $34.99
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    The Circle

    It's an interesting question to ask: Is that a fair dose of motivation or is that a chip on your shoulder? Jon Bon Jovi posed that question to himself, and it's worth pondering. You might think that a man whose band has sold more than 120 million records and played before tens of millions of fans in the course of an illustrious 26-year career would be content to rest on his considerable laurels, at least for a while.


    You might think that, but you'd be wrong, and the new Bon Jovi album, The Circle, provides irrefutable proof. As its title suggests, The Circle marks a powerful reassertion of Bon Jovi's commitment to the hard-hitting, uplifting rock & roll that has been the band's indelible signature since it began. The band share an abiding bond that informs and defines their music. It is a circle that remains unbroken.


    The album title, Bon Jovi explains, has several meanings. Some may say that with this album we have come full circle. Others may see The Circle as never ending. I see it as very hard to get in to and even harder to get out of, the singer says with a laugh. Having had 5 studio records in this decade, there are songs on each record that represent the world around us. And while they don't always like what they see, they try hard not to see the cup as half empty. From the new single We Weren't Born To Follow to the powerful When We Were Beautiful, the songs are as uplifting and anthemic as anything Bon Jovi and Sambora have ever written.


    Another reason for the anthemic sound of THE CIRCLE is the re-emergence of Richie Sambora. This is meant to be a stadium, turn-the-guitars-back-up record, and that's a testament to having Richie at my side, Jon says. I can't tell you how much that's meant. With me and Richie, one and one makes three.


    That flame burns at the heart of The Circle. When We Were Beautiful shares its title with the superb Bon Jovi documentary by filmmaker Phil Griffin. Like the film, the song is atmospheric and haunting. It opens with a sense of crisis: The world is cracked/The sky is torn. Jon Bon Jovi hears the song as a true departure for the band. That's a unique song, he says, We've written hits, but this is something more, this is something different. I didn't want to sugarcoat things. Those lyrics are factual. As a country and as people, we hit a wall. But the idea is to try to get back to `when we were beautiful.'


    The new studio album, The Circle, was produced by John Shanks, who also worked with the band on the two preceding Bon Jovi albums, Lost Highway (2007) and Have a Nice Day (2005). The album has an underlying positive theme that is apparent throughout the songs. Whether it's questioning your vitality in Fast Cars, or asking what the future holds in Work for the Working Man, the songs are about the prospect of people having to find new directions in their lives. In these trying times every word relays the truth.


    So The Circle, then, like all of Bon Jovi's best music, stares down the troubles that afflict our lives, and offers a bracing vision for overcoming those obstacles. It's stirring, and it's an emotion that, strong as the album is, will find its most convincing expression on the concert stage. And this is why Bon Jovi have managed to play over 2600 concerts to over 34 million fans in over 50 countries. I can't believe I'm even saying this, but I can't wait to go on the road again, Jon Bon Jovi exclaims.

    1. We Weren't Born to Follow
    2. When We Were Beautiful
    3. Work for the Working Man
    4. Superman Tonight
    5. Bullet
    6. Thorn in My Side
    7. Live Before You Die
    8. Brokenpromiseland
    9. Love's the Only Rule
    10. Fast Cars
    11. Happy Now
    12. Learn to Love
    Bon Jovi
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Seductive Reasoning (Speakers Corner) Seductive Reasoning (Speakers Corner) Quick View

    $34.99
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    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
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