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  • Eye in the Sky (Speakers Corner) Eye in the Sky (Speakers Corner) Quick View

    $34.99
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    Eye in the Sky (Speakers Corner)

    Unimpressed and untouched by the glorification of individuals so typical for the music business, the Alan Parsons Project proved that even without spectacular light shows, rock celebrities in the band or self-composed songs it was possible to rise to stardom. Alan Parsons, who first took up an apprenticeship as a sound engineer at EMI and was later responsible for several Paul McCartney productions and the Pink Floyd album 'Dark Side Of The Moon' at the legendary Abbey Road Studios, drew upon his experience in order to further his solo career. While the co-producer Eric Woolfson wrote songs, Parsons who had an uncanny feeling for sound conjured up synthetic and natural sounds.



    As with all albums from the early years, 'Eye In The Sky' is inspired by important topics of the times. True to the 'no-future lifestyle' of the 80s, the songs impart a somewhat depressive character which serves as a stark contrast to the steely rock rhythms, free from electronic gimmicks. In addition one finds addictive harmony in the vocal polyphony ('Gemini'), blaring brass with a Spanish rhythm ('Silence And I') and a velvety string sound ('Old And Wise'). All in all a great achievement by the British wizard of sound at the mixing console.



    Musicians:



    • Alan Parsons (keyboards)

    • Eric Woolfson (keyboards, vocal)

    • Andrew Powell (arranger, conductor)

    • Ian Bairnson (guitar)

    • Mel Collins (saxophone)

    • David Paton (bass, guitar, vocal)

    • Stuart Elliot (drums, percussion)




    Recording: 1981 at Abbey Road Studios, London, by Alan Parsons

    Production: Alan Parsons and Eric Woolfson




    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. Sirius
    2. Eye in the Sky
    3. Children of the Moon
    4. Gemini
    5. Silence and I
    6. You're Gonna Get Your Fingers Burned
    7. Psychobabble
    8. Mammagamma
    9. Step by Step
    10. Old and Wise
    The Alan Parsons Project
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed 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
  • Sky Swimming Sky Swimming Quick View

    $17.99
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    Sky Swimming

    Amelia Rivas and Christian Pinchbeck don't just sing about feverish, frayed and fractured romances - in the three years since forming elephant, they've been living one.


    It's fitting that sky swimming, their debut full length release is a seductive, night time delight of an album. After all, it was in the twilight hours of a may morning three years ago that Pontefract native Amelia Rivas and Bristolian Christian Pinchbeck met at a house party and in alcohol-soaked all-nighter sessions that sky swimming was written.


    A fibrous collection of songs about relationships - their own included, which broke down during the making of the album - hazy memories, twisted dreams, the metaphysical bleeding in to the physical - sky swimming - all trilling keyboards, swooping melodies, broken hip hop beats, looped strings and Amelia's uniquely curvy vocals - that makes you want to clamp your headphones tighter on your ears, letting you swim in its every detail and emotion. Influenced by everything from Toro y Moi to composer Angelo Badalamenti, everything but the girl to rap originators arrested development and Joe Meek's productions, it's an intensely varied listen.


    "the first time we worked together, I went round to his house in Peckham and didn't leave for 3 days. I barely knew him," Amelia remembers. "She turned up with some £10 casio she bought from a charity shop in France and the whole demo EP was made on that," recalls Christian. Elephant have grown beyond their lo-fi roots since then, with Andy Dragazis being drafted in on co-production duties, while retaining the emotional rawness of those early songs. Tracks vary from psyche-delving ballads about growing up - torn tongues and skyscraper ("I want to understand what's wrong with my brain," Rivas laughs), to the thrilling pop of elusive youth, a eulogy to a friend who "wears a city crown", to the everyday trials of being young and poor in London (see ants about Amelia's crumbling tooting bedsit and TV dinner, a paean to rubbish telly and cheap booze) and the heartbreaking title track sky swimming written in the eye storm of their relationship meltdown with the refrain "do your eyes turn blue before you cry, I see the blue in you".


    With winning appearances at Primavera and Eurosonic festivals behind them, not to mention support slots with cult hero Matthew E. White, under their belts, Elephant have in Sky Swimming one of the year's most seductive sounds. . "I flew to the moon to mirror you" sings Amelia on album closer Shapeshifter, with the sort raw melancholy that could only be cribbed from a blue valentine romance. "I saw the future." It should be a very bright future ahead for Elephant indeed.

    1. Assembly
    2. Skyscraper
    3. Allured
    4. Ants
    5. Elusive Youth
    6. Shipwrecked
    7. Torn Tongues
    8. Come To Me
    9. TV Dinner
    10. Sky Swimming
    11. Golden
    12. Shapeshifter
    Elephant
    $17.99
    Vinyl LP - Sealed Buy Now
  • Miles In The Sky (On Sale) Miles In The Sky (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
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    Miles In The Sky (On Sale)

    Numbered, Limited Edition


    1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic


    Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy


    Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future


    Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.


    Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.


    The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.


    Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.


    Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.


    Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.


    This title is not eligible for further discount.

    1. Stuff
    2. Paraphernalia
    3. Black Comedy
    4. Country Son
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Ocean Eyes Ocean Eyes Quick View

    $34.99
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    Ocean Eyes

    Loaded with amazing loops, catchy pickups, and lyrics that soothe the mind and touch the heart, Minnesota native Owl City (Adam Young ) has once again created a lush listening experience. Owl Citys trademark desire to escape in dreams, oceans and sky abound on this, his first official release, in songs such as Cave In and Umbrella Beach. Owl Eyes also continues to display a terrific wit uncommon in most electronic based music in such songs as the clap infused, bouncy Dental Care (a humorous metaphor on smiling) and Fireflies. Previously released fan favorite Hello Seattle gives the great Northwest its due with an ode to highlands, parking lots, Puget Sound and albatross. With glorious vocal harmonies (The Saltwater Room) and touching odes to love lost (Vanilla Twilight) Owl Eyes has dug more deeply on Ocean Eyes lyrically and musically than ever before.

    1. Cave In
    2. The Bird and The Worm
    3. Hello Seattle
    4. Umbrella Beach
    5. The Saltwater Room
    6. Dental Care
    7. Meteor Shower
    8. On The Wing
    9. Fireflies
    10. The Tip Of The Iceberg
    11. Vanilla Twilight
    Owl City
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • In Light In Light Quick View

    $19.99
    Buy Now
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    In Light

    Includes MP3 Download Card


    In Light is the debut album from the Lafayette, Louisiana-based five-piece Givers. Engineer Ben Allen (Cee-Lo, Animal Collective, M.I.A., Matt & Kim) helped to provide sounds here that expand upon the bands greatest assets, their innate knack for the catchiest of melodies, and the ever-evolving rhythms and sense of adventure that gave them their experimental edge.


    Opener and first single Up Up Up is nothing short of anthemic, a rousing calling card for the bands elated sound. Ripe is a kaleidoscope of sultry Afro-pop, while Meantime showcases the bands instrumental and thematic investment in fluidity, capping off with a no-holds-barred group sing-along. Words fuses fist-pumping, heavy percussion with staccato vocal chants, and In My Eyes is lifted into the night sky by fluttering harmonies, steel drum chimes, swirling guitar solos and cricket hums. Atlantic laces Lamsons textured drawl with Caribbean accents, ukulele plucks and keyboard sparkles.


    Refreshingly alive with melody, endless energy, and downright danceability, In Light is the perfect introduction to a band whose name you will be hearing throughout 2011 and beyond.

    1. Up Up Up

    2. Meantime
    3. Saw You First
    4. Ripe
    5. Noche Nada
    6. Ceiling of Plankton
    7. In My Eyes
    8. Atlantic
    9. Go Out at Night
    10. Words

    Givers
    $19.99
    Vinyl LP - Sealed Buy Now
  • In Hollywood (Speakers Corner) In Hollywood (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    In Hollywood (Speakers Corner)

    When stringed instruments are employed, it is often an indication that the protagonist is somewhat mature. It is an unwritten law that sooner or later every rock, jazz or folk musician will bathe in soft tones for once. Chet Atkins, however, was light years away from his artistic zenith, came up with a wealth of ideas and was in a great position with regards to recording facilities when he set down his Hollywood album in 1959. Two years earlier, "Mister Guitar" had become boss of the newly founded RCA Studio in Nashville. Here he recorded several records, which reflected his ideas of an appealing, catchy Nashville Sound as an answer to the declining rock and roll.


    The Hollywood numbers were by no means dynamite movie tracks or showstoppers. Dennis Farnon's delicate, lush arrangements rather more pay homage to the maestro with his no-frills art of playing. The gentle Italo evergreen Santa Lucia, Chaplin's beautiful Limelight with its violins and the time-honoured Greensleeves - all of them flawlessly performed - are a real pleasure for the ears. Atkins greatly admired the superb string orchestra and two years later he re-recorded the album using the tapes from the Hollywood session to create this new version.

    Musicians:



    • Chet Atkins (guitar)
    • Howard Roberts (guitar)
    • Jethro Burns (mandolin)
    • Clifford Hils (bass)
    • George Callender (bass)
    • Larry Bunker (drum & strings)
    • Jack Sperling(drum & strings)


    Recording: October 1958 in Hollywood

    Production: Chet Atkins




    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 emphasize 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. Armen's Theme
    2. Let It Be Me
    3. Theme From Picnic
    4. Theme From A Dream
    5. Estrelita
    6. Jitterbug Waltz
    7. Little Old Lady
    8. Limelight
    9. The Three Bells
    10. Santa Lucia
    11. Greensleeves
    12. Meet Mr. Callaghan
    Chet Atkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In A New Setting (Speakers Corner) In A New Setting (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    In A New Setting (Speakers Corner)

    The vibraphonist presents himself in a new setting in this recording from 1964. Clearly Milt Jackson wanted to free himself occasionally from the straightjacket of the Modern Jazz Quartet. Sonny's Blues is proof of this: it is percussive and swinging, and without the eagle eyes of John Lewis in the background. This time the young McCoy Tyner, who had worked with John Coltrane (A Love Supreme was recorded in the same month), was at the piano. Jimmy Heath, responsible for the drive not only as a composer but also as instrumentalist, and Bob Cranshaw on the bass, contribute important impetus to the short blues, ballad-like and bop themes. None of the twelve numbers became a real jazz hit, but each has kept its own individual charm to this day.
    If you set value on an excellent product being excellently packaged then you are well advised to purchase this LP. Unlike the CD version in its jewel case, this album is now being re-released with its original gatefold cover from the truly beautiful Limelight series, for which the designer alone should have received a Grammy.



    Musicians:



    • Jimmy Heath (tenor saxophone)

    • Milt Jackson (vibraphone (vibes))

    • McCoy Tyner (piano)

    • Bob Cranshaw (bass)

    • Connie Kay (drums)



    Recording: December 1964

    Production: Luchi De Jesus



    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. Sonny's Blues
    2. I'm Gonna Laugh You Out Of My Life
    3. Spanish Fly
    4. No Moon At All
    5. Slow Death
    6. Clay's Blues
    7. Lazy Melody
    8. Project-S
    9. Ev-ry Time We Say Goodbye
    10. That's In
    11. Ineffable
    Milt Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Mass in C Minor (Speakers Corner) Mozart: Mass in C Minor (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Mass in C Minor (Speakers Corner)

    It is not often that incomplete works enjoy great popularity. And it is even rarer that a torso should exercise such great importance in music history, but this is the case with Mozart's Great Mass, K. 427. The C minor Mass is always spoken of as if it were complete: it is spoken of with reverence, eyes looking towards Heaven, lost in the beauty of the music, transported to celestial heights. Mozart combines the compositional style of the Baroque masters with the more modern style of the Viennese Classic. Lofty arioso sections alternate with tremendous choral sections for up to eight parts whose splendid and spectacular timbre broke the bounds of tradition and set new standards for the genre.



    This Mass is, of course, not merely performed but celebrated, as the Berlin RSO under its Principal Conductor Ferenc Fricsay has so admirably demonstrated in this recording. Precise entries, strict tempi, a polished orchestral timbre and vocal soloists so brilliant one might think they were standing in one's own front room lend this recording top marks for musical quality and repertoire value.




    Musicians:



    • Maria Stader

    • Hertha Töpper

    • Ernst Haefliger

    • Ivan Sardi

    • Chorus

    • The Berlin Radio Symphony Orchestra

    • Ferenc Fricsay (conductor)




    Recording: September/ October 1967 at the Haus des Rundfunks, Berlin by Werner Wolf

    Production:Otto Gerdes





    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • From Elvis in Memphis (Speakers Corner) From Elvis in Memphis (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    From Elvis in Memphis (Speakers Corner)

    Ranked 190/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    A record by Elvis, produced in Tennessee. What's so special about that? Surely everyone knows that the lorry driver from the Southern State sobbed his early songs into the local radio microphones. But Elvis in Memphis is far more than just one of around 40 albums which the King of Rock' n' Roll produced during the course of 35 years. »This marks what is probably the most impressive comeback in the entire history of pop music«, enthused the normally reticent New York Times.



    What had happened? In 1969, after a 14-year meteoric career in show business and movies, and an exemplary PR campaign, Elvis returned to his hometown to record these songs which, in their style, are reminiscent of those recorded in the Fifties for Sun Records. Alongside the lavishly mixed pop and blues numbers (Power Of My Love) and country sound (I'm Movin' On), there is also one of the greatest chart-busters and heart-breakers of a whole generation: In The Ghetto.



    There is certainly no room for discussion about the value of this collectors' item - the astronomical price for a good secondhand copy speaks for itself!



    Musicians:



    • Elvis Presley (vocal, guitar, piano)

    • Ronnie Milsap (piano)

    • Bobby Emmons (organ)

    • Reggie Young (guitar, electric-guitar)

    • Tommy Cogbill, Mike Leech (bass)

    • Gene Chrisman (drums)

    • The Memphis Horns and background vocals




    Recording: 1969 by Al Pachucki

    Production: Felton Jarvis and Chips Moman





    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. Wearin' that Loved Look
    2. Only the Strong Survive
    3. I'll Hold You in My Heart
    4. Long Black Limousine
    5. It Keeps Right On A-Hurtin'
    6. I'm Movin On
    7. Power of My Love
    8. Gentle on My Mind
    9. After Loving You
    10. True Love Travels on a Gravel Road
    11. Any Day Now
    12. In the Ghetto
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schubert: Octet In F Major (Speakers Corner) Schubert: Octet In F Major (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Schubert: Octet In F Major (Speakers Corner)

    Schubert's light and flowing Octet in F major is of great importance in both an historical and a compositional aspect. Thanks to its combination of string and wind instruments, it is akin in character to the cheerful divertimento and the contemplative serenade. That the commissioned work is very similar to Beethoven's popular Septet op. 20 with regard to the individual movements and the key relationships is by no means accidental - that was what was ordered. Schubert occupied himself with the almighty giant's composition, though for a different reason: with his own Octet he wanted to »pave his way towards writing a great symphony«, whose dramatic force and form is clearly suggested here.



    Steeped in the musical traditions of the city on the Danube, the Vienna Octet is the ideal ensemble to perform this work. Led by Willi Boskovsky, who became world famous as concertmaster of the Vienna Philharmonic Orchestra and conductor of the New Year's Day Concerts, the ensemble plays with great agility, joy and togetherness from the first note on. The sound of each individual instrument comes over vividly in a natural, chamber-music-like atmosphere.



    Musicians:



    • Philip Matheis (violin)

    • Gunther Breitenbach (viola)

    • Nikolaus Hubner (cello)

    • Johann Krump (bass)

    • Alfred Boskovsky (clarinet)

    • Josef Veleba (horn)

    • Rudolf Hanzl (bassoon)





    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.



    Octet in F Major for Clarinet, Horn, Basson and Strings, D 80
    Franz Schubert
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Liszt: Sonata in B Minor (Speakers Corner) Liszt: Sonata in B Minor (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Liszt: Sonata in B Minor (Speakers Corner)

    Modesty is a virtue, it is said. And that is precisely what DECCA must have had in mind when they entitled the present Liszt recording "A Recital". More fitting and in no way over-exaggerated would have been "Essential Liszt", for all the works on the present recording are true highlights.



    The B minor Sonata is not only considered Liszt's most important piano composition but is moreover among the most magnificent and powerful piano works ever written. Clifford Curzon performs this work with amazing sovereignity, working his way through the work's rugged intricacies safely and surely, never missing even the tiniest motivic fragment.
    After a short pause to draw one's breath, we move on to enjoy the famous Liebestraum with its passionate recurring theme. The spirited and vigorous Valse oubliÉe is followed by the dazzling Gnomenreigen taken at a pace which almost verges on folly. This virtuosic firework display is brought to a contemplative close with the lyrical Berceuse in a masterly performance full of inner peace and clarity.



    This recording is perfect in every sense, both musically and technically, and is therefore recommended not only to confirmed lovers of Liszt but to those who are just beginning their love affair with him.







    Recording: September 1963 at Sofiensaal, Vienna by Roy Wallace

    Production: Michael Brenner




    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. Sonata in B Minor
    2. Liebstraum
    3. Valse Oubliee
    4. Gnomenreigen
    5. Berceuse
    Clifford Curzon
    $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
  • Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) (Awaiting Repress) Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) (Awaiting Repress)

    This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in the short space of around 15 minutes. In his Rhapsody In Blue Gershwin wanted to »paint a musical kaleidoscope of America - our enormous melting pot, our typical national traits, our blues, our seething city life«. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version with the Columbia Orchestra, from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and manoeuvres his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiselled solo playing. In Gershwin's freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word.
    Most fittingly, on the B side there is another freely composed work - the autobiographical sketch entitled An American In Paris. The superb New York musicians paint the impressions of a visitor to the hectic French capital city - that too is the sound of America.


    Musicians:



    • The Columbia Symphony Orchestra

    • New York Philharmonic Orchestra

    • George Gershwin (composer)

    • Leonard Bernstein (conductor)




    Recording: June 1959 and December 1958 at St George Hotel, Brooklyn, New York, by Fred Plaut and Frank Bruno

    Production: John McClure



    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. Rhapsody In Blue
    2. An American In Paris
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Dvorak: String Quintet In G Major (Speakers Corner) Dvorak: String Quintet In G Major (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak: String Quintet In G Major (Speakers Corner)

    A perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvoák's Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions.


    Here, the insistent, broad theme is presented in snappy cascades of sound. The cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvoák's distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.


    The Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvoák won an important prize for his Quintet.

    Recording: June 1971 at Boston Symphony Hall by GÜnter Hermanns
    Production: Thomas Mowrey



    Musicians:



    • Joseph Silverstein (violin)

    • Max Hobart (violin)

    • Burton Fine (viola)

    • Jules Eskin (cello)

    • Henry Portnoi (bass)



    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. Allegro Con Fuoco
    2. Intermezzo. Andante Religioso. Molto Adagio
    3. Scherzo. Allegro Vivace - Trio. L'Istesso Tempo, Quasi Allegretto
    4. Poco Andante

    5. Finale. Allegro Assai
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Big Band And Quartet In Concert (Speakers Corner) Big Band And Quartet In Concert (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Big Band And Quartet In Concert (Speakers Corner)

    Thelonious Monk could walk from his flat to New York's famous Philharmonic Hall on the corner of 64th Street and Broadway when he made his very first appearance there with his Big Band in December 1963. And the other musicians could get there on the underground: Phil Woods, Steve Lacy, Thad Jones - all of them were members of Monk's closest circle of collaborators. It is no wonder then that the well-known themes were highly agreeable and harmonious. I Mean You, Four In One and Epistrophy resounded through the auditorium, the audience was thrilled, Thelonious laughed and danced and a short while later fans could listen to parts of the concert on a recording released by Columbia Records. In a break for a smoke, Monk sat himself down at the piano and played Darkness On The Delta - nocturnal atmosphere pure.


    Does it bear the patina of times long past? Absolutely not! Thelonious Monk is as red-hot as he ever was.



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Steve Lacy (soprano saxophone)

    • Phil Woods (alto saxophone, clarinet)

    • Gene Allen (bassoon, clarinet)

    • Eddie Bert (trombone)

    • Thad Jones (cornet)

    • Nick Travis (trumpet)

    • Butch Warren (bass)

    • Frank Dunlop (drums)


    Recording: December 1963 at Lincoln Center, Philharmonic Hall, New York

    Production: Teo Macero



    About Speakers Corner



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



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



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



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



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



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


    1. I Mean You
    2. Evidence
    3. (When It's) Darkness On The Delta
    4. Oska T.
    5. Played Twice
    6. Four In One
    7. Epistrophy
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner) Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner)

    In the Sixties, the two befriended musicians Wild Bill Davis and Johnny Hodges often met up for jam sessions, at galas with Duke Ellington, and in various studios to make recordings for several record companies. However, their live concerts in Grace's Little Belmont in Atlantic City in 1966 were the declared highlights for critics, the public and musicians alike. This is not only proved by the masses of people who swarmed to the club, which was always jam-packed, it is also reflected in the sales figures of their recordings.



    On the present recording, the listener is offered a first-class programme of own compositions, Duke Ellington hits, and head arrangements. Good Queen Bess and Rockville are quite exceptional, and the other titles are hardly less enthralling. The rhythm group is hotter than hot with Lionel Hampton's Bobby Durham on the drums, and the two grand old men of swing really let themselves go. The trombonist Lawrence Brown, musical buddy from the Duke Ellington Orchestra, grooves in the background and we can be happy (thanks to the producer Rad McCuen!) that we can still thoroughly enjoy this great disc almost 50 years later.



    Recording: August 1966 live at Grace's Little Belmont, Atlantic City (USA), 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. It's Only A Paper Moon
    2. Taffy
    3. Good Queen Bess
    4. L B Blues
    5. In A Mellotone
    6. Rockville
    7. I'll Always Love You
    8. It Don't Mean A Thing (If It Ain't Got That Swing)
    9. Belle Of The Bellmount
    Wild Bill Davis & Johnny Hodges
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) (Awaiting Repress) Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) (Awaiting Repress)

    The frenetic applause with which both the public and the experts greeted the Concierto de Aranjuez for guitar and orchestra, composed in 1940, is certainly astounding - one would have thought that 20th-century music was dominated chiefly by composers of twelve-tone music and the avantguardists. Rodrigo, however, remained faithful to the Classical three-movement form, employed a late-Romantic orchestral colouring, and followed in the tradition of Spanish composers who, perhaps more than any others, won their inspiration from the folkmusic of their native country.



    The whole work is full of the exotic magic of Spanish folkmusic, whereby the rhythmic drive of the first movement - reminiscent of clicking castanets - is particularly fascinating. Fortunately not only the composer but also the conductor and orchestra have taken care that the gentle tones produced by the world famous guitarist Pepe Romero are clearly to be heard.



    In addition, the listener is treated to a performance of the rarely recorded Concierto Andaluz for four guitars, composed in 1967. Once again the Romeros demonstrate that they are not only amazingly virtuosic musicians but are also worthy dedicatees of this unique work.



    Last but not least, PHILIPS balance engineers have produced a superb recording: Rodrigo himself was absolutely delighted with it - and this opinion one can well endorse.




    Recording: July / August 1978 by Wilhelm Hellweg

    Production: Wilhelm Hellweg




    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.



    Rodrigo: Concierto de Aranjuez, Concierto Andaluz - Pepe Romero and the Academy of St. Martin-in-the-Fields conducted by Sir Neville Marriner
    Neville Marriner with Rodrigo
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Ammonia Avenue Ammonia Avenue Quick View

    $32.99
    Buy Now
    x

    Ammonia Avenue

    Released two years after their big-selling Eye In The Sky album, Ammonia Avenue from 1984 offers beautiful tunes, with intelligent lyrical content. The theme of the album is the communication breakdown of mankind in a society turning ever more antisocial. Alan Parsons Project is the pinnacle of art rock, and this album proves it, yielding the hit single Don't Answer Me. A great deal of variation and clever hooks result in a record that holds more than the sum of its parts: a great listen throughout!
    1. Prime Time
    2. Let Me Go Home
    3. One Good Reason
    4. Since The Last Goodbye
    5. Don't Answer Me
    6. Dancing On A High Wire
    7. You Don't Believe
    8. Pipeline
    9. Ammonia Avenue
    Alan Parsons Project
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Art of The Primadonna (Speakers Corner) The Art of The Primadonna (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    The Art of The Primadonna (Speakers Corner)

    Recording: July and August 1960 in Kingsway Hall, London, by Kenneth Wilkinson

    Production: Michael Bremner and Ray Minshull




    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.



    LP1
    1. Arne - Artaxerxes: The Soldier Tir'd
    2. Handel - Samson: Let The Bright Seraphim
    3. Bellini - Norma: Recit. And Aria, Casta Diva
    4. Bellini - I Puritani: Polonaise, Son Vergin Vezzosa
    5. Rossini - Semiramide: Bel Raggio
    6. Bellini - I Puritani: Qui La Voce
    7. Bellini - La Sonnambula: Recit. And Aria, come Per Me Sereno
    8. Gounod - Faust: The Jewel Song


    LP2
    1. Gounod - Romeo Et Juliette: The Waltz Song
    2. Verdi - Otello: The Willow Song
    3. Mozar - De Entfubrung Aus Dem Serail: Marten Aller Arten
    4. Verdi - La Traviata: Ah, Fors'e Lui And Sempre Libera
    5. Thomas - Hamlet: The Mad Scene
    6. Delibes - Lakme: The Bell Song
    7. Meyerbeer - Les Huguenots: O Beau Pays

    8. Verdi - Rigoletto: Recit And Aria, Caro Nome

    Joan Sutherland
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Elvis' Christmas Album (Speakers Corner) Elvis' Christmas Album (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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
  • Nilsson Sings Newman (Speakers Corner) Nilsson Sings Newman (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Nilsson Sings Newman (Speakers Corner)

    When two talented, cussed men such as Harry Nilsson and Randy Newman get together to record an album, you can be sure of an exceptional record filled with great vocals and poetry. Nilsson, who is described as a man who performs his songs with one cynical, laughing eye and one nostalgic, tearful eye in Rowohlt's Rock-Lexikon, finds inspiration in the then relatively unknown Newman, a docile but caustic social critic who often attacked American society in his songs.



    In the layers and harmonies achieved partly by overdubbing, and which alternate between cowshed, barbershop and the Beatles, Nilsson manages to make his bitter words somewhat easier to digest. He relates the bizarre chronicle of a couple who have a dull relationship and who morbidly look forward to passing away in an old people's home (Love Story), or he swears his undying love to a certain Caroline in springtime, or he is transported back in time in his mind's eye to an idyllic little town in the countryside (Dayton, Ohio 1903). A weighty musical background would lend nothing to these highly sophisticated songs. Piano chords, a little bit of electric harpsichord, and a tinkle on the organ keys here and there suffice to dally in an old-fashioned manner - with a sarcastic smile or even a nasty grin - in the desolation of reality, without getting the blues.



    Musicians:



    • Harry Nilsson (vocal, keyboards, percussion)

    • Randy Newman (piano)




    Recording: August - October 1969 at RCA's Music Center of the World, Hollywood, by Grover Helsley

    Production: Harry Nilsson





    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. Vine St.
    2. Love Story
    3. Yellow Man
    4. Caroline
    5. Cowboy
    6. The Beehive State
    7. I'll Be Home
    8. Living Without You
    9. Dayton, Ohio 1903
    10. So Long Dad
    Harry Nilsson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aerial Ballet (Speakers Corner) Aerial Ballet (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Aerial Ballet (Speakers Corner)

    To define in a nutshell the music of Harry Nilsson in accordance with his personality can easily become a fiasco. The American singer-songwriter might well share his reputation as a multi-talented eccentric with a number of other musicians. However, his highly unusual style and his »satirical catchy pop songs [composed] with the sparkling eye of a cynic and the tearful eye of a nostalgic« (rororo Rock Lexicon) cannot be pigeonholed. Nilsson packaged derisive lines, spiced with a pinch of self-irony, in suspiciously pleasing yet carefully selected tunes. His cultivated and astonishingly supple voice basked to the full in bittersweet phrases, aided by elaborate, melting, slushy arrangements with strings and winds. Several of the wonderfully fresh numbers from Aerial Ballet reached top places in the charts. Everybody's Talkin' became world-famous through its use in the film Asphalt Cowboy and brought Nilsson his first Grammy award. The song One soared to the top ten of the charts. The other light and airy songs now invite you to create your very own hit list. Every single number makes great listening!


    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:



    • Harry Nilsson (vocal)

    • Plas Johnson (woodwinds)

    • Dennis Budimir (guitar)

    • Al Casey (guitar)

    • Michael Melvoin (harpsichord, organ, piano)

    • Larry Knechtel (bass, piano)

    • Jim Gordon (drums)

    • Milt Holland (percussion)




    Recording: 1967 and 1968 in RCA Victor's Music Center Of The World, Hollywood

    Production: Rick Jarrad





    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. Daddy's Song
    2. Good Old Desk
    3. Don't Leave Me
    4. Mr. Richland's Favorite Song
    5. Little Cowboy
    6. Together
    7. Everybody's Talkin'
    8. I Said Goodbye To Me
    9. Little Cowboy
    10. Mr. Tinker
    11. One
    12. The Wailing Of The Willow
    13. Bath
    Harry Nilsson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Splendido Hotel (Speakers Corner) Splendido Hotel (Speakers Corner) Quick View

    $64.99
    Buy Now
    x

    Splendido Hotel (Speakers Corner)

    Just how much creative gunpowder had Al Di Meola ignited in his early career? First of all there was the flamenco firework in the best-seller Elegant Gypsy, and secondly his mega-successful live album resulting from a summit meeting in San Francisco with Paco de Lucia and John McLaughlin. After this great start it was no wonder that such prominent colleagues as Jan Hammer, Chick Corea, Steve Gadd, Anthony Jackson and Les Paul were eager to participate in the present album Splendido Hotel.


    This great line-up of musicians produce a rich, saturated sound and create numerous 'flavours' in this cocktail of sounds, which - as a double LP - can be likened to a fantastic long drink, as it were. Di Meola's idea of fusion starts off in the opening number as a slow, sluggish oriental-like melody, which develops to take on a rock rhythm. High-speed and lovingly detailed flamenco such as is found in Splendido Sundance alternates with subtle rhythms (Two To Tango) and good-humoured lighter numbers with an electronic undertone such as Roller Jubilee and a funky version of Bert Kaempfert's Spanish Eyes. With this great mix, the musicians create a wonderful atmosphere in which every Latin aficionado will feel at home.

    Musicians:



    • Al Di Meola (guitar, cello, drums, percussion)

    • Chick Corea (piano)

    • Les Paul (guitar)

    • Jan Hammer (synthesizer)

    • Anthony Jackson (bass)

    • Mingo Lewis (conga, bongo, percussion

    • Philippe Saisse (keyboards, marimba)

    • Steve Gadd (drums)

    • Eddie Colon (percussion)




    Recording: 1979 at CBS Recording and Electric Lady Studios, New York, by Dave Palmer and Love Castle Studios, Los Angeles, by Bernie Kisch

    Production: Al Di Meola and Philip Roberge




    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.


    LP 1
    1. Alien Chase On Arabian Desert
    2. Silent Story In Her Eyes

    3. Roller Jubilee
    4. Two To Tango
    5. Al Di's Dream Theme


    LP 2
    1. Dinner Music Of The Gods

    2. Splendido Sundance
    3. I Can Tell
    4. Spanish Eyes
    5. Isfahan
    6. Bianca's Midnight Lullaby

    Al Di Meola
    $64.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPS Sealed Buy Now
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