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  • Funk, Inc. (Pre-Order) Funk, Inc. (Pre-Order) Quick View

    $24.99
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    Funk, Inc. (Pre-Order)

    Funk, Inc. is the first studio album by Funk, Inc., originally released in 1971.
    1. Kool Is Back
    2. Bowlegs
    3. Sister Janie
    4. The Thrill Is Gone
    5. The Whipper
    Funk, Inc.
    $24.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Man-Child (Speakers Corner) Man-Child (Speakers Corner) Quick View

    $34.99
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    Man-Child (Speakers Corner)

    After his early avant-garde years with Blue Note Records, Herbie Hancock achieved much success with pop music fans by gradually turning towards a mixture of Afro-American styles in which he combined soul, jazz and funk. Having composed the soundtrack to Bill Cosby's animated children's show Fat Albert and the Cosby Kids and released a popular family-orientated album entitled Fat Albert Rotunda, Hancock stated that instead of looking for jazz musicians who could play funky music, he had searched for funk musicians with a feeling for jazz. That this concept functions only too well is demonstrated in the funky album Man-Child, which features such brilliant jazz musicians as Wayne Shorter, Bennie Maupin and Ernie Watts. But wait! There's no narcissistic showing off here as in a jam session. The whole band performs as one, playing concentrated grooves around Hancock's carefully intertwined electronic sounds. The result is a fast-paced funky style, due to the collective efforts of the band, although each member is given ample opportunity to show off his prowess in short solo interludes and thus delight the listener with his unique style.



    Musicians:



    • Bud Brisbois (trumpet)

    • Garnett Brown (trombone)

    • Dick Hyde (tuba, bass trombone)

    • Wayne Shorter (soprano saxophone)

    • Bennie Maupin (soprano saxophone, tenor saxophone, saxello, bass clarinet, flute)

    • Jim Horn (saxes, flute)

    • Stevie Wonder (harmonica)

    • Herbie Hancock (keyboard)

    • David T. Walker (guitar)

    • Wah Wah Watson (guitar, voice bag, synthesizer)

    • Henry Davis (electric bass)

    • James Gadson (drums)

    • Bill Summers (percussion)



    Recording: July 1975 at Wally Heider Recording Studios, San Francisco / Village Recorders, Los Angeles / Funky Features, San Francisco / Crystal Studios, Los Angeles

    Production: David Rubinson & Friends Inc. and Herbie Hancock



    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. Hang Up Your Hang Ups
    2. Sun Touch
    3. The Traito
    4. Bubbles
    5. Steppin' In It
    6. Heartbeat
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hangin' Out Hangin' Out Quick View

    $13.99
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    Hangin' Out

    Smokin' At Tiffany's
    Give Ne Your Love
    We Can Be Friends
    Dirty Red
    I Can See Clearly Now
    I'll Be Around
    Funk, Inc.
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Superfunk Superfunk Quick View

    $31.99
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    Superfunk

    1973 release from the jazz/soul group featuring organist Bobby Watley. Limited pressing.
    1. Message from the Meters
    2. Goodbye So Long
    3. The Hill Where the Lord Hides
    4. Honey I Love You
    5. Just Don't Mean a Thing
    6. I'm Gonna Love You Just a Little More, Baby
    Funk Inc.
    $31.99
    Vinyl LP - Sealed Buy Now
  • Black Out Black Out Quick View

    $13.99
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    Black Out

    Black Out
    Light Sings
    Bed Of Nails
    Stone Flower
    Moonlight In Vermont
    Check It Out
    Fats Theus
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Jazz Dispensary: Purple Funk (Awaiting Repress) Jazz Dispensary: Purple Funk (Awaiting Repress) Quick View

    $24.99
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    Jazz Dispensary: Purple Funk (Awaiting Repress)

    Features a bevy of certified jazz-funkateers including Pleasure, the Blackbyrds, Funk,
    Inc. and David Axelrod, plus the rarely heard 12" mix of Azymuth's plush, vocoder-funk gem, "Dear Limmertz."
    Equally sweet and awfully nasty, Purple Funk keeps the groove alive with over 40 minutes of classic tunes.
    1. Lafayette Afro Rock Band - Hihache
    2. The Pazant Brothers and the Beaufort Express - A Gritty Nitty
    3. Funk, Inc. - Kool Is Back [Edit]
    4. Roy Lee Johnson And The Villagers - Patch It Up
    5. The Blackbyrds - Rock Creek Park
    6. Pleasure - Bouncy Lady
    7. David Axelrod - Mucho Chupar
    8. Patrice Rushen - The Hump
    9. Azymuth - Dear Limmertz [12" Mix]
    Various Artists
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Second Album The Second Album Quick View

    $24.99
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    The Second Album

    Back in 1995, Bay Area rap was at the big-ballin' peak of the mobb music craze, LA was chronically gripped in a G-funk indo smoke haze, Atlanta was
    enjoying its Southernplayalistic days, and NYC was entering a shiny-suit phase. There was no frame of reference for two lyrical emcees experimenting
    with the tonality and resonance of rhyme patterns. This was uncharted territory. The pairing of Lyrics Born and Lateef the Truthspeaker into Latyrx was an accident, LB recalls. Both emcees were solo artists, but when LB heard the pre-Endtroducing DJ Shadow beat which would become Latyrx' eponymous debut single, his reaction was, Oh my God, I gotta get on this.


    Latyrx was a syllabic tour de force which began with two dissonant voices -- one gruff and bassy, the other higher-pitched and trebly, both hella fluid -- it
    transmogrified into a harmonic convergence of doubled verses simultaneously assaulting eardrums. Undeniably, it was great... but weird. It was ill,
    Lateef recalls. We really felt like we had something unlike anyone else had done, he adds. Latyrx' first and thusfar, only, full-length, 1997's Latyrx: the Album, set the tone for what Solesides and Quannum would do, LB recalls, while 1998's Muzappers Re-Mixes EP spawned one of the only feminist-affirming club bangers in hip-hop history, Lady Don't Tek No.


    Though Latyrx never officially broke up, after Muzappers, both members followed their chosen paths to considerable solo success. Yet no matter how
    much acclaim each attained individually, the notion of someday making another Latyrx record was always present. It's probably the number one thing I
    got asked about in my career, LB says. 16 years (!) after the release of Latyrx: the Album, LB and Lateef have finally answered the prayers of long-starved fans who have begged, pleaded and, by now, tweeted about the possibilities of a reunion. An impromptu Latyrx set at a 2010 Jazz Mafia concert at San Francisco's Mezzanine led to an
    appearance at 2011's Outside Lands festival, Google's Summer Concert Series (they were the first ever hip-hop act to perform) and a last minute
    appearance as part of HITRECORD At The Movies -- a unique film and music traveling showcase curated and hosted by actor and artist Joseph Gordon-
    Levitt.


    Most recently the duo have performed at the Wintersalt Festival in San Francisco last December and toured the United States with super funk group,
    Galactic. Having just released a brand new EP titled 'DISCONNECTION' late last year, LB & Lateef are hard at work on the proper follow up to their debut album, a
    new record aptly titled, 'THE SECOND ALBUM'.


    Featuring a long list of producers and special guests, the album credits read like a music festival with artists from Tune Yards and Forrest Day to
    Blackalicious and The Decemberists stepping in to help create one of the most highly anticipated records of all time. What Latyrx brings to the table is a technical difficulty level rare these days in hip-hop and matched only by a few groups in the genre's entire history: Run -DMC, Jurassic 5, Blackstar, Freestyle Fellowship. Their challenging, intricate back-and forth arrangements evoke a lyrical version of bebop, with layer
    upon layer of rhythmic syncopation and vocal patterning constantly pushing the envelope.


    We have a good chemistry and it's kind of unique, Lateef says. We step up each others' game content, and both of us push each other in the originality
    department. What we've talked about is very simply, picking up where we left off, LB explains. The return of Latyrx stands as Very Good News for true hip-hop fans,
    lyrical aficionados, boom-bap beatniks, urban bohemians, wee tots in Reeboks, and Muzappers of all shapes, sizes, colors, and ages.

    1. Arrival [prod. by Jel of Anticon]
    2. It's Time [feat. Zion I, prod. by Amp Live]
    3. Reload [prod. by Jel of Anticon]
    4. Exclamation Point [feat. Forrest Day, prod. by Forrest Day]
    5. Deliberate Jibberish [prod. by tUnE-yArDs]
    6. Close Your Eyes [feat. Busdriver, prod. by Antonionian]
    7. Nebula's Eye [feat. 1-O.A.K. & Joyo Velarde, prod. by G-Koop & O-Man]
    8. The Power of Rumor (Leonard Is Lost) [prod. by Adam Theis and Lyrics Born]
    9. Watershed Moment [feat. The Gift of Gab of Blackalicious, prod. by tUnE-yArDs]
    10. Sometimes Why? [prod. by Chris Funk of The Decemberists]
    11. Every Man For Himself [feat. Joyo Velarde, prod. by Future People]
    12. Electric Chair [feat. Corey Glover of Living Colour, prod. by Kaveh Rastegar & Jeremy Ruzumna]
    13. Gorgeous Spirits (Aye, Let's Go!) [prod. by The Bangerz]
    Latyrx
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Lawdy, Lawdy, Lawd (On Sale) Lawdy, Lawdy, Lawd (On Sale) On Sale Quick View

    $22.99 $18.16 Save $4.83 (21%)

    Buy Now
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    Lawdy, Lawdy, Lawd (On Sale)

    Warrior horse-woman of myth or chimerical beast of the late 1970s funk? It is simply Centaura, available here for what amounts to the first time. For Atlanta hillbilly impresario BOB RILEY, the "spiral Series" of 12"s was part put-on, part hustle- but for Birmingham, Alabama's Centaura, that spiral-in logo appeared as a long-shot leg up. Their record's two-color, one-idea cover was mass-produced for Riley's envisioned run of potential releases though nothing but the enigmatic Centaura ever filled the jacket - and just barely.


    Recorded in 1978, LAWDY, LAWDY, LAWD is a long-playing Golden Fleece of funk, disco, boogie, and deep post-Muscle Shoals balladry that would've surely failed to exist without Riley's extreme penny-pinching tactics in service of a failed marketing ploy so ludicrous, it kept the LP out of stores, relegated to extreme scarcity forever.


    On SIDE ONE, Jesse Daniel and Cedrich Rutledge trade energized beats and freaks, before the synth-washed slowdown of "One Of A Kind'. SIDE TWO features Riley's two textbook funk cuts and album-ender "Just Don't Love You' -a mysterious tack-on of the Carbon Copies' Git Down Inc - issued 45, plus a heaving "Distant Lover" that sexes Marvin Gaye's original into softcore porn territory.

    1. Funky Beat
    2. Doing the Freak
    3. It's Cool
    4. One of a Kind
    5. Just You and Me
    6. Distant Lover
    7. Lawdy Lawdy Lawd
    8. I Need Love
    9. Just Don't Love You
    Centaura
    $22.99 $18.16 Save $4.83 (21%)
    Vinyl LP - Sealed Buy Now
  • Chicken Lickin' (On Sale) Chicken Lickin' (On Sale) On Sale Quick View

    $31.99 $25.27 Save $6.72 (21%)

    Buy Now
    x

    Chicken Lickin' (On Sale)

    Their 2nd funk/jazz album for Prestige from 1972. Limited pressing.

    1. Chicken Lickin'
    2. Running Away
    3. They Trying to Get Me
    4. Better Half
    5. Let's Make Peace and Stop the War
    6. Jung Bongo
    Funk Inc.
    $31.99 $25.27 Save $6.72 (21%)
    Vinyl LP - Sealed Buy Now
  • Trying To Live My Life Without You Trying To Live My Life Without You Quick View

    $16.99
    Buy Now
    x

    Trying To Live My Life Without You

    Otis Clay is one of the premier deep soul and gospel singers working today. His raw, fiery vocals drive an energetic and danceable blend of soul, r&b and blues in the tradition of such deep soul singers as Otis Redding, Wilson Pickett and Solomon Burke.


    A master showman, Otis Clay stays in demand for festival and concert appearances in the U.S., Europe and Japan. Noteworthy recent appearances include headlining The 2006 Japan Blues and Soul Festival Tour, headlining the opening night and being Honorary President of The 2006 Blues Passions Festival in Cognac, France a special guest appearance at The Chicago Emmy Awards in Nov., 2006 and the 2007 Chicago Gospel Music Festival.


    Born in Waxhaw, Mississippi, Clay began his career in gospel singing with groups such as The Pilgrim Harmonizers, The Gospel Songbirds and the legendary Sensational Nightingales. His recording of When The Gates Swing Open was a hit in the mid-80's and is included on The Gospel Truth cd released on Blind Pig Records. Both When The Gates Swing Open and The Gospel Truth remain staples on gospel radio today. As a singer and producer, Otis Clay remains very active in gospel. Walk A Mile In My Shoes, a new cd featuring Otis' version of this classic song has been released on his own Echo Records label.


    Clay launched and established his career as a deep soul singer with his first recordings made in the mid-60s for George Leaner's One-derful label in Chicago. A series of hit singles including Trying To Live My Life Without You produced by Willie Mitchell in Memphis for Hi Records followed in the '70's. Otis has also recorded for the Cotillion, Kayvette, Elka and Rounder labels as well as his own Echo Records. The intensity and passion of his live shows are captured on Soul Man: Live in Japan (Rounder) and Respect Yourself (Blind Pig) recorded live at The Lucerne Blues Festival in Switzerland.


    A long time resident of Chicago's West Side, Otis Clay is actively involved as a board member of People For New Direction, a community-based non-profit creating economic initiatives to address a number of issues on the West Side. People For New Direction consists of West Side businessmen and women, doctors, ministers and others who believe strongly in giving something back to the community where they live and work.


    As Chairman of The Board of the non-profit Tobacco Road, Inc. (TRI, Inc.), Otis was heavily involved in the extensive planning, fundraising and development of The Harold Washington Cultural Center at 47th and King Drive which has served as the cornerstone for the revitalization and redevelopment of the historic Bronzeville neighborhood. The Cultural Center, which includes the state-of-the-art 1,000 seat Com-Ed Performing Arts Theatre, is built on the former site of The Regal Theatre, the legendary venue for national and Chicago-based r&b/soul, blues, jazz and comedy stars.


    Whether bringing audiences around the globe to their feet with his fiery brand of soul and gospel or working tirelessly with community and church leaders to provide better economic and cultural opportunities for West and South Side Chicago residents, Otis Clay has proven himself to be a national treasure.

    1. Trying To Live My Life Without You
    2. I Die A Little Each Day
    3. Holding On To A Dying Love
    4. I Can't Make It Alone
    5. That's How It Is
    6. I Love You I Need You
    7. You Can't Keep Running From My Love
    8. Precious Precious
    9. Home Is Where The Heart Is
    10. Too Many Hands
    Otis Clay
    $16.99
    Vinyl LP - Sealed Buy Now
  • Bossa Nova and Blues Bossa Nova and Blues Quick View

    $24.99
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    Bossa Nova and Blues


    This Sundazed Mono Edition Reproduces The Original Artwork And Presents The Original 12-Song LP On 180 Gram Vinyl Mastered From The Original Analog Reels And Pressed At Record Technology Inc.


    One of the Three Kings of blues guitar along with B.B. and Albert, Texas-born Freddy (Freddie) King influenced everyone from Eric Clapton and Peter Green in the UK to Jerry Garcia and Stevie Ray Vaughan in the States. But even his staying up all night playing poker with Grand Funk wasn't enough to prevent his seminal King/Federal albums from staying out of print on vinyl for decades - until Sundazed came to the rescue. The reissue campaign that began with meticulously mastered editions of King classics Let's Hide Away and Dance Away with Freddy King, Freddy King Gives You a Bonanza of Instrumentals, and Freddy King Goes Surfin' continues with his rare 1963 offering, Bossa Nova and Blues. In the tradition of his surfing album, which wasn't really surf, Bossa Nova and Blues had no bossa nova - but the advertising was at least half true, and hey, there were two cuts that had "bossa nova" in the title. Though King was best known for blues instrumentals, "Bossa Nova Blues" and "The Bossa Nova Watusi Twist" (dig the dance craze threesome) were actually the only two instrumentals on an album otherwise dedicated to bluesy ballads. But of course, Freddie made it work - churning out bonafide classics like the karmic "Someday, After A While (You'll Be Sorry)" (later covered by John Mayall and the Blues Breakers on A Hard Road, also reissued on Sundazed mono LP), the emotive "The Welfare (Turns Its Back on You)," the soulful "It Hurts to Be In Love," and the more uptempo, New Orleans-flavored "You're Barkin' Up the Wrong Tree."

    1. (I'd Love To) Make Love To You
    2. You're Barkin' Up The Wrong Tree
    3. Look Ma, I'm Cryin'
    4. It Hurts To Be In Love
    5. You Walked In
    6. The Bossa Nova Watusi Twist
    7. Is My Baby Mad At Me
    8. Someday, After A While (You'll Be Sorry)
    9. One Hundred Years
    10. Bossa Nova Blues
    11. The Welfare (Turns Its Back on You)
    12. Walk Down That Aisle (Honey Chile)
    Freddy King
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Fire From The Evening Sun Fire From The Evening Sun Quick View

    $24.99
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    Fire From The Evening Sun

    PHILM, the temperamental, highly gifted brainchild of Dave Lombardo certainly did not come to fruition
    overnight. Years of life lessons and rhythmical adventures slowly molded and manipulated his latest creation for
    the musical misfits of the world.


    As a multi-genre labyrinth, PHILM resonates not only the individual symphonic personalities of its members, but
    their uniquely agile bond in instrumentation as a whole.


    Front-man Gerry Nestler, noted for his undeniable skill and rapport with his guitar, is best known for his work
    with progmetallists, Civil Defiance. An impassioned vocalist, his musical journey has also found him gaining
    much respect for his lyrical prowess. Nestler describes PHILMs music as, "Heavy but sensitive, powerful and
    atmospheric." He further elaborated, saying ". The music of PHILM is channeled through the many different
    influences of drum and bass, expressionism, and underground that is indigenous to the street, Nestler states.
    There are many different things that Dave and I have been into that have contributed to the vision of PHILM.
    Pancho's highly skilled bass playing, chordal color and shape have helped expand the overall sound
    instrumentation and groove. Dave Lombardo's drumming goes without comparison.


    Bassist, Pancho Tomaselli, a long-time member of funk rockers, War and most recently, Tower of Power is
    sought after for his aggressively malleable, yet smooth way around his bass guitar. Drummer, Dave Lombardo,
    is most widely known for his legendary work with a band he co-developed at the young age of 17, SLAYER. His
    work with Mike Patton (Fantomas), John Zorn (Bladerunner), Grip Inc., and many others, leaves no room for
    questioning his legendary status as one of the most skilled and innovative drummers in the world. Justifiably
    typecast to the genre he helped trail-blaze, it is certainly a shock to Lombardo enthusiasts to see his infamous
    drum set now scaled down to a four piece kit. But, the depth of his musical aptitude is much more than what
    has come to be known as his signature sound. His prodigious skill and affinity for heavy, penetrating grooves is
    oddly taken to another level in his work with this riveting trio. To quote Tomaselli, "It's like playing with the
    seven, not four, horses of the Apocalypse behind you."


    PHILMs music is a dense, unholy convergence of tones and discords." Lombardo states, " We tend to live on the
    heavy side, but we also touch on haunting, desolate, ambient sounds.


    These three innovative musicians have masterfully revived the concept of the Power Trio. Often improvised,
    their live set can find their audience entranced by a raw, tonal journey that is both awe-inspiring and thrilling

    1. Train
    2. Fire From The Evening Sun
    3. Lady Of The Lake
    4. Lion's Pit
    5. Silver Queen
    6. We Sail At Dawn
    7. Omniscience
    8. Fanboy
    9. Luxhaven
    10. Blue Dragon
    11. Turn In The Sky
    12. Corner Girl
    Philm
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Amigos (Speakers Corner) Amigos (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Amigos (Speakers Corner)

    Santana's music is like the game of Mikado - a tight bundle of pieces in various styles that is difficult to handle, even for experienced musicians. No whether the sticks are labelled funk, jazz, rock, R & B, or folk: when you try to pick out just one of these, the whole lot vibrates alongside.



    It seems relatively simple (and is often attempted) to try and sort out track lists according to more or less commercially oriented compilations. And having fastidiously set up the ranking and astutely discussed it in your circle of friends, you can sit back and enjoy the brilliant guitar sound of such blockbusters as Caravanserai or Welcome - quality rules the day!



    In his seventh album the guitar guru is once again surrounded by numerous freshly recruited supporting musicians and the star producer David Rubinson. The latter watches carefully over the development of this project, which is highly reminiscent of the early Santana sound. A perceptible infatuation with the vocals, or the wealth of buzzing, pulsating, clattering, clicking rhythms, or yet again the inimitable bubbling, frothy guitar solos: a Santana LP is simply unthinkable without all this. Why then should one try to pick out the various styles, genres or consumer groups when this record belongs to his best and most important six, seven - or maybe even eight? At the end of the day, we all remain amigos with Santana.



    Musicians:



    • Devadip Carlos Santana (guitar, vocals, percussion, conga)

    • Tom Coster (keyboards)

    • Ndugu Leon Chandler (drums, percussion, conga)

    • Armanda Peraza (conga, percussion, vocals)

    • David Brown (bass)

    • Greg Walker (vocals)




    Recording: 1976 at Wally Heider Recording Studios, San Francisco, by Fred Catero and David Rubinson

    Production: David Rubinson & Friends, Inc.




    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. Dance Sister Dance (Baila Mi Hermana)
    2. Take Me with You
    3. Let Me
    4. Gitano
    5. Tell Me Are You Tired
    6. Europa (Earth's Cry Heaven's Smile)
    7. Let It Shine
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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