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  • Reference Series RS1e Headphones Reference Series RS1e Headphones Quick View

    $695.00
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    Reference Series RS1e Headphones


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Referential Treatment


    Ever wondered what hardcore audiophiles are hearing, and that you might be missing? The Grado RS1e is the point of no return so be warned, cross this threshold and you'll never enjoy mass-market headphones again. Once you've experienced this elegant audio masterpiece you'll grasp the reference.


    The new RS1e from Grado uses a different species of handcrafted mahogany from our previous models. The earpieces utilize an intricate curing process that optimizes the tonal quality while giving them a new look. The RS1e places a 50mm dynamic transducer and an 8 conductor cable design in an open-air configuration. The result is a smooth, controlled, and coherent sound with detailed dynamics. Frequency response ranges from 12-30 kHz and the drivers are matched to 0.05dB. Weighing 9oz, the headphones are an example of the wonders of Mother Nature with a gorgeous light mahogany look. The RS1e is a masterpiece in the Grado collection.


    ... They excel at giving your music real definition, and they have one of the silkiest presentations at the high end that I've heard in a set of on-ear headphones. I found they did real justice to almost any music I fed them, and they're beautifully balanced at medium to full listening levels. Another win for Grado.

    - Crutchfield, Woody Sherman


    This product is not eligible for discount.


    Grado Headphones
    $695.00
    Headphones Buy Now
  • White Pepper White Pepper Quick View

    $21.99
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    White Pepper

    Originally released in 2000, White Pepper, is one of the Pennsylvania duos finest. Gene and Dean Ween are outsider pop geniuses in the greatest sense of the term, brilliant musicians with a firm grasp on just about every popular genre in the last 50 years (brit-pop, prog, country, soul, new wave, and beyond) and a quirk streak a mile wide.

    1. Exactly Where I'm At
    2. Flutes of Chi
    3. Even If You Don't
    4. Bananas and Blow
    5. Stroker Ace
    6. Ice Castles
    7. Back to Basom
    8. The Grobe
    9. Pandy Fackler
    10. Stay Forever
    11. Falling Out
    12. She's Your Baby
    Ween
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweet Dreams (Discontinued) (On Sale) Sweet Dreams (Discontinued) (On Sale) On Sale Quick View

    $18.99 $15.00 Save $3.99 (21%)

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    Sweet Dreams (Discontinued) (On Sale)

    Limited Edition



    Brooklyn's Titan specialize in crafting epic rock jams; smokey, sprawling stretches of sweet riffs, swirling synths, and all the right kinds of rock bombast. They have an instinctual grasp on tension and release, with each song building to several emotional crescendos before ebbing, only to repeat in the most compelling of ways. Sweet Dreams, and especially the track Wooded Altar Beyond The Wander, prove that Titan is one of America's finest rock exports.

    1. Sweet Dreams
    2. Synthasaurs
    3. Wooded Altar Beyong The Wander
    4. Highlands Of Orick
    5. Maximum Soberdrive
    Titan
    $18.99 $15.00 Save $3.99 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • White Pepper (White Vinyl) White Pepper (White Vinyl) Quick View

    $24.99
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    White Pepper (White Vinyl)

    Originally released in 2000, White Pepper, is one of the Pennsylvania duos finest. Gene and Dean Ween are outsider pop geniuses in the greatest sense of the term, brilliant musicians with a firm grasp on just about every popular genre in the last 50 years (brit-pop, prog, country, soul, new wave, and beyond) and a quirk streak a mile wide. Another Ween classic reissued on white vinyl from Plain Recordings.

    1. Exactly Where I'm At
    2. Flutes of Chi
    3. Even If You Don't
    4. Bananas and Blow
    5. Stroker Ace
    6. Ice Castles
    7. Back to Basom
    8. The Grobe
    9. Pandy Fackler
    10. Stay Forever
    11. Falling Out
    12. She's Your Baby
    Ween
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Order of Noise Order of Noise Quick View

    $29.99
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    Order of Noise

    In the past, trying to pin down Vessel's constantly evolving sound has never been an easy task and with the release of his debut album it's be come a whole lot harder. In the past 12 months, Vessel,AKA 22-year-old Sebastian Gainsborough, has been introducing people to his sound via a series of 12 releases on a number of forward thinking underground labels with each release confounding the expectations of those trying to get a grasp on what exactly he was doing. Order of Noise is the culmination of his first exploratory steps as an artist.
    01. Vizar
    02. Stillborn Dub
    03. Images Of Bodies
    04. Silten
    05. Lache
    06. Aries
    07. 2 Moon Dub
    08. Scarletta
    09. Plane Curves
    10. Temples
    11. Court Of Lions
    12. Villaine
    Vessel
    $29.99
    Vinyl LP - Sealed Buy Now
  • Far Cry Far Cry Quick View

    $21.99
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    Far Cry

    Far Cry finds multi-reedist Eric Dolphy in a transitional phase, relinquishing Parker's governing universal impact and diving into the next controversial phase that critics began calling anti-jazz. On this date Booker Little's lyrical trumpet and Jackie Byard's confident grasp of multiple piano styles (though both steeped in hard bop) were sympathetic to the burgeoning avant-garde approach that Dolphy displays, albeit sparingly, on this session.


    Far Cry contains the initial performance of Dolphy's future jazz classic Miss Ann, along with his first recorded solo alto sax performance on Tenderly, in which Dolphy bridges the gap between the solo saxophone performances of Coleman Hawkins and Anthony Braxton.


    - Al Campbell (All Music Guide)

    1. Mrs. Parker of K. C. (Bird's Mother)
    2. Ode to Charlie Parker
    3. Far Cry
    4. Miss Ann
    5. Left Alone
    6. Tenderly
    7. It's Magic
    8. Serene
    Eric Dolphy
    $21.99
    Vinyl LP - Sealed Buy Now
  • Congratulations I'm Sorry Congratulations I'm Sorry Quick View

    $19.99
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    Congratulations I'm Sorry

    Most observers wondered if the Gin Blossoms would be able to deliver a consistent second album after the departure (and subsequent suicide) of Doug Hopkins, their former guitarist who wrote Hey Jealousy and Found Out About You, the two big hits from the band's debut. Congratulations...I'm Sorry proves that they can. The Gin Blossoms haven't backed away from the sound that made New Miserable Experience a hit. It's filled with chiming guitars, sweet melodies, and simple, catchy hooks, as well as a sturdy grasp of traditional pop/rock songwriting that results in a number of gems. Now on vinyl for the first time.
    1. Day Job
    2. Highwire
    3. Follow You Down
    4. Not Only Numb
    5. As Long As It Matters
    6. Peferctly Still
    7. 7th Inning Stretch
    8. My Car
    9. Virginia
    10. Whitewash
    11. I Can't Figure You Out
    12. Memphis Time
    13. Competition Smile
    Gin Blossoms
    $19.99
    Vinyl LP - Sealed Buy Now
  • Blues Run The Game-The Needle And The Damage Done Blues Run The Game-The Needle And The Damage Done Quick View

    $6.99
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    Blues Run The Game-The Needle And The Damage Done

    Laura Marling at the young age of 20 has already far surpassed her contemporary peers in the British folk scene. Releasing two excellent albums over just three years shes shown a marked growth and grasp of a style of music that continues to elude those beyond her years. A thoroughly English songwriter with a heavy influence of American instrumentation, Marling here on her Third Man release, gives us two covers of great American songwriters. Produced by Jack White here Laura gives us her versions of two dark folk classics; Jackson C. Franks 1965 single Blues Run the Game while side two is a cover of Neil Young's 1972 song The Needle And The Damage Done.
    Side One

    1. Blues Run The Game

     

    Side Two

    1. The Needle And The Damage Done
    Laura Marling
    $6.99
    7 Vinyl LP - Sealed Buy Now
  • Atlantis EP Atlantis EP Quick View

    $9.99
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    Atlantis EP

    Drew Lustman aka FaltyDL releases his debut EP with Ninja Tune and its an absolute cracker. Over its four tracks he shows the range and grasp of rhythm, atmosphere and melody which have made him one of the most exciting producers in electronic music.


    Title track Atlantis is distinguished by a complex, swinging, relentlessly danceable beat, unfeasibly low bass hits and a melancholic tune which sits somewhere between Four Tet and classic rave. Cant Stop The Prophet shows the DNA of Wagon Christ (an early influence) spliced with the sonics of post-dubstep and the restless energy of an ADHD toddler, ending with a first-love junglist wig-out. My Light, My Love, seemingly sampled and built out of the sonic spaces between notes and beats, is perhaps the deepest moment on an incredible EP, while The Sale Ends takes us once more back to the skipping feel of a fractured, interplanetary two-step.

    1. Atlantis
    2. Can't Stop the Prophet
    3. My Light, My Love
    4. The Sale Ends
    FaltyDL
    $9.99
    12 Vinyl LP - Sealed Buy Now
  • Fig. 5 Fig. 5 Quick View

    $37.99
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    Fig. 5

    In America, we have monuments instead of mythology: bright obelisks and classical statuary erected as perpetually new in the place of the perpetually old. This is, after all, the New World; we dedicate these talismans against ruin across the landscape almost as if to keep history itself at bay, to keep time from catching up with us. Underfoot are bones and detritus, though, the debris of the little nameless events that are excluded from American history. It's all a rather shallow grave when you think about it.


    Jackie-O Motherfucker's unprecedented Fig. 5, the group's first CD release, presents a dim and unsettling archaeology of American music. Released in the wake of the American century, it's the first unapologetically brilliant piece of experimental music I've heard this year. Somehow constructed bereft of any postmodern irony, Fig. 5 transforms a commanding grasp on the celebrated tributaries of American music-- jazz, Appalachian folk, soul, African-American spirituals, West coast surf-rock, Protestant hymns, Louisville post-rock, bluegrass, electronic noise-- into an autochthonous gospel. Jackie-O Motherfucker-- two multi-instrumentalists, Tom Greenwood and Jef Brown and the cadre of eclectic talents with whom they surround themselves-- abandoned the remix loop jazz-fusion of their first two albums (available only as LPs) and literally emerged from the basement and the soil with a masterpiece.

    1. Analogue Skillet
    2. Native Einstein
    3. Your Cells Are In Motion
    4. Go Down, Old Hannah
    5. Amazing Grace
    6. Beautiful September
    7. Chiapas! I Must Go There!
    8. Michigan Avenue Social Club
    9. Madame Curie
    10. Amazing Grace (Dub Version)
    Jackie-O Motherfucker
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Vivaldi: Four Seasons (Awaiting Repress) Vivaldi: Four Seasons (Awaiting Repress) Quick View

    $39.99
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    Vivaldi: Four Seasons (Awaiting Repress)

    Audiophile 180 Gram Vinyl Cut at Emil Berliner Studio


    Pressed at Pallas in Germany


    Violinist Viktoria Mullova is joined by the Chamber Orchestra of Europe conducted by Claudio Abbado.


    Viktoria Mullova is one of the most versatile and charismatic violinists to have emerged in the late 20th century, demonstrating a high level of mastery in broad range of repertoires, from Baroque to Romantic and post-Romantic to jazz and crossover. She established her reputation early in the 1980s, winning both the Sibelius and Tchaikovsky competitions and going on to win the Grand Prix du Disc and a Diapason d'Or Award, as well as garnering numerous other honors. Her widely acclaimed 1987 Philips recording of Vivaldi's Four Seasons is ample proof of her sure grasp of the idiosyncrasies of the Italian Baroque, and the freshness and vitality of her playing has made her version a favorite with listeners and critics. Mullova performs with passionate musicality and technical finesse, and Claudio Abbado leads the Chamber Orchestra of Europe in a nuanced, idiomatic accompaniment. - Stephen Eddins, allmusic.com


    Features:

    Audiophile 180 Gram Vinyl

    Cut at Emil Berliner Studio

    Pressed at Pallas GmbH Germany


    Musicians:

    Viktoria Mullova, violin

    Chamber Orchestra of Europe

    Claudio Abbado, conductor


    This title is not eligible for discount.

    Antonio Vivaldi (1678-1741)
    Le Quattro Stagioni (The Four Seasons)
    Viktoria Mullova
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • New Way Home New Way Home Quick View

    $14.99
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    New Way Home

    New Way Home, MiWi's debut album on Team Love, is the result of life taking an unexpected turn. With the help of Monica Frisell, the songs began to take shape in early 2013. As things developed, friends such as Joanna Warren, Curtis Fowlkes, Rob Jost, Mara Kaye, Natalie John, Timothy Allen, Bill Frisell, and Conor Oberst, all enthused at the sound, eagerly jumped in to lend a hand. New Way Homeis a short, immediate, and catchy album, but its real magic lies in its ability to invoke a wide range of sonic diversity while not losing sight of its singular vision. A track like "Ashes To The Wind" invokes legendary bluesman Howlin' Wolf, while "Here I Am" positions itself neatly between singer-songwriters like Ron Sexsmith and Stuart Murdoch. The album's songs range from playfully vengeful ("Everybody's Fuckin' With Me") to sorrowfully serious ("New Moon").


    MiWi's voice is frank, his phrasing crisp, his lyrics easy to grasp yet full of twists. The songs document a season in a life, offering empathy to the listener while asking for the same in return.

    1. Radio
    2. A New Way
    3. Everybody's Fuckin With Me

    4. Here I Am
    5. Ashes To The Wind
    6. Once Took A Day
    7. New Moon Night
    8. When You're Gone
    Miwi La Lupa
    $14.99
    Vinyl LP - Sealed Buy Now
  • Afro-Peruvian Classics: The Soul of Black Peru Afro-Peruvian Classics: The Soul of Black Peru Quick View

    $19.99
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    Afro-Peruvian Classics: The Soul of Black Peru

    The Afro-Peruvian style heard on The Soul of Black Peru compilation originated hundreds of years ago from the Spanish slave trade. The music is a mix of African, Spanish, and Andean traditions, due to the fact that the slaves who came to Peru were not from one specific region, so they did not have a common language to communicate with. It's easy to break the music down and see which culture contributed what -- the lyrics are all sung in Spanish (Spain), have a slight melancholy approach (similar to the Yaravi form from the Andes), and boast interesting rhythms (Africa). The musical form is just starting to catch on in other parts of the world, and deservedly so. And since this is heartfelt, emotional music, fans outside of the world music circle can easily grasp and appreciate it. Ranging from Manuel Donayre's Yo No Soy Jaqui to Chabuca Granda's Lando (Luaka Bop Records head David Byrne even contributes a track, Maria Lando), The Soul of Black Peru is a true musical treasure.

    - Greg Prato (All Music)
    1. Maria Lando - Susana Baca
    2. Yo No Soy Jaqui (I Am Not Jaqui) - Manuel Donayre
    3. Canterurias - Cecilia Barraza
    4. Samba Malato - Lucila Campos
    5. Enciendete Candela (Light The Flame) - Roberto Rivas & El Conjunto Gente Morena
    6. Azuca De Cana (Sugarcane) - Eva Ayllon
    7. Prendeme La Vela (Light My Candle) - Abelardo Vasquez & Cumanana
    8. Lando - Chabuca Granda
    9. Toro Mata (Bull Kills) - Lucila Campos
    10. Son De Los Diablos (Dance Of The Devils) - Peru Negro
    11. No Me Cumben (That's Not For Me) - Nicomedes Santa Cruz
    12. Una Larga Noche (A Long Night) - Chabuca Granda
    13. Lando - Peru Negro
    14. Maria Lando - David Byrne
    15. Zapateo En Menor - Vincente Vasquez
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Zoy Zoy Zoy Zoy Quick View

    $20.99
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    Zoy Zoy

    The songs on Zoy Zoy are a mix of traditionals and originals, and they are intense. They are extraordinarily sophisticated. The band speak French, but use the expression very rock and roll quite seriously, implying their awareness that the loud guitars and bewildering rhythmic complexity separate them from their peers. They are proud that their members represent the different cultural groups of Niger, some of which haven't always been on the best of terms (the group includes Tuareg, Hausa,
    Fulani, and Zarma). Still, they are aware that Western ears may not fully grasp their self-proclaimed rock label, and we sure don't know many rock bands that keep folks dancing in a trance-like state for 5 hours at a time.


    Zoy Zoy was recorded in Niamey, Niger's capital, by Chicago-based Jamie Carter, using a remote
    recording rig in a dusty makeshift studio. The country has no proper recording studios, music
    instrument shops, or record stores. The drummer makes his own sticks. Despite this or perhaps
    because of it, Tal National thrives in a country parched of resources but teeming with music and
    rhythm. The band would record all day, then head out at night for more lengthy performances, bringing the energy of each night's performance back to the studio. Zoy Zoy is a distillation of Tal National's traditional roots, determination and tireless drive into pure joy and celebration.

    1. Zoy Zoy
    2. Koana
    3. Claire
    4. Say Wata Gaya
    5. Farila
    6. Tenere
    7. Kodaje
    8. Saraounia
    Tal National
    $20.99
    Vinyl LP - Sealed Buy Now
  • Woke Up Alone Woke Up Alone Quick View

    $17.99
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    Woke Up Alone

    Swiss-American psychiatrist and author Elisabeth KÜbler-Ross first hypothesized the five stages of grief in her 1969 book, On Death and Dying. When faced with death or its corporeal equivalent, an individual often moves through turbulent emotional stages of denial, anger, bargaining, depression and acceptance. Nearly a half-century after the theory's introduction, Saskatonian super-producer Factor has assembled an all-star cast of Fake Four family and friends to explore the phenomenon through the tale of a man losing his wife and attempting to raise her from the dead.


    Woke Up Alone, a necromancing play told in five scenes, begins with our grieving protagonist, played by Kirby Dominant of Paranoid Castle, struggling to grasp the grim meathook reality of a dead wife. Four lush and mournful instrumental interludes woven throughout and bookending Woke Up Alone capture the emotions of the widower as he speaks with his wife's ghost, a false prophet, a doctor, a psychiatrist, a medicine man, his own conscience and the devil.


    Following the success of Factor's compilations Chandelier and Lawson Graham, the beatsmith embarked on a concept record in the vein of A Prince Among Thieves and wound up with the melodic, complex symphony of Woke Up Alone, mixed by Factor himself at his home studio and featuring roles played by Ceschi, Open Mike Eagle, Onry Ozzborn, Myka 9 and Astronautalis. Factor's relatable allegory, scored by swirling synths, samples and live instrumentation, extends well beyond necromancy, as multitudes upon multitudes have gazed haphazardly in the rear view mirror and tried to resuscitate that which is irreparably gone.

    1. Woke Up Alone
    2. The Empire Has Fallen (feat. Kirby Dominant)
    3. After the Service
    4. Raise the Dead (feat. Ceschi)
    5. Alive Tomorrow (feat. Nomad)
    6. Stone Cold (feat. Open Mike Eagle)
    7. Long Hallways
    8. In Sickness & In Health (feat. Onry Ozzborn)
    9. Don't Give Up (feat. Jeans Boots & Kirby Dominant)
    10. Denied (feat. Myka 9)
    11. Devil's Call (feat. Evil Ebeneezer)
    12. Carry Over (feat. Jeans Boots)
    13. Let It Go (feat. Astronautalis)
    14. Give Up (feat. Gregory Pepper & Kirby Dominant)
    15. The Grave (Burial)
    Factor
    $17.99
    Vinyl LP - Sealed Buy Now
  • Cody Cody Quick View

    $19.99
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    Cody

    Cody isn't an album that changed everything for Joyce Manor, but Joyce Manor had to change a bit to make their album Cody. Since the release of their 2014 Epitaph debut Never Hungover Again, guitarist and singer Barry Johnson has taught himself the meditation techniques championed by the Beatles and director David Lynch, and he found he was suddenly wide open. Before, songs were labor; now they were revelations, appearing almost fully formed in his head before he had time to even catch them on a voicemail to himself.


    For Cody, the band camped out in the studio for two months with producer Rob Schnapf, credited on classics by Elliott Smith, Guided By Voices, Saves The Day and Rancid, all in the Joyce Manor record collections, of course. With Schnapf's help, they'd explore deeper arrangements, new pre-production techniques, and different ways of working both together and with someone else. Johnson says, "It was the first time we really used the studio to our advantage. I felt like I could get a better grasp on what we could do. We always recorded like a punk band-go in and lay 'em down! Just get good takes! And this time we tried a lot more."


    For Cody, they added new drummer Jeff Enzor to the band alongside bassist Matt Ebert and guitarist Chase Knobbe. With Rob Schnapf's able help as a de facto fifth member of the band, Joyce Manor found itself bristling with inspiration. Now more than ever, says Johnson, he felt he could trust himself and his bandmates to take the risks to make the music they wanted to make. The result is a record that dares to be humble, intimate and unapologetically human.

    1. Fake I.D.
    2. Eighteen
    3. Angel In The Snow
    4. Do You Really Want To Not Get Better?
    5. Last You Heard Of Me
    6. Make Me Dumb
    7. Over Before It Began
    8. Reversing Machine
    9. Stairs
    10. This Song Is A Mess But So Am I
    Joyce Manor
    $19.99
    Vinyl LP - Sealed Buy Now
  • Roadburn Live Roadburn Live Quick View

    $42.99
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    Roadburn Live


    Green Colored Vinyl


    Limited To 1000


    Includes Original 2015 Enslaved Roadburn Poster




    Roadburn Live is Enslaved's first official live album, a split release between Roadburn Records and By Norse Music. Enslaved is a band widely known for being one of the best live bands in the scene. The album was recorded during one of band's headline shows at the renown Roadburn Festival 2015; an edition curated by Enslaved's guitar player Ivar Bjørnson. The album features a brilliant layout created by highly demanded artist and Roadburn's regular graphic designer Costin Chioreanu.


    The album was mixed by Iver Sandøy at Solslottet Studio, mastered by Jens Bogren (Kreator, Opeth, Sepultura) in Fascination Studios. It is also the last official release with Herbrand Larsen on keys and vocals.


    After celebrating 25 years in 2016 showcasing a majority of older material, Roadburn Live displays songs mainly from the newer and more progressive part of Enslaved's career, with songs from "In Times", "Riitiir", "Isa", "Below the Lights" and "Monumension". The album features the guest appearances of Einar Selvik (Wardruna), Aðalbjörn Tryggvason (Sólstafir), Per Wiberg (Opeth, Candlemass); and Menno Gootjes (Focus) on Immigrant Song, the first cover song by Enslaved to ever appear on a record.


    Grutle Kjellson comments on the album: I'm generally not a huge fan of live albums, I like to be present at a show, to grasp the energy of the band and to witness the, sometimes, magical symbiosis that occurs between the band and the audience. I am, however, a huge fan of the Roadburn Festival! I consider this to be my all time favorite, both as a musician and as a guest. Therefore; if ever Enslaved were to release a live album, it had to be from a Roadburn show! I hope you will enjoy this piece of wax as much as we had recording it!

    1. Building With Fire
    2. Death in the Eyes of Dawn
    3. In Times
    4. Daylight
    5. Convoys to Nothingness
    6. As Fire Swept Clean the Earth
    7. Isa
    8. Immigrant Song (Led Zeppelin Cover)
    Enslaved
    $42.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • The Percussion Record The Percussion Record Quick View

    $49.99
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    The Percussion Record

    The O-Zone Percussion Group consists of selected percussionists at Indiana University of Pennsylvania. Their conductor, Dr. Gary J. Olmstead, has been Director of Percussion studies at IUP since 1966. He received a Bachelor of Music degree from the University of Michigan, Master of Fine Arts degree from Ohio University and Doctor of Musical Arts degree from the Cleveland Institute of Music. He is recognized nationally as a leading percussion educator and is active as a performer, conductor, and clinician.


    Carl Adams has been a professor at Indiana University of Pennsylvania since 1979 teaching flute, jazz Improvisation and is a member of the IUP Faculty Woodwind Quintet. Active on both the classical and jazz scene, Adams has performed with the U.S. Military Academy Band, the Keystone Wind Ensemble and the Akron and Johnstown Symphonies. Solo recital appearances include the Kennedy Center, Wolf Trap, Carnegie Recital Hall and the Chautauqua Institution. He performs in a tri-state area with the Carl Adams Jazz Quartet and has appeared at the Pittsburgh Jazz Society, Nemacolin in Woodlands, Three Rivers Arts Festival, the Westin-William Penn (Pittsburgh) and in benefit concerts for the Westmoreland Symphony.


    James Rupp is a veteran of the great 'big bands' of Woody Herman, Maynard Ferguson and Glenn Miller, including tours of the United States and Europe. Jim has recorded television specials with the Woody Herman Orchestra and the Bobby Floyd Trio and live albums with the Woody Herman and Glenn Miller Orchestras.


    Jerry Tachoir is acclaimed by critics for his talent, versatality, and his studious grasp of the jazz idiom and brings an exciting and engaging dimension to his performances. He has been an active member of the Ludwig/Musser clinic staff since 1972. His most requested clinic features include improvisational techniques, harmonic awareness, and vibe technique.


    The connection of the percussion ensemble with jazz/rock/popular music seems a logical one given the inclusion of various percussion instruments as integral parts of this music. The drumset, of course, was present from the beginning of jazz and rock. The vibraphon has long been a favorite jazz instrument and the xylophone was a favorite ragtime solo instrument in the early part of the 20th century. Ethnic percussion instruments from Latin America, Africa and other cultures have long been used in the jazz/rock/pop Idiom.

    Musicians:

    Dr. Gary J. Olmstead, conductor

    Carl Adams, percussion

    James Rupp, percussion

    Jerry Tachoir, percussion

    1. Jazz Variants
    2. A Time for Jazz
    3. Highlife
    4. Atticus
    5. Suite for Drumset
    6. Conflict of Interest
    7. Rondo Barock
    8. La Bamba
    The O-Zone Percussion Group
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • An Innocent Man (On Sale) An Innocent Man (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
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    An Innocent Man (On Sale)

    An Innocent Man on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Infectious Doo-Wop, Carefree Soul, Harmonious Pop a Testament to Music of Joel's Childhood


    Album Sounded Mediocre For the Longest Time-No Longer: Mobile Fidelity Reissue Allows You to Hear This Pleasing Set With Fresh Ears


    Another Joel Blockbuster: Seven-Times Platinum 1983 Affair Includes "Uptown Girl," "For the Longest Time," "An Innocent Man," "Tell Her About It"


    After making The Nylon Curtain, Billy Joel felt the need to exhale and get back to the carefree music of his childhood. He also met supermodel Christie Brinkley, who brought serious degrees of levity and romance to his world. In love, relaxed, and out to have fun, the singer crafted An Innocent Man, arguably the most easygoing and pleasing album of his career. Featuring four Top 40 pop singles and the same number of Top 5 Adult Contemporary hits to grace the Billboard charts, the record remains a commercial staple.


    An essential title in Mobile Fidelity's Billy Joel catalog restoration series, An Innocent Man is mastered from the original master tapes and pressed on 180 gram LP at RTI. The resulting presentation effortlessly outshines that heard on all previous editions of this 1983 set. Particularly, the effervescent harmonies now possess an airiness and extension that lends to realistic tonal decay. Instruments are balanced and placed on a wider, deeper soundstage, contributing improved to improved imaging and spaciousness. Joel's voice, too, comes across with tremendous clarity, presence, and body. These songs have never sounded so contagious.


    Per usual, Joel proves a melodic jukebox. The vocalist's grasp on structure, hooks, and delivery help make this batch of songs among his most beloved, easy to hum, and impossible to ignore. Much of the appeal resides in Joel's understanding of the early rock and roll, doo-wop, and soul that he grew up hearing in New York, and the manners in which the popular songwriters favored simplicity over complexity, good-natured vibes over seriousness, and romantic charm over introspective sadness.


    Whether floating on a cloud on the giddy "Uptown Girl" (check out his falsetto), doubling as both the lead and background vocalist on the reminiscent-themed "The Longest Time," or tapping gospel undercurrents on the tribute "Keeping the Faith," Joel revels in 50s and 60s pop constructs, turning out amiable refrains and unforgettable moods. Love perfumes the air, and Joel can't get enough, and it's a feeling he passes on to his listeners.


    As the calm before stormier periods in his life, and a timeless connection to America's finest pop music traditions, An Innocent Man is indeed innocent-a guiltless pleasure that keeps on giving.


    This title is not eligible for further discount.

    1. Easy Money
    2. An Innocent Man
    3. The Longest Time
    4. This Night
    5. Tell Her About It
    6. Uptown Girl
    7. Careless Talk
    8. Christie Lee
    9. Leave a Tender Moment Alone
    10. Keeping the Faith
    Billy Joel
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • West West Quick View

    $18.99
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    West

    Wooden Shjips, as it is today, started in 2006. The band self released a 10 and 7 that year and started playing shows shortly thereafter. Prior to 2006, Wooden Shjips was an experiment in primitive and minimalist rock. After it imploded, Ripley Johnson, guitar and vocals, assembled the current lineup of Dusty Jermier on bass, Nash Whalen on organ, and Omar Ahsanuddin on drums. West marks the first time the band recorded in a proper studio, as well as the first time with an engineer (Phil Manley). All previous recordings, either self-released, for Holy Mountain, or Mexican Summer were done more piecemeal in the bands rehearsal studio. West was recorded and mixed in six days at Lucky Cat Studios in San Francisco. It was mastered by Sonic Boom at Blanker Unisinn, Brooklyn, with additional mastering by Heba Kadry at The Lodge in New York.


    The over riding theme for the album (as indicated by the title) is the American West, and all of the mythology, romanticism, and idealism that it embodies. The band members grew up on the East Coast, so for a long time the history and literature of the West was an abstraction and a fascination for them. Part of the allure of the West, which is part of the myth, is the concept of Manifest Destiny, the vastness, and the possibilities for reinvention, which is not to say that is what each song is specifically about, but it was very much an undercurrent during the songwriting of the album. The artwork also touches on the same theme by using an iconic structure that is both a gateway in a literal and metaphorical sense.


    It is easy to see why these would appeal to Wooden Shjips, as their music lends itself to exploration. It is both transformative and transporting, the sum being far greater than its parts. The steady driving rhythms are the elliptical motion machine driven by the often thick and distorted guitar lines, melodic and boundless. Where they may lead cannot be anticipated but following them is exhilarating. It is all about getting there, the destination, while the experience of getting there is an adventure. It is the guitar lines that guide both the listener and the band on the literal and metaphorical journey into the vastness. The ghostly vocals, obscured by dense layers of instruments surrounding them, are alluring with their airy mystery. This elusive quality further draws the listener in, while they attempt to grasp at their meaning. While indebted to both the psych music of the 60s and mid-70s, electric Neil Young, and even the induced travels of Spacemen 3, the Wooden Shjips music is modern and in every way their own. West is an epic journey to the edge and beyond.

    1. Black Smoke Rise
    2. Crossing
    3. Lazy Bones
    4. Home
    5. Flight
    6. Looking Out
    7. Rising
    Wooden Shjips
    $18.99
    Vinyl LP - Sealed Buy Now
  • Offering: Live At Temple University Offering: Live At Temple University Quick View

    $59.99
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    Offering: Live At Temple University


    Deluxe 2-LP, Limited-Edition, 180-Gram Vinyl Pressed On 12 LP's At 33-1/3 RPM By Record Technology Incorporated (R.T.I.)


    Hand-Numbered Gatefold By Stoughton Press


    Vibrant Four Panel Insert With Liner Notes By Ashley Kahn


    Special Collector Postcards With Photos By Frank Kofsky


    Mastered By Bernie Grundman


    Offering: Live At Temple University documents a legendary concert by John Coltrane at Temple University in his hometown, Philadelphia, Pennsylvania,
    on November 11, 1966, six weeks after his fortieth birthday and nine months before his untimely death. Offering incorporates a look that is contiguous with the graphic identity of Impulse! Records, Coltrane's exclusive label from 1961
    until the end of his life. This is the first officially sanctioned release of an undiscovered, complete Coltrane performance since 2005. It captures Coltrane in
    exemplary form, navigating the language he had developed during the last phase of his musical path with passion and pellucid logic. Operating at
    equivalent levels of invention and energy are three members of his working quintet of one year's standing his wife, Alice Coltrane, on piano; Pharoah
    Sanders on reeds and flute; and Rashied Ali on drums.


    Offering is emblematic of the efflorescent energies and radical ideas that Coltrane himself had much to do with bringing forth during the seven years after
    1960, when he left the employ of Miles Davis to pursue his vision as a leader. There are versions of Coltrane's 1960 hits "Naima" and "My Favorite
    Things," a transformational reworking of the 1964 ballad "Crescent," a spirit-raising rendering of "Leo," which he had recorded on several previous
    occasions during 1966, and the hymnal "Offering," which he would record on a February 15, 1967 studio session that Impulse! would release during the
    '90s as Spiritual Offering.


    On Offering, Resonance Records achieves the highest possible audio quality, using direct transfers of original master reels from a location recording by
    Temple's WRTI-FM, remastered at 96kHz/24 bit, that were tracked down by Coltrane scholar Yasuhiro Fujioka.
    The immense life-force that animates the proceedings on this November 1966 evening in Philadelphia belies the declining state of Coltrane's health. It is
    still difficult to grasp and to accept that he was firmly in the grip of the liver cancer that would still his voice on July 17, 1967. As co-producer Ashley Kahn
    states in his liner notes, "Coltrane was pointing the way forward for generations of players to come, pushing the music to exhilarating, spiritual heights that
    caught most by surprise. In 1966, that wasn't what jazz performances were about not yet."


    Recorded November 11, 1966

    Mitten Hall, Temple University

    Philadelphia, Pennsylvania


    Featured Artists:

    John Coltrane - soprano & tenor saxophones, flute & vocals

    Pharoah Sanders - tenor saxophone & piccolo

    Alice Coltrane - piano

    Sonny Johnson - bass

    Rashied Ali - drums


    Additional musicians include:

    Steve Knoblauch, Arnold Joyner alto saxophone

    Umar Ali, Algie DeWitt, Robert Kenyatta percussion

    1. Naima
    2. Crescent
    3. Leo
    4. Offering
    5. My Favorite Things
    John Coltrane
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Ceremony Ceremony Quick View

    $18.99
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    Ceremony

    It begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.


    You want to talk about compromises? No. Nor does Anna Von Hausswolff.


    These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.


    Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.


    "I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."


    Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."


    That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."


    He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.


    "This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."

    1. Epitaph of Theodor
    2. Deathbed
    3. Mountains Grave
    4. Goodbye
    5. Red Sun
    6. Epitaph of Daniel
    7. No Body
    8. Liturgy of Light
    9. Harmonica
    10. Ocean
    11. Sova
    12. Funeral for my Future Children
    13. Sun Rise
    Anna Von Hausswolff
    $18.99
    Vinyl LP - Sealed Buy Now
  • Newport Uproar (Pure Pleasure) Newport Uproar (Pure Pleasure) Quick View

    $34.99
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    Newport Uproar (Pure Pleasure)

    The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn't happened since Duke « he begins, casting back in his mind to 1956 and the nearest comparable triumph.



    There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival's climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.
    Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.



    All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo-driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel's long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.



    Musicians:



    • Lionel Hampton (vibraphone, piano, drums)

    • Illinois Jacquet (tenor saxophone)

    • Snooky Young, Wallace Davenport (trumpet)

    • Al Grey, Benny Powell (trombone)

    • Jerome Richardson, George Dorsey, Ed Pazant (reeds)

    • John Spruill, Milt Buckne (piano)

    • Billy Mackel (guitar)

    • George Duvivier (bass)

    • Steve Little (drums)



    About Pure Pleasure



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



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



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



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



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



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

    1. Turn Me Loose
    2. Thai Silk
    3. Tempo's Birthday
    4. Greasy Greens
    5. Greasy Greens (Encore)
    6. Meety Benny Baily
    7. Medley:
    Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
    8. Misunderstood Blues
    9. Flying Home
    Lionel Hampton
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bartok: The Six String Quartets (Speakers Corner) Bartok: The Six String Quartets (Speakers Corner) Quick View

    $95.99
    Buy Now
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    Bartok: The Six String Quartets (Speakers Corner)

    Throughout the ages, the string quartet with its usual forces has always been regarded as the crowning discipline among all forms of composition. Poetically described by Carl Maria von Weber as the »nude of musical art« and by Goethe as a cultured conversation among equals, the genre reflects the creative art of important composers from the Viennese Classicism right up to modern times.


    Bartók's six String Quartets, written over the span of roughly 30 years, demonstrate his development as a composer in the purest form. In the Quartets, stated Bartók, I condense to the extreme. In the very first quartet, which is orientated on traditional formal structures, Bartók travels down his own path by lending different weight to the various formal sections, rejecting repeats, and joining the movements together by means of bridging passages.


    The second quartet is exemplary for its intentional distance from the Romantic in favour of a composition based on simple folksongs, in which Bartók attempts to grasp the folk sound in his compositional structures, whereby he never quite disregards the tonal rules but certainly begins to free himself from them.


    The new richness in the third quartet with regard to counterpoint, melody and harmony as well as tone, is described by the sociologist and composer Theodor W. Adorno - with allusion to the musical creativity of the Hungarian peasants - as a »tent camp of improvisation«, which ventures here and there towards the avant-garde. As a contrast, the fourth quartet is almost relaxed in tone, the form and compositional technique is simple and uncomplicated in expression (Ludwig Finscher). For the first time, Bartók employs his idea of an 'arch' structure in which Hungarian folklore and the classical-romantic chamber-music forms are amalgamated. Like the fourth, the fifth quartet is also written in arch form, but in contrast to the fourth it is more cheerful and transparent. The sixth and final quartet was the last piece that Bartók wrote in Hungary before emigrating to the United States of America. All four movements have a mesto introduction, which induce a melancholy mood and seem to reflect the composer's personal circumstances.


    The Juilliard Quartet was the very first American ensemble to record the six quartets in roughly 1950, and they took up the challenge to record the works once again in the middle of the 60s, in order to give each of the unique works a conclusive performance. With firm bowing, and a dry and direct tone, the musicians dissect the substantial power of these works to reflect all the different aspects of the manuscripts.

    Musicians:



    • The Juilliard String Quartet


    Recording: between May and September 1963 at Columbia Recording Studios, New York City, by Fred Plaut

    Production: Paul Myers





    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.



    String Quartet No. 1
    I - Lento
    II - Allegretto
    III - Introduzione: Allegro; Allegro Vivace
    String Quartet No. 2
    I - Moderato
    II - Allegro Molto Capriccioso
    III - Lento
    String Quartet No. 3
    Prima Parte: Moderato
    Seconda Parte: Allegro
    Recapitulazione Della Prima Parte: Moderato
    Coda: Allegro Molto
    String Quartet No. 4
    I - Allegro
    II - Prestissimo, Con Sordino
    III - Non Troppo Lento
    IV - Allegretto Pizzicato
    V - Allegro Molto
    String Quartet No. 5
    I - Allegro
    II - Adagio Molto
    III - Scherzo: Alla Bulgarese
    IV - Andante
    V - Finale: Allegro Vivace
    String Quartet No. 6
    I - Mesto; Vivace
    II - Mesto; Marcia
    III - Mesto: Burletta: Moderato
    IV - Mesto
    Bela Bartok
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
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