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  • Miles In The Sky (On Sale) Miles In The Sky (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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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
  • Nefertiti Nefertiti Quick View

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    Nefertiti

    Recorded in two days in the summer of 1967 Nefertiti is Miles Davis' last fully acoustic album, with no compositions from Miles himself. Most tracks are written by Wayne Shorter & Herbie Hancock.


    Best known for its unusual title track, where the horns keep repeating the melody and the rhythm section improvises (in stead of the other way around).


    Whilst an acoustic album, it does signals Miles' transition from bop to jazz fusion; a hint at the next albums Miles in the Sky and the critically acclaimed In A Silent Way.


    Rhythm section: Tony Williams & Ron Carter

    Side A

    1 Nefertiti

    2 Fall

    3 Hand Jive


     


    Side B

    1 Madness

    2 Riot

    3 Pinocchio

    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nefertiti (On Sale) Nefertiti (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Nefertiti (On Sale)


    Final All-Acoustic Outing from Davis' Classic Second Quintet


    Mastered from the Original Master Tapes: Record's Tonal Shadings, Gradations, and Textures Come Alive


    Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism


    Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.


    Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.


    As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track-during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section-shines as a textbook example of such chemistry and unity.


    Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot," Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.


    Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.


    This title is not eligible for further discount.

    1. Nefertiti
    2. Fall
    3. Hand Jive
    4. Madness
    5. Riot
    6. Pinocchio
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
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    Miles Smiles (Speakers Corner)

    Except for the taping of a live performance at the Portland Festival, Miles Davis's discography for 1966 only lists the recordings made for the LP Miles Smiles! How strange when one considers the usual large output of Miles and his ensembles for Columbia Records in the Sixties.



    The bass player Ron Carter was best suited for the complicated rhythm part and remained Miles's 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as Freedom Jazz Dance by Eddie Harris and Jimmy Heath's Gingerbread Boy.



    Every second of the nine-minute-long Footprints by Shorter is an absolute highlight, while the drumming of the young Tony Williams in Freedom Jazz Dance is full of vitality, with a quick pulse, and even described as threatening in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That's exactly what Miles Smiles was upon its release 40 years ago - and that's what it is to this day! And that Miles Davis smiled for once thanks to the great musical relationship between the five individualists is certainly no mere rumour.



    Musicians:



    • Miles Davis

    • Wayne Shorter (tenor saxophone)

    • Herbie Hancock (piano)

    • Ron Carter (bass)

    • Tony Williams (drums)




    Recording: October 1966 at Columbia RecordsStudios, New York, by Frank Laico

    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. Orbits
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Carlos Santana & Buddy Miles: Live! (Speakers Corner) Carlos Santana & Buddy Miles: Live! (Speakers Corner) Quick View

    $34.99
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    Carlos Santana & Buddy Miles: Live! (Speakers Corner)

    'Live' was the watchword of the liberated and permissive post-Woodstock era, when anyone and everyone could do wonderful things and musicians really let themselves go - and it opened the door for Santana and his musicians. While devotees of pure styles found it hard to dip into the bubbling melting pot of progressive rock, others - hungry for emotion - plunged eagerly into the moloch world known as 'Sounds of the 70s'.



    Among the great events during this time was the get-together of Santana and a grandiose group of musicians together with Jimmy Hendrix's ex-drummer Buddy Miles at the Sunshine Festival in Hawaii. Inspired by the electrifying atmosphere we hear the smacking sound of an organ in John McLaughlin's Marbles, lush rocking Latin grooves (Lava) and gospel-like vocal artistry (Evil Ways). After an intensively re-worked version of the old favourite Them Changes, in which the band certainly lets one know that they can be 'heavy' when they want, the musicians let themselves go in 25 improvised minutes in Free Form Funkafide Filth. Such unleashed power could never be tamed and captured on tape in the studio simply because it can only be created in the freedom of an open-air stage.



    Musicians:



    • Carlos Santana (guitar)

    • Buddy Miles (drums, vocal)

    • Robert Hogins (organ)

    • Luis Gasca (trumpet)

    • Hadley Caliman (saxophone, flute)

    • Neal Schon (guitar)

    • Ron Johnson (bass)

    • Coke Escovedo (percussion)

    • Gregg Errico (drums)

    • Victor Pantoja, Michael Carabello (conga)



    Recording: January 1972 live in the Diamond Head Crater, Hawaii, USA,

    Production: Carlos Santana & Buddy Miles



    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. Marbles
    2. Lava
    3. Evil Ways
    4. Faith Interlude
    5. Them Changes
    6. Free Form Funkafide Filth
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Round About Midnight (Speakers Corner) Round About Midnight (Speakers Corner) Quick View

    $34.99
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    Round About Midnight (Speakers Corner)

    At long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.



    You can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis's vibrato-less sound is taken over seamlessly by John Coltrane - wonderfully demonstrated in the middle of Bye, Bye Blackbird, while Paul Chambers' showpiece is Ack VÄrmeland du sköna (aka Dear Old Stockholm). In the years 1955/56, bebop was the talk of the day, born witness to by the classics Tadd's Delight by Tadd Dameron and Ah-Leu-Cha by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.



    Although 'Round About Midnight as an album does not enjoy the reputation of Kind Of Blue, this Columbia recording contains many gems which are well worth hearing.



    Musicians:



    • Miles Davis

    • John Coltrane (tenor saxophone)

    • Red Garland (piano)

    • Paul Chambers (bass)

    • Philly Joe Jones (drums)




    Recording: October 1955, June and September 1956 at Columbia's 30th Street Studio, New York

    Production: George Avakian




    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. Round Midnight
    2. Ah-Leu-Cha
    3. All Of You
    4. Bye Bye Blackbird
    5. Tadds Delight

    6. Dear Old Stockholm
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Who Sell Out The Who Sell Out Quick View

    $24.99
    Buy Now
    x

    The Who Sell Out


    180-gram Vinyl, Remastered In 24/96 Format


    Includes The Original Artwork


    Includes Extras & Inserts Included In The Original Releases


    Pete Townshend originally planned The Who Sell Out as a concept album of sorts that would simultaneously mock and pay tribute to pirate radio stations, complete with fake jingles and commercials linking the tracks. I Can See for Miles (a Top Ten hit) is the Who at their most thunderous; tinges of psychedelia add a rush to Armenia City in the Sky and Relax; I Can't Reach You finds Townshend beginning to stretch himself into quasi-spiritual territory; and Tattoo and the acoustic Sunrise show introspective, vulnerable sides to the singer/songwriter that had previously been hidden. Rael was another mini-opera, with musical motifs that reappeared in Tommy. The album is as perfect a balance between melodic mod pop and powerful instrumentation as the Who (or any other group) would achieve; psychedelic pop was never as jubilant, not to say funny (the fake commercials and jingles interspersed between the songs are a hoot).


    - Richie Unterberger (All Music Guide)

    1. Armenia City In The Sky
    2. Heinz Baked Beans
    3. Mary Anne With The Shaky Hand
    4. Odorono
    5. Tattoo
    6. Our Love Was
    7. I Can See For Miles
    8. I Can't Reach You
    9. Medac
    10. Relax
    11. Silas Stingy
    12. Sunrise
    13. Rael 1
    The Who
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Texas Hurricane Texas Hurricane Quick View

    $279.99
    Buy Now
    x

    Texas Hurricane

    Mastered from the Original Analog Tapes by Sterling Sound


    What if. What if everything that you have come to know and worship about the sonic superiority of Quality Record Pressings LPs could be brought to bear on one of the rockingest powerhouses of blues guitar who ever lived?


    Then your wish is granted. We're about to rock your world with the greatest Stevie Ray Vaughan tribute ever reissued: Six of Vaughan's most classic album titles combined in the ultimate box set for ultimate blues and guitar fanatics!


    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For about seven years, Stevie Ray Vaughan was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.


    This is classic Stevie Ray Vaughan, meticulously remastered from the analog tapes by New York's Sterling Sound. In each set you'll receive Texas Flood, Couldn't Stand the Weather, Soul to Soul, In Step, plus the posthumous classics Family Style and The Sky Is Crying.


    Those of you familiar with our previous LP box sets - Miles Davis and Thelonious Monk, Creedence Clearwater Revival - and soon to come, The Doors - know how deluxe these sets are. From the detailed liner notes to the rarest photographs, these sets will truly be gems.


    For those with an audiophile passion and a pocketbook on a budget, the 331/3 LP set satisfies like no other. The box set will be pressed on 200 gram vinyl at QRP, lauded for its vinyl manufacturing excellence.


    Each LP set will come housed in deluxe gatefold jackets that include rarely published, intimate photos - a look inside the career of a legend whose death at age 35 shocked the music world. A few statistics showcase Vaughan's success and musical influence: His debut album Texas Flood, reached No. 38 on the charts, crossing over to rock radio stations. The album's succesor, Couldn't Stand the Weather, released in May 1984, reached No. 31 on the charts; by the end of 1985 it went gold. Vaughan and his band, Double Trouble, recorded their third album, Soul to Soul, released in August 1985, and it reached No. 34 on the charts.

    Texas Flood:


    1. Love Struck Baby
    2. Pride And Joy
    3. Texas Flood
    4. Tell Me
    5. Testify
    6. Rude Mood
    7. Mary Had A Little Lamb
    8. Dirty Pool
    9. I'm Cryin'
    10. Lenny


    Couldn't Stand The Weather:


    1. Scuttle Buttin'
    2. Couldn't Stand the Weather
    3. The Things (That) I Used to Do
    4. Voodoo Chile (Slight Return)
    5. Cold Shot
    6. Tin Pan Alley
    7. Honey Bee
    8. Stang's Swang


    Soul To Soul:


    1. Say What!
    2. Lookin' Out The Window
    3. Look At Little Sister
    4. Ain't Gone 'n' Give Up On Love
    5. Gone Home
    6. Change It
    7. You'll Be Mine
    8. Empty Arms
    9. Come On (Part III)
    10. Life Without You


    In Step:


    1. The House Is Rockin'
    2. Crossfire
    3. Tightrope
    4. Let Me Love You Baby
    5. Leave My Girl Alone
    6. Travis Walk
    7. Wall of Denial
    8. Scratch-N-Sniff
    9. Love Me Darlin'
    10. Riviera Paradise


    The Sky Is Crying:


    1. Boot Hill
    2. The Sky Is Crying
    3. Empty Arms
    4. Little Wing
    5. Wham
    6. May I Have a Talk With You
    7. Close to You
    8. Chitlins con Carne
    9. So Excited
    10. Life By the Drop


    Family Style:


    1. Hard To Be
    2. White Boots
    3. DFW
    4. Good Texan
    5. Hillbillies From Outerspace
    6. Long Way From Home
    7. Tick Tock
    8. Telephone Song
    9. Baboom/Mama Said
    10. Brothers

    Stevie Ray Vaughan
    $279.99
    200 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • Tale Spinnin' (Speakers Corner) Tale Spinnin' (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tale Spinnin' (Speakers Corner)

    We played music that people listened to every day just as they watch the news every evening, music which changed constantly - just like the weather, reminisced Joe Zawinul when talking about coming up with a name for the group. This would probably frighten off listeners in today's mass market. But back in those days CBS was satisfied with the group's sound being somewhat similar to the Miles Davis Combo and offered them a recording contract without carrying out the usual sound check. The magic potion Bitches Brew, which Zawinul and Wayne Shorter had conjured up with Miles Davis, was promising of exhilarating new things to come.



    The heart-stopping mix of motivic fixed points and exciting improvisations, »the sketchy melodies, all that a synthesizer and other similar electronic devices could offer, combined with a Milky Way of rhythms« (Der Spiegel) was the pathway down which the group went - without ever becoming pure routine. The fifth album, Tale Spinnin', is captivating for its wealth of distinctive, often warm, synthesized sounds, which are further enhanced by Wayne Shorter's bright, twangy soprano saxophone, lending it a jazzy aura. To be sure, this gripping jazz fusion never progresses steadily all the time, but takes up snatchy, though seemingly familiar, melodic ingredients and combines them to produce a new mixture. Badia, however, is completely different: a quietly flowing and totally rhythmic ethnic work, which today would be classified as World Music.



    Musicians:



    • Joe Zawinul (keyboards, percussion, vocals)

    • Wayne Shorter (tenor saxophone, soprano saxophone)

    • Alphonso Johnson (bass)

    • Alyrio Lima (percussion)

    • Leon Ndugu Chandler (drums)




    Recording: 1975 in den Wally Heider Recording Studios, San Francisco, von Bruce Botnick

    Production: Josef Zawinul und Wayne Shorter





    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. Man In the Green Shirt
    2. Lusitanos
    3. Between the Thighs
    4. Badia
    5. Freezing Fire
    6. Five Short Stories
    Weather Report
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Welcome Welcome Quick View

    $29.99
    Buy Now
    x

    Welcome


    40th Anniversary Limited Edition


    Mastered Impeccably By Joe Reagoso At Friday Music Studios And Pressed At R.T.I.


    In 1973 Carlos Santana and The Santana Band were now one of the world's most loved rock and fusion
    bands of all time. After several studio albums and the two collaboration albums with Carlos Santana & Buddy
    Miles Live and Love Devotion Surrender with John McLaughlin the world was now
    buzzing around the energy that these superstars would lay down on vinyl with the soon to be rock/jazz/funk
    powerhouse Welcome.


    Featuring a cross section of Santana classics like Going Home, Light Of Life and When I Look Into Your Eyes,
    plus the exotic rhythms and jams on workouts like Santana and John McLaughlin's Flame-Sky, and the stellar
    John Coltrane masterpiece interpretation Welcome, Carlos Santana's guitar was truly a voice heard around the
    musical world.


    The original vinyl version of this masterpiece has been out of circulation for decades - that is until now
    Friday Music continues our exclusive Santana 180 Gram Audiophile Vinyl Series with the groundbreaking first
    time North American audiophile vinyl release of the 1973 smash Welcome. Mastered impeccably by Joe Reagoso
    at Friday Music Studios and pressed at R.T.I., this super limited first time North American 180 Gram masterwork
    is truly one of Santana's finest ever, and we are very excited to offer you this authorized audiophile vinyl LP today.
    Along with the legendary Carlos Santana on guitar and vocal, he is joined with original Santana band mates
    Michael Shrieve on his dynamic drums, Doug Rauch on his prolific bass, Jose Areas on hard hitting percussion,
    plus the brilliant acid jazz superstar Leon Thomas on vocals, the celebrated Latin percussionist Armando Peraza,
    the legendary John McLaughlin on guitar, Joe Farrell on flute, and the stellar keyboard work of long time Santana
    associate Tom Coster.


    As an added 40th Anniversary Welcome bonus, we are including a super fine gatefold cover, restoring the
    original album cover elements to their full glory which will further enhance your listening experience.
    Let's all celebrate the 40th Anniversary of the classic mega rocker Welcome by Santana. Authentic,


    Authorized and Absolutely Santana as only you would expect from your friends at Friday Music!

    1. Going Home
    2. Love, Devotion & Surrender
    3. Samba De Sausalito
    4. When I Look Into Your Eyes
    5. Yours Is The Light
    6. Mother Africa
    7. Light Of Life
    8. Flame-Sky
    9. Welcome
    Santana
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Welcome (Speakers Corner) Welcome (Speakers Corner) Quick View

    $34.99
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    Welcome (Speakers Corner)

    Many of Santana's rock-addict fans could well have understood the inviting word Welcome on the white LP cover as an attempt to break away from the spiritual aura of his previous album Love Devotion Surrender. And the musicians certainly managed to produce a rich Latin feeling, with such titles as Samba De Sausalito and Yours Is The Light. But luckily their concessions did not alienate them from their die-hard fans in that they came up with a sort of copy of the rhythmical Caravanserai. They truly attempted something new. Encouraged by the success of the jazz-fusion formula created by Miles Davis and his disciples, Santana combined his virtuoso guitar playing with specially chosen electronic features. The amazingly acrobatic jazz vocalists Leon Thomas and Wendy Haas contributed complicated, quirky parts and the maestro himself vies with John McLaughlin in a dense conflict carried out on their instruments in Flame Sky. This is an album with a strong intellectual drive and offers the discerning listener a dazzling blend of Latin, jazz and fusion.



    Musicians:



    • Carlos Santana (guitar, vocals)

    • John McLaughlin (guitar)

    • Tom Coster (keyboards, vocals)

    • Jules Broussard (saxophone)

    • David Brown (bass)

    • Armando Peraza (percussion, vocals)

    • Mike Shrieve (drums)

    • Jose Chepito Areas (percussion)



    Recording: April - June 1973 by Glen Kolotkin

    Production: Carlos Santana, Maitreya Michael Shrieve and Tom Coster



    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. Going Home
    2. Love, Devotion, and Surrender
    3. Samba de Sausalito
    4. When I Look Into Your Eyes
    5. Yours Is the Light
    6. Mother Africa
    7. Light of Life
    8. Flame Sky
    9. Welcome
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sin & Soul (Speakers Corner) (On Sale) Sin & Soul (Speakers Corner) (On Sale) On Sale Quick View

    $34.99 $27.64 Save $7.35 (21%)

    Buy Now
    x

    Sin & Soul (Speakers Corner) (On Sale)

    When Oscar Brown died at the age of 78 in 2005, one journalist at least, from The New York Times, was unsure as to how to describe the artist to whom America had just bid a final farewell. To write in his obituary that he was a jazz singer seemed too platitudinous, because Brown didn't just sing his songs, he performed them. But it would have been just as wrong to honour him as a jazz songwriter, despite his collaborations with Miles Davis and Max Roach, because he was more closely associated with gospel, folk and blues.
    His vocal qualities lie in a recitative-like, dry declamation, sharp as a knife, as is clearly heard in Work Song. The pain brought on by life's adversities can be cried out internally even if you appear to remain unaffected outwardly (But I Was Cool). A portion of sarcasm is necessary when the singsong of a slave trader constantly calls for higher bids (Bid 'Em In), and when a babbling child can pester its daddy with both banal and existential questions (Dat Dere).



    The generously manned band does not often play all together as in the springy Signifyin' Monkey. Here we have just a few chords on the piano (Watermelon Man), there a gently plucked guitar (Brown Baby), or a quiet pulsating rhythm (Afro Blue) - very often not much more was needed for a sin and soul performance by Oscar Brown, who, by the way, and so typically American, regarded himself as an Entertainer.



    Musicians:



    • Oscar Brown Jr. (vocal)

    • Phil Bodner (saxophone)

    • Billy Butterfield (trumpet)

    • Floyd Morris (piano)

    • Don Arnone (guitar)

    • George Duvivier (bass)

    • Osie Johnson (drums)




    Recording: June - October 1960




    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. Work Song
    2. But I Was Cool
    3. Bid 'em High
    4. Signifyin' Monkey
    5. Watermelon Man
    6. Somebody By Me A Drink
    7. Rags and Old Iron
    8. Dat Dere
    9. Brown Baby
    10. Humdrum Blues
    11. Sleepy
    12. Afro Blue
    Oscar Brown Jr.
    $34.99 $27.64 Save $7.35 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Piano Scene Of Ahamd Jamal (Speaker Corner) The Piano Scene Of Ahamd Jamal (Speaker Corner) Quick View

    $34.99
    Buy Now
    x

    The Piano Scene Of Ahamd Jamal (Speaker Corner)

    The early recordings made by Ahmad Jamal for the Epic label have disappeared into the annals of jazz history. His trio with bass and drums, however, was certainly a whole lot more famous in clubs, at festivals and in TV shows in the Fifties. The present LP contains twelve numbers performed by a trio composed of a guitar and bass or drums - Ray Crawford, Eddie Calhoun, Walter Perkins only being known to a handful of jazz fans - and only a few compositions of his own, most titles are favourites from musicals of the day. Ahmad Jamal reveals the influence of Art Tatum and Nat King Cole in his performance, whereby his masterly art and independent style is already recognizable. The trios are quite unique in themselves, although the hierarchy is unchangeable: Ahmad Jamal is and remains the boss; he performs the majority of the solos.



    A special highlight is surely the first version of Billy Boy. And not only Miles Davis praised the pianist for his technical prowess and wealth of ideas. Aki And Ukthay (Brother and Sister) also offers the possibility to admire Jamal's pianistic proficiency. What a good idea to bring out these early recordings once more for jazz lovers! Especially because the Epic label is truly underestimated in the record market. The recording quality is absolutely impeccable - a true listener's gem.



    Musicians:



    • Ahmad Jamal (piano)

    • Ray Crawford (guitar)

    • Eddie Calhoun (bass)

    • Walter Perkins (drums)




    Recording: 1951 and 1955




    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. Old Devil Moon
    2. Ahmad's Blues
    3. Poinciana
    4. Billy Boy
    5. Will You Still Be Mine
    6. Pavanne
    7. Crazy He Calls Me
    8. The Surrey With The Fringe On Top
    9. Aki And Ukthay
    10. Slaughter On 10th Avenue
    11. A Gal In Calico
    12. It's Easy To Remember
    Ahamd Jamal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Follow The Rainbow (Speakers Corner) Follow The Rainbow (Speakers Corner) Quick View

    $34.99
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    Follow The Rainbow (Speakers Corner)

    The fusion movement has a lot in common with a tropical storm: it rages fiercely in its early phases but becomes less wild later on, yet still blows a gale. In the eye of the storm that tore its path through the various musical styles and genres as from 1960 is George Duke, who entered into creative and stormy partnerships with such artists as Frank Zappa, Miles Davis and Jean-Luc Ponty. The rainbow colours with which Duke chose to tint this album are taken less from the paintpots of fusion jazz and rock, and rather more from the black, natural colours of rhythm and blues. Next to a relaxed love groove (Say That You Will) we find a polyphonic vocal number with solos (Sunrise), which conjures up the nostalgic atmosphere of Motown, now on the decline. Then there is snappy funk in all manner of variations, such as Party Down, which swings trendily along but then comes over unfiltered and dry as a bone.
    In Follow The Rainbow, genial musicianship, expert arrangements and a special feeling for resonance amalgamate to create a tightly-knit sound which is ever fresh and easy-going.



    Musicians:



    • George Duke (vocal, keyboard)

    • Larry Williams (tenor saxophone, flute)

    • Eric Culver (trombone)

    • Charles Icarus Johnson (guitar)

    • Byron Miller (bass)

    • Leon 'Ndugu' Chandler (drums)

    • Sheila Escovedo (percussion, vocal)

    • Napoleon Murphy Brock (vocal)




    Recording: 1979 at Westlake Recording, Los Angeles, by Kerry McNabb and Electric Lady Studios, New York, by Dave Palmer

    Production: George Duke





    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. Party Down
    2. Say That You Will
    3. Funkin' For The Thrill
    4. Sunrise
    5. Festival
    6. I Am For Real (May The Funk Be With You)
    7. Straight From The Heart
    8. Corine
    9. Pluck
    10. Follow The Rainbow
    George Duke
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Crossings (Speakers Corner) Crossings (Speakers Corner) Quick View

    $34.99
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    Crossings (Speakers Corner)

    In the 1970s, Herbie Hancock's Crossings was to be found on every IKEA record shelf in the student pads of jazz-fusion fans. The cover, with its psychedelic touch, also contributed significantly to its popularity - although it was unclear where the crossing was going to take us


    Nevertheless, the excellent trumpeter Eddie Henderson - often underestimated as an improviser and composer, and Benny Maupin - who like Hancock had grown up under Miles Davis's wing, present a wide range of sound-generating instruments - as was all the rage in those days. Synthesizer and Mellotron (a polyphonic tape replay keyboard and as such practically the prototype of the sampler) were permanent members of the group - and even produce here melodic arches of sound! Whether Bennie Maupin's Quasar launches the group and us into extraterrestrial territory (as stated in one review) is a moot point.


    This LP is a contemporary historical document, though it certainly doesn't sound antiquated. That's why younger listeners too will find pleasure in this experiment from the previous millennium.


    Musicians:



    • Herbie Hancock (electric-piano, piano, mellotron, percussion)

    • Bennie Maupin (soprano saxophone, flute, bass clarinet, piccolo flute, percussion)

    • Eddie Henderson (trumpet, flugelhorn, percussion)

    • Julian Priester (trombonbe, percussion)

    • Patrick Gleeson (synthesizer)

    • Buster Williams (bass, percussion)

    • Billy Hart (drums, percussion)



    Recording: February 1972 at Pacific Recording Studios, San Mateo, CA., by Patrick Gleason

    Production: David Rubinson



    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. Sleeping Giant
    2. Quasar
    3. Water Torture
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wear Your Love Like Heaven (Speakers Corner) Wear Your Love Like Heaven (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Wear Your Love Like Heaven (Speakers Corner)

    Donovan Philip Leitch may well share a proletarian origin with several of the folk bards of his time. But comparisons with the top dog Dylan have worn thin and are not worth the effort since Donovan never was neither vocally nor thematically brusque - and moreover he created his own standards. He quickly converted the pacifist message of The Universal Soldier into positive thoughts and his poetry was concerned with history, sagas, myths and magic. »Lord, kiss me once more, fill me with song« he prays in Wear Your Love Like Heaven, and if this makes you sentimental then you are on the right wavelength. However, the »seller of hope« (Donovan on Donovan) triggers off a few psychedelic nerve tracts: whether it be a personal experience in echo form (Sun) or the sprechgesang and whistling of a vocal group (Little Boy In Corduroy) - light, gentle but perceptibly formed. That Donovan set far more than cheerful texts to the guitar is proven by the use of sawing stationary sound of the organ, low-register string passages and subtle rhythms, which raises his song repertoire miles above routine. A nice 'folksy guy' who merely loves the sun, moon and stars just cannot exist in times of war.


    This Speakers Corner production was manufactured 100% analogously, with the use of the analogue mastertape and analogue mastering. All royalties and mechanical rights have been paid.


    Musicians:



    • Donovan (vocals, guitar)

    • Mike O'Neil (organ,piano, harpsichord,)

    • Eric Leese (guitar)

    • Harold McNair (flute)

    • Mike Carr (vibraphone)

    • Jack Bruce, Cliff Barton (bass)

    • Keith Webb (drums)

    • Candy John Carr (conga, bongo)



    Recording: October 1967 at CBS Studios London by Michael Ross Trevor

    Production: Ashley Kozak




    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. Wear Your Love Like Heaven
    2. Mad John's Escape
    3. Skip-A-Long Sam
    4. Sun
    5. There Was a Time
    6. Oh Gosh
    7. Little Boy in Corduroy
    8. Under the Greenwood Tree
    9. The Land of Doesn't Have to Be
    10. Someone Singing
    Donovan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sound Of Change Sound Of Change Quick View

    $18.99
    Buy Now
    x

    Sound Of Change

    The Sound of Change can't come from external forces, it has to emanate from within. For Dirty Heads, evolution beyond their reggae-rock roots has developed over time and is manifested on their new album "Sound of Change." Due out summer 2014 via Five Seven Music, the album boasts some of the groups' most diverse and ambitious work to date. "Sound of Change" takes a literal meaning with the production of this album, as the band links up with Grammy award winning producer Supa Dups (Nina Sky, Bruno Mars), Buddah Shampoo (Ty Dolla $ign), Niles (of hip hop duo, The Cataracs), Ward 21 (311, Major Lazer reggae collaborators) and long-time friend and collaborator, Rome (Sublime).


    The feel-good vibe associated with their sound was not forgotten. Sonically, "Sound of Change" amps up the groundwork laid by previous albums. Fine-tuned alternative choruses work harmoniously with hip-hop influenced production that seams the songs together. Universal themes of compassion, reflection and happiness are at the core of "Sound of Change." "We wanted the songs on this album to touch on the things we deeply care about and the people we are inside" front man Jared (Dirty J) Watson asserts, "but then we want to address the other side - when the weekend comes and we need to let go and just rage." Who can't relate to that feeling?


    Vocalist/Guitarist Dustin Bushnell (Duddy B) is constantly looking to connect the dots between the live show with the album tracks, often mentally mapping out the live elements as the songs are being recorded. For the touring cycle surrounding the release "Sound of Change" the band plans to bring a live show that will energetically compliment each new track. Dirty Heads have racked up their miles bringing that live experience to fans across the globe for over a decade. "Now that our lives are touring we get to see the world," both Watson and Bushnell agree, "we're taking stories and vibes from around the world and making this album is the culmination of that."


    The band's breakout 2008 album "Any Port In The Storm" included the chart-topping hit track "Lay Me Down" which features current Sublime frontman, Rome. The track had an incredible run for eleven weeks at #1 on the Billboard charts, laying a solid foundation for their follow up sophomore album "Cabin By The Sea" which was released in 2012. Dirty Heads then began their musical metamorphosis with their 2013 acoustic album "Home - Phantoms Of Summer," allowing time for their metamorphosis embodied in "Sound of Change." Their previous work featured contributions from talent such as Del The Funky Homosapien, Matisyahu, Rome (Sublime) and guitar legend Slash.


    "Sound of Change" is a melting pot of all the band members' experiences and musical persuasions, addressing both serious and lighthearted subject matter in their signature way. On the lighter side of the spectrum, "Burn Slow" (Produced by Rome, featuring rapper, Tech N9ne) showcases the hip-hop oriented side of the band. With anthemic choruses and a feel-good aura, Watson boasts the song is the perfect soundtrack for those times when you're "having a good time, going out with friends and realize that sometimes you just need to chill." The retro sound and sexy lyrics of "Hear You Comin," highlights Watson's soaring vocals in its hook. The first single, the metaphorical "My Sweet Summer" (produced by Niles from The Cataracs) is, in reality, a song for all seasons. An undeniable groove underlines the lyrical lament. The title track "Sound of Change" is the key manifestation of the artistic maturation of the band. "The world is always changing political and social outlooks and on a broader scale, look at the changes within yourself" Watson reflects, "the song is about embracing the change life is going to bring no matter what, because that change is inevitable." Though there is diversity on "Sound of Change," as a body of work, it is cohesive in a way only Dirty Heads can achieve.


    As a full six-piece unit, frontmen Watson and Bushnell are joined by keyboardist/vocalist Shawn Hagood, percussionist Jon Olazabal, drummer Matt Ochoa and bassist David Foral. This lineup is hell-bent on grabbing new ears with "Sound of Change." Their own journey can be heard within the album- all you have to do is sit back and listen.

    1. Sound Of Change
    2. My Sweet Summer
    3. Medusa (feat. Ward 21)
    4. Burn Slow (feat. Tech N9ne)
    5. Franco Eyed (feat. B-Real of Cypress Hill)
    6. End Of The World
    7. One Hand
    8. Radio
    9. Burials
    10. Hear You Coming
    11. Silence
    12. Dark Days
    13. Running For Your Life
    The Dirty Heads
    $18.99
    Vinyl LP - Sealed Buy Now
  • Get Thy Bearings Get Thy Bearings Quick View

    $16.99
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    Get Thy Bearings

    Robert Walter performs all his own stunts. For 20 years, the San Diego native has been pulling drawbars and pushing the limits of the Hammond B3 organ. As a founding member of the Greyboy Allstars, he helped usher in the funk-jazz renaissance of the early '90s and has continued to keep one hand comping chords in the instrument's funky past, while the other explores ever-new melodic terrain. On June 25, his long-standing project, Robert Walter's 20th Congress, returns with, Get Thy Bearings, via The Royal Potato Family. It was a recent move from New Orleans to Los Angeles that jump-started the 20th Congress who hadn't recorded a studio album in ten years. The nine-track effort presents Walter's organ, piano, Rhodes and synthesizer driving an all-star line-up rounded out by guitarist/bassist Elgin Park, drummer Aaron Redfield, sax players Karl Denson and Cochemea Gastelum, and percussionist Chuck Prada.


    Get Thy Bearings is drenched in the vintage old school soul, funk and jazz vibe of Walter's heroes like Big John Patton, but it also reflects his recent work scoring films. There's a conceptual depth to the songwriting that draws on elements of narrative and character development, lending a cinematic color to the proceedings. The tracks range from the Sly Stone-style soul vamp of Little Business to the heavy gospel of Crux. Dog Party might as well be the theme song to a cartoon of the same name, while Don't Chin the Dog shifts from delicate shuffle to horn-drenched boogaloo. Things get eerie on Up From the Skies, a Jimi Hendrix cover rendered nearly unrecognizable in washes of electric Miles. Similarly, the album's title track is a shrewd reworking of the 1968 Donovan tune Walter first discovered on compilation of sample-friendly breakbeats, full of fuzz guitar and a mercurial organ solo.

    1. Hunk
    2. Little Business
    3. Get Thy Bearings
    4. Foxhunting
    5. Dog Party
    6. Inversion Layer
    7. Crux
    8. Don't Chin The Dog
    9. Up From The Skies
    Robert Walter's 20Th Congress
    $16.99
    Vinyl LP - Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
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    Broken People

    American music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.


    The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.


    With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.


    North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.


    "To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.


    Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.


    She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.


    "I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.


    "The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.


    "The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.


    "We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."


    "We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.


    As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.


    Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.


    "Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."


    "It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."


    "Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."


    "We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.


    And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.

    1. Broken People
    2. Brother, What Happened?
    3. Got It Goin' On
    4. Why Don't You Stay
    5. Take Me Home
    6. Shine On!
    7. It Ain't Easy
    8. I Need A Man
    9. Devil's Teeth
    10. Train
    11. Leave It To The Sky (feat. John Legend)
    Muddy Magnolias
    $18.99
    Vinyl LP - Sealed Buy Now
  • Sin & Soul (Speakers Corner) (Bend In Cover) Sin & Soul (Speakers Corner) (Bend In Cover) Quick View

    $27.99
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    Sin & Soul (Speakers Corner) (Bend In Cover)

    When Oscar Brown died at the age of 78 in 2005, one journalist at least, from The New York Times, was unsure as to how to describe the artist to whom America had just bid a final farewell. To write in his obituary that he was a jazz singer seemed too platitudinous, because Brown didn't just sing his songs, he performed them. But it would have been just as wrong to honour him as a jazz songwriter, despite his collaborations with Miles Davis and Max Roach, because he was more closely associated with gospel, folk and blues.
    His vocal qualities lie in a recitative-like, dry declamation, sharp as a knife, as is clearly heard in Work Song. The pain brought on by life's adversities can be cried out internally even if you appear to remain unaffected outwardly (But I Was Cool). A portion of sarcasm is necessary when the singsong of a slave trader constantly calls for higher bids (Bid 'Em In), and when a babbling child can pester its daddy with both banal and existential questions (Dat Dere).



    The generously manned band does not often play all together as in the springy Signifyin' Monkey. Here we have just a few chords on the piano (Watermelon Man), there a gently plucked guitar (Brown Baby), or a quiet pulsating rhythm (Afro Blue) - very often not much more was needed for a sin and soul performance by Oscar Brown, who, by the way, and so typically American, regarded himself as an Entertainer.



    Musicians:



    • Oscar Brown Jr. (vocal)

    • Phil Bodner (saxophone)

    • Billy Butterfield (trumpet)

    • Floyd Morris (piano)

    • Don Arnone (guitar)

    • George Duvivier (bass)

    • Osie Johnson (drums)




    Recording: June - October 1960




    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. Work Song
    2. But I Was Cool
    3. Bid 'em High
    4. Signifyin' Monkey
    5. Watermelon Man
    6. Somebody By Me A Drink
    7. Rags and Old Iron
    8. Dat Dere
    9. Brown Baby
    10. Humdrum Blues
    11. Sleepy
    12. Afro Blue
    Oscar Brown Jr.
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Texas Hurricane (45RPM) (Out Of Stock) Texas Hurricane (45RPM) (Out Of Stock) Quick View

    $399.99
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    Texas Hurricane (45RPM) (Out Of Stock)

    Mastered from the Original Analog Tapes by Sterling Sound


    What if. What if everything that you have come to know and worship about the sonic superiority of Quality Record Pressings LPs could be brought to bear on one of the rockingest powerhouses of blues guitar who ever lived?


    Then your wish is granted. We're about to rock your world with the greatest Stevie Ray Vaughan tribute ever reissued: Six of Vaughan's most classic album titles combined in the ultimate box set for ultimate blues and guitar fanatics!


    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For about seven years, Stevie Ray Vaughan was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.


    This is classic Stevie Ray Vaughan, meticulously remastered from the analog tapes by New York's Sterling Sound. In each set you'll receive Texas Flood, Couldn't Stand the Weather, Soul to Soul, In Step, plus the posthumous classics Family Style and The Sky Is Crying.


    Those of you familiar with our previous LP box sets - Miles Davis and Thelonious Monk, Creedence Clearwater Revival - and soon to come, The Doors - know how deluxe these sets are. From the detailed liner notes to the rarest photographs, these sets will truly be gems.


    The truly luxurious - and ultimate - listening experience can be had on 45 RPM LP. With so few songs on each side and at 45 RPM, your cartridge will capture every last winsome note. The box set will be pressed on 200 gram vinyl at QRP, lauded for its vinyl manufacturing excellence.


    Each LP set will come housed in deluxe gatefold jackets that include rarely published, intimate photos - a look inside the career of a legend whose death at age 35 shocked the music world. A few statistics showcase Vaughan's success and musical influence: His debut album Texas Flood, reached No. 38 on the charts, crossing over to rock radio stations. The album's succesor, Couldn't Stand the Weather, released in May 1984, reached No. 31 on the charts; by the end of 1985 it went gold. Vaughan and his band, Double Trouble, recorded their third album, Soul to Soul, released in August 1985, and it reached No. 34 on the charts.

    Texas Flood:


    1. Love Struck Baby
    2. Pride And Joy
    3. Texas Flood
    4. Tell Me
    5. Testify
    6. Rude Mood
    7. Mary Had A Little Lamb
    8. Dirty Pool
    9. I'm Cryin'
    10. Lenny


    Couldn't Stand The Weather:


    1. Scuttle Buttin'
    2. Couldn't Stand the Weather
    3. The Things (That) I Used to Do
    4. Voodoo Chile (Slight Return)
    5. Cold Shot
    6. Tin Pan Alley
    7. Honey Bee
    8. Stang's Swang


    Soul To Soul:


    1. Say What!
    2. Lookin' Out The Window
    3. Look At Little Sister
    4. Ain't Gone 'n' Give Up On Love
    5. Gone Home
    6. Change It
    7. You'll Be Mine
    8. Empty Arms
    9. Come On (Part III)
    10. Life Without You


    In Step:


    1. The House Is Rockin'
    2. Crossfire
    3. Tightrope
    4. Let Me Love You Baby
    5. Leave My Girl Alone
    6. Travis Walk
    7. Wall of Denial
    8. Scratch-N-Sniff
    9. Love Me Darlin'
    10. Riviera Paradise


    The Sky Is Crying:


    1. Boot Hill
    2. The Sky Is Crying
    3. Empty Arms
    4. Little Wing
    5. Wham
    6. May I Have a Talk With You
    7. Close to You
    8. Chitlins con Carne
    9. So Excited
    10. Life By the Drop


    Family Style:


    1. Hard To Be
    2. White Boots
    3. DFW
    4. Good Texan
    5. Hillbillies From Outerspace
    6. Long Way From Home
    7. Tick Tock
    8. Telephone Song
    9. Baboom/Mama Said
    10. Brothers

    Stevie Ray Vaughan
    $399.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 12 LPs Sealed Temporarily out of stock
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