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  • 52nd Street (On Sale) 52nd Street (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    52nd Street (On Sale)

    Ranked 352/500 on Rolling Stone's List of the 500 Greatest Albums of All Time


    52nd Street on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Mainstream Perfection: Melodic Devices, Passionate Singing, Sophisticated Arrangements, Jazzy Backdrop Walk Down 52nd Street


    Commanding Sonics: Mobile Fidelity Edition Sets the New Standard in How Joel's 1978 Classic Should-and Does-Sound


    Chart-Topper Certified Seven-Times Platinum: Includes "Big Shot," "Honesty," "My Life"


    Some artists embrace their success by repeating the steps that originally granted them fame. Billy Joel did the opposite, refusing to be contained by prescribed approaches or constrained by a given label. The follow-up to the breakthrough The Stranger, 52nd Street further expands on its predecessor's bold production techniques and inventive arrangements, incorporating more sophisticated textures as well as reflecting a jazz edge gleaned from New York City's thriving club scene.


    A key component of Mobile Fidelity's Billy Joel catalog restoration series, The Stranger is mastered from the original master tapes and pressed on 45RPM 180 gram LP at RTI. The wider and deeper grooves-as well as the meticulous mastering process-yield resplendent dynamics, broad soundstages, three-dimensional perspectives, and tonal balances absent from prior editions. Indeed, Joel wouldn't sound more realistic if were playing ten rows away from you onstage. This is how you want to experience the 1978 LP that captured the Grammy Award for Album of the Year.


    Teaming again with producer Phil Ramone, Joel capitalizes on his momentum, churning out another direct-sounding affair replete with captivating melodic devices, showmanship accents, and penetrating lyrics. The singer's concision and focus is evident via the tune's lengths, with only "Until the Night" breaking the six-minute mark. Hit singles "Big Shot" and "My Life" rattle forth with an urgency and intensity that Joel had not previously demonstrated, the combination of passionate deliveries, snide overtones, and insistent grooves setting the table for what follows.


    Broadening his palette, and drawing from New York's thriving jazz club scene and the city's late-70s grit, Joel splashes Latin and jazz colors on several pieces-even employing veterans such as Dave Grusin and Freddie Hubbard to contribute along with a cast that includes a team of background vocalists and horn players. Everything is tastefully appointed, and yet the vocalist's trademark Broadway gaze and knack for the grand gesture coincide with the straight-ahead swagger.


    52nd Street is one of the main reasons why Joel has always been championed for consistency. Everything here, from the production to the stand-up songs, helped redefine mainstream pop-rock. More than three decades later, it's finally available in fidelity that rivals that of those Columbia Records' master tapes produced right on 52nd Street. Mobile Fidelity takes you there and Joel sweeps you away.


    This title is not eligible for further discount.

    1. Big Shot
    2. Honesty
    3. My Life
    4. Zanzibar
    5. Stiletto
    6. Roaslinda's Eyes
    7. Half a Mile Away
    8. Until the Night
    9. 52nd Street
    Billy Joel
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • A Salty Dog (Pre-Order) (On Sale) A Salty Dog (Pre-Order) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    A Salty Dog (Pre-Order) (On Sale)


    Procol Harum Fuses Classical Structures, Rock Motifs, and Sweeping Melodies with Unparalleled Virtuosity: A Salty Dog Features Ravishing Symmetry Between Piano, Organ, Guitar, and Strings


    Mastered from the Original Master Tapes for Reference-Level Sound, Clarity, and Presence: Ultra-Dynamic Mobile Fidelity 180g Vinyl LP Limited to 3,000 Numbered Copies


    A call for all hands on deck opens Procol Harum's third album, and with that command, an effort that witnesses the band coming into its own as a collective capable of fusing classical structures with rock motifs via an expertise, virtuosity, and style matched by none of its peers is on its way to making history. A Salty Dog survives as proof no other artist ever sounded like Procol Harum - while also demonstrating few collectives boasted a lineup full of such ace instrumentalists. Stacked with exploratory themes, boundary-crossing directions, and sweeping melodies, A Salty Dog proudly veers off traditional course and ventures to intrepid places forbidden to even the most thrill-seeking groups of the highly experimental era.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g vinyl LP takes its place as the definitive-sounding analog version of the record. The intertwined symmetry between organist Matthew Fisher and pianist Gary Brooker, central to every song on the set, gets revealed with newfound detail, openness, and clarity. Produced by Fisher, A Salty Dog now resonates with a presence and immediacy stunted on prior editions. The full-bodied tones, front-to-back imaging, and grand dynamics inherent on this audiophile edition elevate the 1969 favorite to landmark status. In addition, the evocative cover art, which pays homage to the Player's Navy Cut logo, is reproduced in faithful-to-the-original fashion.


    The cinematic breadth of the sonics parallels the scope of the bold arrangements, which include strings, recorders, bells, celeste, and a myriad of guitars. Brooker and Fisher split vocal duties, save for on Crucifiction Lane, which boasts a rare lead from marvel-in-the-making Robin Trower. The latter's prodigious guitar lines add another distinctive element to the compositions and further up the ante of the interplay between Brooker and Fisher. Trower accents tracks such as the topsy-turvy The Milk of Human Kindness with bluesy vibes and jolts Juicy John Pink by way of jukejoint energy. Not to be outdone, B.J. Wilson's still-unsung percussion draws from R&B and swing techniques to supply a natural albeit firm footing.


    For all the proficient playing and narrative storytelling, the most impressive feat surrounding A Salty Dog remains its accessible complexity and relative modesty. Procol Harum never comes across as pretentious, self-indulgent, or contrived. Anchored by Fisher's unique Hammond M102 organ riffs, the works function as a summation of their parts. Tunes like Wreck of the Hesperus serve as wondrously varied tapestries stitched with swelling chamber rhythms, barbed thickets of distortion, and thundering progressions. It's a ravishing picture of majestic subtlety and sheer power.


    NME wrote shortly after the record's release that the most exciting facet of this tremendous album is not so much that it contains the Procols' best recorded works to date, but that their potential is still nowhere near being fully spent. Rolling Stone concurred, observing, 'Too Much Between Us' is the kind of song you can float away on - its background and vocal of marimba and acoustic guitar in a perfectly understated waltz-time are beautifully ethereal.


    A notable footnote, Fisher departed Procol Harum shortly after the release of A Salty Dog, permanently impacting the band's trajectory and sound. His performances here are just one reason this inimitable album carries sway nearly five decades after its release.


    This title is not eligible for further discount.

    1. A Salty Dog
    2. The Milk Of Human Kindness
    3. Too Much Between Us
    4. The Devil Came From Kansas
    5. Boredom
    6. Juicy John Pink
    7. Wreck Of The Hesperus
    8. All This And More
    9. Crucifiction Lane
    10. Pilgrim's Progress
    Procol Harum
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • King Of America (On Sale) King Of America (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    King Of America (On Sale)

    King of America on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Costello Teams With Musical Legends and Standout Producer T-Bone Burnett on Exemplary 1986 Album


    Mastered from the Original Master Tapes: Mobile Fidelity LP Maximizes the Get-In, Get-Out, Live-In-the-Studio Immediacy and De-Congested Mix


    Includes Introspective Songwriting Gems Such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Little Palaces"


    Juggling Themes of Desire and Exile, Costello Strips Arrangements Down to Folk, Country and Pub-Rock Roots


    Elvis Costello spent the year prior to recording King of America embarking on a solo tour, usually accompanied by producer/singer-songwriter T-Bone Burnett. The pair's decision to collaborate on Costello's 1986 album came naturally, and the music sounds it-emotional, effortless, literate, seemingly uncomplicated. Credit, however, not only goes to the best batch of Costello originals since 1982's Imperial Bedroom, but to the literally awesome and awe-inspiring cast of musicians Burnett invited to participate.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram LP of this masterpiece broadens the live-in-the-studio intimacy and opens up the midrange, highs, and lows of Burnett's fabulously de-congested mix. Made with few overdubs or effects, King of America relishes organic approaches and faithful tones-as well as a vast spaciousness and balance not always evident on Costello's efforts with the attractions. Finally, Mobile Fidelity transports the listener to the semicircle of players that surrounded Costello in the studio, and highlights the benefits of the center-of-the-production miking technique employed on the singer's voice and guitar playing.


    Given the brilliance of the performances, every music fan will want to be brought as near as possible to the purity of these sessions. A Hall of Fame-caliber list of instrumentalists accompany Costello, with Elvis Presley's T.C.B. mates Ron Tutt (drums), James Burton (guitar), and Jerry Scheff (bass) forming one band and drummer Earl Palmer (Little Richard), bassist Ray Brown (Oscar Peterson, Duke Ellington), pianist Tom Canning, and organist Mitchell Froom ready in waiting as another. Several of these musicians formed yet another band, joined by drummer Jim Keltner of Bob Dylan, George Harrison, and John Lennon fame. Oh-and the Attractions make a guest appearance on one track.


    King of America-the title reflective of the threads of intentional, thought-provoking contradiction throughout-would be exemplary if just for the troupe. Yet it's the combination of chemistry, ability, sonics, and tunes that propel this watertight platter to iconic status. Unconcerned with writing a radio hit or adhering to a single musical theme, Costello wrote a majority of the material on acoustic guitar and on piano, tapping his pub-rock and folk roots in turning out songs that remain some of the catchiest, introspective, and deep of his career. Cuts such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Suit of Lights" epitomize Costello's inimitable manner of viewing adulthood, romance, and geographical transition through a transparent lens that blocks neither truth nor consequence.


    As for the music? It swings (vide, Scheff's bass line on "Lovable"), swishes (Keltner's brushes on "I'll Wear It Proudly"), jumps (Brown's string bass on "Eisenhower Blues"), swoons ("Poisoned Rose"), and shuffles ("Jack of All Parades"). There's truly not a bum track here, and now, experienced in such high fidelity, the genius of every contributor can be easily heard and felt. Akin to Mobile Fidelity's other Costello reissues, this is not to be missed.


    This title is not eligible for further discount.

    1. Brilliant Mistake
    2. Lovable
    3. Our Little Angel
    4. Don't Let Me Be Misunderstood
    5. Glitter Gulch
    6. Indoor Fireworks
    7. Little Palaces
    8. I'll Wear It Proudly
    9. American Without Tears
    10. Eisenhower Blues
    11. Poisoned Rose
    12. The Big Light
    13. Jack of All Parades
    14. Suit of Lights
    15. Sleep of The Just
    Elvis Costello
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nefertiti (On Sale) Nefertiti (On Sale) On Sale Quick View

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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
  • Piano Man (Awaiting Repress) (On Sale) Piano Man (Awaiting Repress) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Piano Man (Awaiting Repress) (On Sale)

    Billy Joels Piano Man established a legend via two elements that became a trademark of his career: simple, yet disarmingly effective lyrics that speak to universal truths and instilled feelings of pathos. With the classic title track, Joel captures the emotions and expectations all of usconsciously or notattach to our favorite musicians: Sing us a song you're the piano man/Sing us a song tonight/Well we're all in the mood for a melody/And you've got us feeling alright, he croons. Indeed, Joel has everyone feeling good on this breakout set.



    Never before properly remastered, Mobile Fidelity secured the original master tapes to present this 1973 singer-songwriter masterwork in unparalleled fidelity. The cavity of Joels piano, tension of the strings, and reach of his voice are astounding on this numbered limited-edition LP pressing. The New York native finally seems as if hes playing in your room rather than down the hall.



    After the commercial failure of his debut, and resulting legal disputes with his label, a determined Joel took up a six
    month residency as a lounge singer in Los Angeles. The vocalist continued to pen songs, including his signature track, Piano Man, a fictional narrative motivated by the real-life stories and actions of the patrons he witnessed during his cocktail club residency. Joel also drew inspiration from a fellow peer with whom hed ultimately collaborate on a series of highly successful tours that continue to this day: Elton John. The Englishmans Tumbleweed Connection fueled a creative spurt in Joel, who extends the records Western imagery and bluesy themes.



    Ignoring introspection in favor of rich character sketches, Joel utilizes his knack for melodic flair, filling out the songs with comprehensive arrangements and a swift sense of purpose. His talesThe Ballad of Billy the Kid, Captain Jack, Aint No Crimeare supported with phenomenal harmonies and thematic flavors that arrive courtesy of instrumental accents from first-rate players that include guitarist Larry Carlton, banjoist Fred Heilbrun, and drummer Ron Tutt. Joel supplies the requisite emotions, and Piano Man oozes with life.



    Mobile Fidelitys 180g LP possesses a warmth that, until now, none of Joels records possess. Soundstaging, imaging, and immediacy are refined and mannered, and the enthusiasm and completeness of Joels craft come into supreme focus.



    No fan of 70s rock or pop should be without this stellar pressing!


    This title is not eligible for further discount.

    1. Travelin' Prayer
    2. Piano Man
    3. Ain't No Crime
    4. You're My Home
    5. The Ballad of Billy the Kid
    6.Worse Comes to Worst
    7. Stop in Nevada
    8. If I Only Had the Words (To Tell You)
    9. Somewhere Along the Line
    10. Captain Jack
    Billy Joel
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Gasoline Alley (On Sale) Gasoline Alley (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    Gasoline Alley (On Sale)

    Numbered Limited Edition LP


    Rod the Mods 1970 Landmark Set Tone for All Folk-Rock Albums That Followed


    Evocative, Low-Key, and Rustic: Gasoline Alley Finds Stewart At His Peak


    Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: LP Has Never Sounded More Organic, Warm, or Transparent


    Backed By Fellow Faces Ron Wood, Ronnie Lane, Ian MacLagan, Kenny Jones


    Stewarts Equally Iconic Every Picture Tells A Story Also Available on LP from Silver Label


    No matter what era or phase of Rod Stewart you prefer, nearly everyone is unanimous in choosing the artists early 1970s output as his very finest. Proof comes courtesy of Gasoline Alley. A 1970 record that literally set the template for all folk-rock efforts that followed, the critically acclaimed album has been cited as one of the 1001 Albums You Must Hear Before You Die and remains a blueprint for evocative vocals, low-key presentation, and incredible interpretation.


    Barely removed from his debut, Stewart comes into his own on Gasoline Alley, essentially a largely unplugged record on which the singer surrounds himself with a transcendent blend of acoustic guitars, mandolin, fiddle, piano, and understated percussion and channels the music with a gritty, rock n roll attitude. The results? Tough, organic, warm, swaggering, and unfettered songs that bow to country, rockabilly, blues, and folk influences all the while managing to belong to their own genre. Its just one of the reasons why Gasoline Alley remains a study in distinctive excellence.


    Another is due to Stewarts passionate singing. Sensitive, understated, wistful, and raggedly worn, he inhabits the role of a journeyman that inhabits the narratives on standard-bearing covers of Bob Dylans Only a Hobo, Elton Johns Country Comforts, and the R&B shuffle Cut Across Shorty. He conveys a bevy of complex emotionssadness, regret, optimism, sorrow, loss, humor, yearningwith a poignancy that suggests every song here is disarmingly personal. Of course, having a band sympathetic to his desires and directions, and one that claims the talent of players such as guitarist Ronnie Wood and organist Ian MacLagan, doesnt hurt matters.


    Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP allows Gasoline Alley to come across with unrivaled warmth, organic tones, and transparent presence. The signature acoustic-electric blend of rock, blues, soul, and country crackles with energy; midrange and highs are vastly improved, affording listeners a clearer image of the Faces dynamic contributions and chemistry. And Stewarts vocals take place right in your room. Wait until you hear the inflections and contrasts.


    Dont hesitate on this all-time rock and folk classic.


    This title is not eligible for further discount.

    1. Gasoline Alley
    2. It's All Over Now
    3. Only A Hobo
    4. My Way Of Giving
    5. Country Comforts
    6. Cut Across Shorty
    7. Lady Day
    8. Jo's Lament
    9. You're My Girl (I Don't Want To Discuss It)
    Rod Stewart
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed Buy Now
  • Sinatra's Swingin' Session (On Sale) Sinatra's Swingin' Session (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Sinatra's Swingin' Session (On Sale)

    Mastered from the Original Master Tapes


    Legend has it that when Frank Sinatra initially stepped into the recording studio for the first of four sessions, he asked Nelson Riddle to speed up the tempos to the songs that landed on Sinatra's Swingin' Session!!! It's safe to say that the arranger followed orders and that the results-buoyant, cheery, fun, exuberant, zesty, and wonderfully jazzy-speak for themselves. This 1961 effort remains the Chairman's fastest, hardest-swinging set. And oh, how it swaggers.


    Mastered from the original master tapes, Mobile Fidelity's numbered limited edition 180 gram LP of this gem possesses a punchiness, immediacy, forcefulness, and dynamic heft that rivals even what's heard on a pristine original Capitol pressing-provided you can even find one. The reissue will help convert your room into a studio stuffed with horn players and percussionists, with Sinatra, decked out in a trademark fedora and suit, holding court at the center of it all. Sinatra's Swingin' Session!!! isn't a live album, but it hits with the gusto and tang of one.


    Forget about incorrect rumors that state that this album was only completed due to contractual obligations and that Sinatra hurried through the material. No matter the circumstances, nothing here is tossed-off or rushed. As always, Sinatra takes it all seriously, pouring his all into each of the dozen tracks here. He wouldn't have it any other way. Name another singer from his era (or any) that could possibly keep time with these uptempo beats and sound as if he isn't even breaking a sweat. Needless to say, Sinatra has a blast making it all happen.


    Riddle's arrangements help push forward the tunes, whether they be happy standards such as "When You're Smiling (The Whole World Smiles With You)," optimistic finger-snappers like "S'posin'," or the evergreen "Blue Moon," punctuated with a memorable tenor sax solo. Melodies unfurl like red ribbons on packages; grooves alternate between galloping and gallivanting; even ballads can't resist moving to joyous rhythmic patterns. Throughout, Sinatra's casual, uninhibited singing rises above the band, producing emotions that are at once frisky, lighthearted, pleasurable, and contagious. Dust off your dancing shoes.


    This title is not eligible for further discount.

    1. When You're Smiling (The Whole World Smiles With You)
    2. Blue Moon
    3. S'posin'
    4. It All Depends on You
    5. It's Only a Paper Moon
    6. My Blue Heaven
    7. Should I?
    8. September in the Rain
    9. Always
    10. I Can't Believe That You're in Love With Me
    11. I Concentrate on You
    12. You Do Something to Me
    Frank Sinatra
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live At The Sands: Before Frank (On Sale) Live At The Sands: Before Frank (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Live At The Sands: Before Frank (On Sale)

    Swinging Hard and Heavy With Orchestral Support, Live Big-Band Album Recorded During the Count's Warm-Up Sets for Sinatra in Early 1966 in Vegas


    Incredible Sound: Mastered from the Original Master Tapes, Reissue Improves Upon Renowned Dynamics, Presence, Crispness, and Balances


    Long Out-of-Print, Seminal Classic is Perfect Complement to Sinatra's Live at the Sands


    Count Basie and Frank Sinatra had the perfect arrangement at the Sands. Before the Chairman hit the stage in Vegas, Count Basie and his big band warmed up the already enthusiastic crowd with a brief set of their own. A dynamite entertainer, the legendary leader causes hearts to race, hips to shake, and fingers to snap with high-energy readings of his trademark swing music, taken to feverish heights by both his first-rate orchestra and the incredibly swank setting. Fortunately, the finest of Basie and Co.'s introductory performances from the historic 1966 dates have been preserved here and serve as a seminal complement to Sinatra's iconic Live at the Sands.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version of Live at the Sands (Before Frank) gives you a dead-center, eighth-row seat at the famed Sin City club. You'll just need to supply your own table and cocktail. Renowned for its sonic clarity, transparency, crispness, and punch, the record is now tremendously enhanced, with improved tonality, a deeper soundstage, correct balances, and lifelike presence. Each horn occupies its own space, and Basie's transfixing piano-a focal point throughout-resonates with gorgeous detail and impeccable pacing. The collective's energy almost demands to be measured with an SPL meter.


    Captured in late January and early February 1966, Live at the Sands (Before Frank) contains most of Basie's signature pieces delivered with an enthusiasm, style, and brassiness that exceed that gracing nearly any of the Count's studio efforts. His band is stacked to the nines, with tenor saxophonist Eddie "Lockjaw" Davis, saxophonist/flautist Eric Dixon, and drummer "Sonny" Payne among the prized cast. The Sands dates marked the first time in years that these players, as well as trombonist Al Grey, gathered onstage together.


    Encouraged by Basie, the instrumentalists engage in a series of call-and-response passages and standout solos, not the least of which is Davis' turn on a white-hot "Jumpin' at the Woodside" and he and Dixon's exchanges on "This Could Be the Start of Something Big." No slouch, Basie approaches "Makin' Whoopee" with graceful playfulness, and oversees the assortment of uptempo swing numbers and mellow ballads with astute melodicism. A sublime version of the Don Gibson country standard "I Can't Stop Loving You," arranged by Quincy Jones, can almost be considered a bonus.


    No, it don't mean a thing if it ain't got that swing. And Basie and his mates have plenty of it on this superb outing. Big-band jazz seldom enjoyed such levels of rhythmic precision, expert charts, or unfettered joy. Unbelievably, this gem has been out of print for years, with original copies both on vinyl and CD commanding steep prices. Mobile Fidelity's reissue restores not only the sonics but the record's place in jazz history.


    This title is not eligible for further discount.

    1. Introduction
    2. Splanky
    3. I Can't Stop Loving You
    4. I Needs to Be Bee'd With
    5. Flight of the Foo Birds
    6. Satin Doll
    7. Makin' Whoopee!
    8. Corner Pocket
    9. One O'Clock Jump
    10. Hello Little Girl
    11. Whirly Bird
    12. Blues for Ilene
    13. This Could Be the Start of Something Big
    14. Jumpin' at the Woodside
    Count Basie
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Kind Of Blue (Box Set) (On Sale) Kind Of Blue (Box Set) (On Sale) On Sale Quick View

    $59.99 $53.99 Save $6.00 (10%)

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    Kind Of Blue (Box Set) (On Sale)

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes


    Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations


    If There's a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions


    Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History


    How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.


    Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If there's a stairway to heaven, this is the soundtrack.


    In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.


    While no one has ever completely identified the magic behind the records allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.


    An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.



    This title is not eligible for further discount.

    1. So What
    2. Freddie Freeloader
    3. Blue in Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $59.99 $53.99 Save $6.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed Buy Now
  • Street Survivors (On Sale) Street Survivors (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    Street Survivors (On Sale)

    1977 Smash Remains South Rock Legends Finest Hour: Includes Whats Your Name and That Smell


    Last Album Made By Original Members Ronnie Van Zant and Allen Collins


    Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI


    Triple-Guitar Front of Steve Gaines, Gary Rossington, and Collins Remains Rocks Most Formidable Assembly of Six-String Players


    Street Survivors remains Lynyrd Skynyrds finest hour, and for many reasons. The last album recorded with original vocalist Ronnie Van Zant and guitarist Steve Gaines, who passed away in a tragic plane accident three days after its release, the 1977 set is both mythical for its historical significance as well as infallible songwriting quality. Then there's the triple-guitar front of Collins, Gary Rossington, and Steve Gaines, which, together, comprise the most formidable combination of lead six-string players assembled on an original album. Add in freshly inspired performances and classic Muscle Shoals production, and you have a timeless work of art.


    Mastered from the original master tapes and pressed at RTI (the best record plant in North America), Mobile Fidelity Silver Series' limited edition LP presents Skynyrds landmark effort in a dynamic, organic, soulful, and balanced sound that puts the musicians on a wide soundstage that will make you think they are standing on a stage in your room. In particular, Van Zants re-energized singing comes through with utmost clarity and verve. The complex web of guitars is now unraveled, with each of the instrumentalists possessing their own space, allowing their contributions to assume a transparency that further lends to the musics impact. Background vocals, too, rise up above what had heretofore been an artificial ceiling.


    Produced by iconic producer Tom Dowd, Street Survivors is drenched in earthy vibes and live-from-the-floor rawness, the sense of spontaneity and interplay underlining the groups taut albeit loose material. Rebounding from 1975s solid yet semi-formulaic Nuthin Fancy and the following years equally lukewarm Gimme Back My Bullets, Skynyrd comes out firing on Street Survivors and never let up. The septets nucleus was never better. It's lamentable that this stands as the lineups only studio record together, but the music here makes you all the more thankful for the chance to at least here them reach their potential at least once.


    Gaines incredible abilities spur on his mates, which respond with strong ideas and even stronger performances. Melodies are sharp, hooks are abundant, rhythms in command. A miasma of blues, rock, country, gospel, and soul informs the arrangements, and those three guitarists play as if their lives depended on getting everything just right. Songs flow with an effortless ease, and whether its the slithering organ-backed rollick of I Never Dreamed, swampy drug-abuse warning That Smell, or autobiographical honky-tonk Ain't No Good Life, Skynryd clicks on all cylinders. Swagger, swing, and strut. What an album.


    Honor Van Zant and Collins memories, and revisit a Southern rock masterpiece, by acquiring this collectable version of Street Survivors.


    This title is not eligible for further discount.

    1. What's Your Name
    2. That Smell
    3. One More Time
    4. I Know A Little
    5. You Got That Rig
    6. I Never Dreamed
    7. Honky Tonk Night Man
    8. Ain't No Good Life
    Lynyrd Skynyrd
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed Buy Now
  • Blonde On Blonde (Box Set) (Awaiting Repress) (On Sale) Blonde On Blonde (Box Set) (Awaiting Repress) (On Sale) On Sale Quick View

    $84.99 $76.49 Save $8.50 (10%)

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    Blonde On Blonde (Box Set) (Awaiting Repress) (On Sale)

    Ranked 9/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    That Thin, That Wild Mercury Sound: Dylans Ground-Shaking 1966 Double LP Sent Tremors Throughout the World


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Recorded With One of The Most Ear-Awakening Lineups Ever Assembled: Al Kooper, Pig Robbins, Joe South, Kenny Buttrey, and The Bands Rick Danko and Robbie Robertson Among Musicians


    Vaudeville, Contemporary Pop, Fiery Rock and Roll, Memphis Blues, Folk-Derived Sagas Among Enriched Palette of Styles


    Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. No lie.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed that thin, that wild mercury sound, the albums famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.


    Forever prized for a unique sound that cultural critic Greil Marcus tagged the most glamorous record imaginable; listening you [can] see the checkered jesters suit Dylan had worn on stage for the nine previous, furious months, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylans request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelitys reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres youll ever hear in plain sight.


    The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashvilles top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.


    As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyricsto say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then theres Dylans inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.


    Visions of Johanna. I Want You. Rainy Day Women #12 & 35. Sad Eyed Lady of the Lowlands. Absolutely Sweet Marie. We could go on. Essential doesnt even begin to cover the genius of this record that, now, sounds better than Dylan himself can imagine.


    Given the sonic and artistic merit of this album, we anticipate huge demand.



    This title is not eligible for further discount.

    1. Rainy Day Women #12 & 35
    2. Pledging My Time
    3. Visions of Johanna
    4. One of Must Know (Sooner or Later)
    5. I Want You
    6. Stuck Inside of Mobile With the Memphis Blues Again
    7. Leopard-Skin Pill-Box Hat
    8. Just Like a Woman
    9. Most Likely You Go Your Way (And Ill Go Mine)
    10. Temporary Like Achilles
    11. Absolutely Sweet Marie
    12. 4th Time Around
    13. Obviously 5 Believers
    14. Sad Eyed Lady of the Lowlands
    Bob Dylan
    $84.99 $76.49 Save $8.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Tapestry (On Sale) Tapestry (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Tapestry (On Sale)

    Feel the Earth Move: Mobile Fidelity Gives Listeners the End-All-Be-All Definitive Analog Version of the Long-Time Audiophile Classic


    Analog Reissue True to Producer's Original Intent of Putting Carole King in the Room With You: Experience and Feel Every Organic Nuance, Suggestive Delivery, Intimate Note


    Blockbuster Album Defined Singer-Songwriter Movement, Swept Grammy Awards, Spawned Four Hit Singles, Sold More Than 25 Million Copies Worldwide


    Ranked #36 on Rolling Stone's List of the 500 Greatest Albums of All Time


    Carole King's Tapestry is one of the rare albums that immediately plays in your head the moment its title, cover art, or songs are mentioned. Having achieved status of near-mythical proportions, it is the singer-songwriter record you'd bring to the proverbial desert island if you were limited to one choice. Renowned for its lifelike production, Tapestry now sounds clearer, richer, and more emotional courtesy of Mobile Fidelity's 180g LP. Audiophiles, this is the version that brings Carole King right before your eyes and into your room. This is the edition you need. It's the edition you deserve.


    Faithful to original album producer Lou Adler's vision of making King (and not just any pianist player) appear seated and playing in front of listeners, this numbered limited-edition 180g LP delivers utmost transparency, balance, warmth, intimacy, and perhaps most importantly, feeling. Aware of how many times this iconic work has been re-released, Mobile Fidelity engineers settled for nothing less than the absolute finest sonic presentation possible when mastering Tapestry from the original master tapes.


    The results mirror what went down in the A&M Studios. Lean, simple, direct, and so nakedly real the sonics evoke what might be heard on a professional demo tape, this collectable LP gives what Rolling Stone deems the 36th Greatest Album of All Time the due it deserves. King's personal singing, her graceful pianism, the integral rhythmic foundation provided by the likes of drummer Russ Kunkel and guitarist Danny Kortchmar, and the symmetrical contributions of guest instrumentalists ranging from saxophonist Curtis Amy to guitarist James Taylor resonate with three-dimensional imaging and cozy realism. Every note, every basic movement, accurately rendered with exquisite detail and full-bodied tonality.


    Indeed, one reason-apart from the flawless songwriting, earnest deliveries, and eloquent performances-Tapestry endures is because of the naturalness of the production and songs. King's unadulterated articulations on love, conviction, friendship, place, sadness, and companionship ring true because there's no doubting their meaning, intent, or sincerity. Tapestry makes you feel, and compels you to get closer to the music, and the musicians performing. It is an album of organic nuances, suggestive intents, and engaging melodies.


    This title is not eligible for further discount.

    1. I Feel the Earth Move
    2. So Far Away
    3. Its Too Late
    4. Home Again
    5. Beautiful
    6. Way Over Yonder
    7. You've Got a Friend

    8. Where You Lead
    9. Will You Love Me Tomorrow?
    10. Smackwater Jack
    11. Tapestry
    12. (You Make Me Feel Like) A Natural Woman
    Carole King
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Music From Big Pink (On Sale) Music From Big Pink (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Music From Big Pink (On Sale)

    Ranked 34/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Take a Load Off with the Very Best-Sounding Analog Big Pink Ever Pressed


    Half-Speed Mastered from the Original Master Tapes and Pressed at RTI


    Includes The Weight, I Shall Be Released, This Wheel's On Fire


    Youve likely heard the story. Now hear the results of one of the most famous sessions in history with a clarity and warmth never thought possible.


    In late 1965 and early 1966, Bob Dylan shattered the boundaries between folk and rock music on a controversial tour that found the generation spokesman plugging in and shocking purist audiences that reviled in horror at the sight of their hero playing electric with a bunch of ragtag Canadian mates. Then known as the Hawks, the Band was that backing group, serving Dylan not only on the road but, playing with him after his motorcycle accident, on his seminal Basement Tapes collection.


    Recorded in 1968 and ranked #34 on Rolling Stones 500 Greatest Albums of All Time list, The Bands Music From Big Pink stems from the same localea pink farmhouse in upstate Woodstock, New Yorkas the Basement Tapes and is just as rustic, timeless, and mysterious as Dylans celebrated work. A debut for the ages, the album features two songs co-written with DylanThis Wheels on Fire, Tears of Rageas well as whats universally recognized as the definitive version of Dylans I Shall Be Released. More famously, it also includes The Weight, a standard covered by everyone from the Grateful Dead to Weezer to Aretha Franklin. But the power of this set doesnt lie in one song but the entire album.


    A groundbreaking statement, Music From Big Pink lays bare the magnetism of the American South, Appalachian traditions, and country-rock innovations. That guitarist Robbie Robertson, pianist Garth Hudson, bassist Rick Danko, drummer/vocalist Levon Helm, and organist Richard Manuel are all household names only adds to the proof of this must-have records everlasting appeal. This is the majesty of what Greil Marcus called the old, weird America.


    Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version practically gives you a spot on the floor at Big Pink as the sessions went down. Curl up, close your eyes, and listen as the music's sublimely organic sounds appear with full-range dynamics, life-size imaging, and tremendous soundstaging. This is one of the reasons why you have a turntable. Prepare for your system, and your ears, to glow.


    This title is not eligible for further discount.

    1. Tears Of Rage
    2. To Kingdom Come
    3. In A Station
    4. Caledonia Mission
    5. The Weight
    6. We Can Talk
    7. Long Black Veil
    8. Chest Fever
    9. Lonesome Suzie
    10. This Wheel's On Fire
    11. I Shall Be Released
    The Band
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Quick View

    $34.99
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    Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner)

    Made during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky's "PathÉtique" has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay. The reasons for the non-release are a matter of speculation because those responsible have kept them under their hat.



    Not even the man behind the microphone, Werner Wolf, can recall making this recording - although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last!



    And at long last a gap in Fricsay's repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.



    This record was part of the 3-LP Set "The Conductors" and is now available again.




    Musicians:



    • Radio-Symphony-Orchestra Berlin

    • Ferenc Fricsay (conductor)




    Recording: 17-19 and 22 September 1959 at Jesus-Christus Kirche, Berlin, by GÜnter

    Hermanns and Werner Wolf / Production: Otto Gerdes





    About Speakers Corner



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



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



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



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



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



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



    Symphony No. 6 in B minor, Op. 74 (Pathetique)
    Satz: Adagio - Allegro non troppo
    Satz: Allegro con grazia
    Satz: Allegro molto vivace
    Satz: Finale. Adagio lamentoso
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Otis Spann Is The Blues (Pure Pleasure) Otis Spann Is The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Otis Spann Is The Blues (Pure Pleasure)

    Another absolute gem from Alan Bates's Candid label this must be probably Otis Spann's finest piece of work on wax. He may not have been THE blues, but he was sure close to being THE blues pianist. Spann provided wonderful, imaginative, tasty piano solos and better-than-average vocals, and was arguably the best player whose style was more restrained than animated. Not that he couldn't rock the house, but Spann's forte was making you think as well as making you dance.




    Musicians:



    • Otis Spann (piano, vocal)

    • Robert Lockwood Jr. (guitar, vocal)




    Recording: August 1960 at Fine Recording Studios, New York, USA, by George Piros

    Production: Nat Hentoff




    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.



    Otis Spann & Robert Lockwood
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Undercurrent (Pure Pleasure) Undercurrent (Pure Pleasure) Quick View

    $34.99
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    Undercurrent (Pure Pleasure)

    This is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding.



    Both men are on absolute top form here - Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions. Jim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading - both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.



    This is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended.




    Musicians:



    • Bill Evans (piano)

    • Jim Hall (guitar)




    Recording: April & May 1962 at Sound Makers, New York, by Bill Schwartau



    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. My Funny Valentine
    2. I Hear A Rhapsody
    3. Dream Gypsy
    4. Romain
    5. Skating In Central Park
    6. Darn That Dream
    Bill Evans & Jim Hall
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Atmosphere For Lovers and Thieves (Pure Pleasure) Atmosphere For Lovers and Thieves (Pure Pleasure) Quick View

    $34.99
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    Atmosphere For Lovers and Thieves (Pure Pleasure)

    Ben Webster is still a whale of a tenor player, his approach for the ballads being as poignant and lyrical as ever. On such romantic tunes as My Romance and What's New that breathy tone and broad-beamed phrasing are well in evidence, whilst the underlying humour and swing are more to the fore in the more muscular Easy To Love. Autumn Leaves is great Webster. The tempo is exactly right and Ben is in the groove from the start. The pianist is a long way away from Ben's beloved stride men, but he swings gently and forms nice background patterns for the tenor player's improvisations. The bass has been somewhat heavily recorded, but his drive is admirable nevertheless.



    Stardust, a lovely tune but sometime a drag for jazz improvisation, shows that Ben is a real master of flowing, keenly phrased ballad construction. Yesterdays is played so close to the microphone that momentarily I suspected a gas leak. But Ben always has that aerated vibrato well under control, and never overdoes what has throughout the years become something of a mannerism in his playing.



    Musicians:



    • Ben Webster (tenor saxophone)

    • Ole Kongsted (tenor saxophone)

    • Arnved Meyer (trumpet)

    • John Darville (trombone)

    • Kenny Drew (piano)

    • Niels Jorgen Stein (piano)

    • Niels-Henning Ørsted Pederson (bass)

    • Hugo Rasmussen (bass))

    • Alex Riel (drums)

    • Hans Nymand (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. Blue Light
    2. Stardust
    3. Whats New
    4. Autumn Leaves
    5. Easy To Love
    6. My Romance
    7. Yesterdays
    8. Days of Wine and Roses
    Ben Webster
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Just As I Am (Speakers Corner) Just As I Am (Speakers Corner) Quick View

    $34.99
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    x

    Just As I Am (Speakers Corner)

    Just As I Am - anyone who sets off on a late career can already have earned himself quite a reputation, although in the case of Bill Withers it had had nothing to do with music at this stage. Withers served for many years with the US Navy, had a job as a milkman, and installed toilets in jets for American aeroplane construction companies; all the while he bombarded record companies with self-produced demo tapes which landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him on board and sent him into the recording studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald 'Duck' Dunn.



    In his debut album Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings. Harlem, an unadorned milieu-funk number about the New York slums, Grandma's Hands, with its obligatory retrospect of his childhood, and the sentimental ballad Ain't No Sunshine with its prayer-wheel-like »I know, I know ...«, repeated over and over again on the offbeat, are the musical credo of a experienced artist in his mid-thirties who at last is given a hearing. There's simply no alternative to this recording by the great songwriter with the small repertoire.



    Musicians:



    • Bill Withers (vocal, guitar)

    • Booker T. Jones (arranger, organ, guitar)

    • Steven Stills (guitar)

    • Donald Duck Dunn, Chris Ethridge (bass)

    • Al Jackson, Jim Keltner (drums)

    • Bobbie Hall Porter (percussion)




    Recording: 1971 at Sunset Sound Recorders by Bill Lazerus and at Wally Heider Recording Studio by Bill Halverson, both Hollywood, Ca.

    Production: Booker T. Jones





    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. Harlem
    2. Ain't No Sunshine

    3. Grandma's Hands
    4. Sweet Wanomi
    5. Everybody's Talkin'
    6. Do It Good
    7. Hope She'll Be Happier
    8. Let It Be
    9. I'm Her Daddy
    10. In My Heart
    11. Moanin' And Groanin'
    12. Better Off Dead
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Going Back To Acoustic (Pure Pleasure) Going Back To Acoustic (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Going Back To Acoustic (Pure Pleasure)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    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. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pleading The Blues (Pure Pleasure) (Awaiting Repress) Pleading The Blues (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Pleading The Blues (Pure Pleasure) (Awaiting Repress)

    The year was 1959. The occasion was a 'Battle of the Blues' at the Blue Flame Club in Chicago. A young harmonica player Junior Wells - who got his start as Little Walter Jacobs' replacement in Muddy Waters' band back in '52 - probably didn't imagine he would come in second. After all, he had already put down both Otis Rush and Magic Sam. Still to come, though, was this fleet-fingered, skinny young Louisiana cat - Buddy Guy, who came first. As the climax to his blistering solo, Guy tossed his guitar in the air, then caught it by the neck one handed. As it slid through his fingers, Buddy created this high levee moan. Crowd gone wild. It was the beginning of a beautiful friendship.



    That chance meeting set in motion more than a relationship. This early, and profound, respect translated into a partnership that somehow superceded Wells' early work with one of the most important people in the blues. Wells and Guy would produce some of the most unabashed and deeply cool West Side blues recordings.
    This album recorded for the French Isabel label, in 1979 is a companion piece to Guy's "Blues Giant" recording of the same year. There's the gentle blues shuffle of "It Hurts Me Too", made famous by Elmore James. There's the electric-blues muscle of the title tune. Finally, as a bonus track, there's the funky, clearly James Brown-influenced "I Smell Something". This is a fine recording - and certainly one of Junior's best little-known releases.



    Musicians:



    • Buddy Guy (guitar, vocals)

    • Phil Guy (guitar)

    • J. Williams (bass)

    • Ray Allison (drums)




    Recording: October 1979 at Condorcet Studio, Toulouse (France), by Francois Porterie

    Production: Didier Tricard




    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. Pleading The Blues
    2. It Hurts Me Too
    3. Cut Out The Lights
    4. Just For My Baby
    5. Quit Teasing My Baby
    6. I'll Take Care Of You
    7. Take Your Time Baby
    Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed AWAITING REPRESS Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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
  • Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner)

    The amazing skill of two great virtuosos, Joseph Leutgeb and Anton Stadler, inspired Mozart to compose the concertos heard here. Made in 1959, this DECCA recording gives us an excellent idea of how the concertos would have sounded in Mozart's day, thanks to two of today's very best instrumentalists - the clarinettist Gervase de Peyer and the horn player Barry Tuckwell.



    Amazing lightness, warmth of tone and perfect intonation are the hallmarks of the soloist and London Symphony Orchestra conducted by Peter Maag in the clarinet concerto, which Mozart completed only a few weeks before his death. The two horn concertos heard here were also written during Mozart's final creative period in Vienna. Just one hearing is enough to let them be remembered for all time - for these concertos employ to the full the horn's rich and widely varied range of expression. Broad arching melodies, tripping runs and merry hunting calls in the final movements guarantee musical enjoyment, and for this we owe our thanks to both the past and present masters of their instruments in this delightful recording.





    Musicians:



    • Gervase de Peyer (clarinet)

    • Barry Tuckwell (horn)

    • London Symphony Orchestra

    • Peter Maag (conductor)




    Recording: November 1959 at Kingsway Hall, London by Kenneth E. Wilkinson
    Production: Ray Minshull





    About Speakers Corner



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



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



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



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



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



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



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rights Of Swing (Pure Pleasure) Rights Of Swing (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Rights Of Swing (Pure Pleasure)

    This Candid recording is such a major success that it is surprising that altoist Phil Woods has rarely recorded in this context. The all-star octet not only features the altoist/leader but trumpeter Benny Bailey, trombonist Curtis Fuller, baritone saxophonist Sahib Shihab, the innovative French horn player Julius Watkins (a major factor in this music), pianist Tommy Flanagan, bassist Buddy Catlett, and drummer Osie Johnson. This set consists entirely of Woods' five-part Rights of Swing suite, which clocks in around 38 minutes. The colourful arrangements use the distinctive horns in inventive fashion and the music (which leaves room for many concise solos) holds one's interest throughout. One of Phil Woods' finest recordings, it's a true gem.




    Musicians:



    • Phil Woods (alto saxophone)

    • Sahib Shihab (baritone saxophone)

    • Benny Bailey (trumpet)

    • Curtis Fuller, Willie Dennis (trombone)

    • Julius Watkins (french horn)

    • Tommy Flanagan (piano)

    • Buddy Catlett (bass)

    • Osie Johnson, Granville Roker (drums)




    Recording: January and February 1961 at Nola Penthouse Sound Studios, New York, by Bob d'Orleans

    Production: Nat Hentoff




    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. Prelude And Part I
    2. Part II (Ballad)
    3. Part III (Waltz)
    4. Part IV (Scherzo)
    5. Part V (Presto)
    Phil Woods Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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