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  • Ortofon 2M Mono Cartridge Ortofon 2M Mono Cartridge Quick View

    $356.00
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    Ortofon 2M Mono Cartridge

    Ortofon


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


    The new Ortofon 2M MONO Series - the true MONO from Ortofon!


    The 2M Series of cartridges is designed for precise and accurate retrieval of the information in the record groove. Our philosophy is to play the record sound as accurate as possible, without coloring the sound. The name 2M was selected among several ideas. We wanted a modern name that would be easy to pronounce and to remember, and therefore an alpha numerical name was chosen. 2M means MM, which is the abbreviation for moving magnet.


    The 2M series of cartridges feature Ortofon's trademark split pole pins, an invention that enables moving magnet cartridges to have a flat frequency response, as with a moving coil cartridge. Split pole pins were invented by Ortofon, and were originally presented in the 500 series and Super OM series. We have optimized the design for ease of mounting the cartridge, weight and size to fit the most common turntables at the market today. 2M Series provides excellent compatibility in an assortment of playback systems and with a wide variety of phono preamps.


    2M Mono Plug and Play model


    The new 2M headshell is a practical and elegant solution for our customers who wish direct and easy mounting and replacement on their tonearm. The combination of 2M Headshell and 2M Series cartridge adds unique distinction to the turntable!

    Ortofon Cartridges
    $356.00
    Mono Cartridge Buy Now
  • VPI Classic 4 Turntable - Piano Black VPI Classic 4 Turntable - Piano Black Quick View

    $10,000.00
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    VPI Classic 4 Turntable - Piano Black


    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    The Classic 4 is a precision measuring device in its own right; as well as telling you what's in your records' grooves, it will also tell you just how competent your setup is. - Roy Gregory


    The Classic 4 is really, chief designer and former co-owner, Harry Weisfeld's table. He didn't design this table for the consumer, he designed it for his own personal us so he could listen to a 12 inch arm on a Classic table (Classic 1-3 do not have the space to properly mount a 12 inch arm.) We presented the table at the 2012 New York Audio Show to make a statement while also announcing the VPI Traveler. It wasn't intended to bring into the VPI line but the positive feedback and interest immediately made it a staple in the production line.


    Identical build as the Classic 3 but with a larger size chassis, plus having a 12 inch arm gives you more stability, lower tracking distortion, and additional low level resolution from your records. Having the additional size gives the listener a chance to mount a second 10 or 12 inch tone arm in the rear. Why would you have two arms? This lets you have both a stereo and mono cartridge set up at the same time.


    The Classic 4 features a ½ thick machined aluminum plinth bonded to a 1/8 steel sub plate with dampening fabric in between. This is then bonded to 2 of MDF creating a plinth which is so massive and well damped it virtually eliminates resonance. The Classic 4 can use either an extended Classic Signature arm or an extended Classic 3D arm.


    The custom nature of this table comes from the numerous options you have. You can mount 1 or 2 tonearms, 10" or 12" arms, any arm made by almost anyone, it is all customizable and affordable.


    This product is not eligible for further discount.


    VPI Turntables
    $10,000.00
    Classic 4
    Buy Now
  • Ortofon 2M Mono - Replacement Stylus Ortofon 2M Mono - Replacement Stylus Quick View

    $240.00
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    Ortofon 2M Mono - Replacement Stylus

    Ortofon


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


    Replacement Stylus For The Ortofon 2M Mono


    2M are designed for precise and accurate retrieval of the information in the record groove. Our philosophy is to play the record sound as accurate as possible, without coloring the sound. We have optimized the design for ease of mounting the cartridge, weight and size to fit the most common turntables at the market today.


    The name 2M was selected among several ideas. We wanted a modern name that would be easy to pronounce and to remember, and therefore an alpha numerical name was chosen. 2M means MM, which is the abbreviation for moving magnet.


    Of course the 2M isn't just another pretty face. It has been engineered to the highest standards and is congruent with the unrelenting commitment of Ortofon to provide the most precise and accurate reproduction possible without coloration.


    The 2M series of cartridges feature Ortofon's trademark split pole pins, an invention that enables moving magnet cartridges to have a flat frequency response, as with a moving coil cartridge. Split pole pins were invented by Ortofon, and were originally presented in the 500 series and Super OM series.


    The 2M Mono features a true-mono engine and a Nude Spherical diamond for accurate playback of mono LP records from all eras.

    Ortofon Cartridges
    $240.00
    Replacement Stylus Buy Now
  • Mobley's Message (Mono) Mobley's Message (Mono) Quick View

    $34.99
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    Mobley's Message (Mono)

    Hank Mobley's 1956 Prestige release Mobley's Message features six recordings from the legendary tenor saxophonist in three different settings including one cut with a quartet, four with a quintet and one with a sextet. Players such as Donald Byrd (trumpet), Jackie McLean (alto sax), Barry Harris (piano), Doug Watkins (bass) and Art Taylor (drums) offer their support here in disparate incarnations. Contains a quintet reading of Charlie Parker's Au Privave and a quartet take on the Rodgers & Hart standard Little Girl Blue with Mobley being the sole horn.
    1. Bouncing With Bud
    2. 52nd Street Theme
    3. Minor Disturbance
    4. Au Privave
    5. Little Girl Blue
    6. Alternating Current
    Hank Mobley
    $34.99
    200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Giant Steps (Mono Remaster) Giant Steps (Mono Remaster) Quick View

    $21.99
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    Giant Steps (Mono Remaster)

    Mono Remaster


    History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience.


    Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one.


    Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers -- who was the only band member other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course.


    At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed sheets of sound. Coltrane's polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening.


    He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of Countdown does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral Naima was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.


    - Lindsay Planer (AllMusic.com)

    1. Giant Steps (Mono Version)
    2. Cousin Mary (Mono Version)
    3. Countdown (Mono Version)
    4. Spiral (Mono Version)
    5. Syeeda's Song Flute (Mono Version)
    6. Naima (Mono Version)
    7. Mr. P.C. (Mono Version)
    John Coltrane
    $21.99
    Vinyl LP Mono - Sealed Buy Now
  • 4, 5, And 6 (Mono) 4, 5, And 6 (Mono) Quick View

    $34.99
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    4, 5, And 6 (Mono)

    Jackie McLean's aptly titled 1956 release 4,5 and 6 features recordings from the innovative alto saxophonist in three different settings including tracks with a quartet, an expanded quintet and even a sextet. Supporting players such as Hank Mobley (tenor sax), Donald Byrd (trumpet), Mal Waldron (piano), Doug Watkins (bass) and Art Taylor (drums) join in on the proceedings in disparate incarnations, all with winning results. The dynamic 6-song set is highlighted by Waldron's own stirring ballad Abstraction and the sextet's sprawling version of Charlie Parkers Confirmation.
    1. Sentimental Journey
    2. Why Was I Born?
    3. Contour
    4. Confirmation
    5. When I Fall in Love
    6. Abstraction
    Jackie McLean
    $34.99
    200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Axis: Bold As Love (Music On Vinyl) (Mono) Axis: Bold As Love (Music On Vinyl) (Mono) Quick View

    $38.99
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    Axis: Bold As Love (Music On Vinyl) (Mono)

    Ranked 82/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Axis: Bold as Love, the second Experience album, was released merely six months after their debut LP Are You Experienced, at the end of 1967. Many of the album's songs were composed with complex studio recording techniques in mind and as a result were rarely performed live. Only Spanish Castle Magic and every-guitar-player's-ultimate-study-material Little Wing became staples during concerts.


    The album shows an incredible growth in Hendrix' songwriting and sonical versatility. Radio friendly rockers like Wait Until Tomorrow and You Got Me Floatin' are mixed with ballads such as Castles Made Of Sand - the album's variety makes it a delightful listen.


    The original mono pressing was intended to cater to those listeners with outdated hifi equipment, and therefore this is a rare piece of Hendrix' legacy. The Music On Vinyl reissue of the mono mix makes this evergreen available for contemporary ears again.

    1. Exp
    2. Up From The Skies
    3. Spanish Castle Magic
    4. Wait Until Tomorrow
    5. Ain't No Telling
    6. Little Wing
    7. If 6 Was 9
    8. You Got Me Floatin'
    9. Castles Made Of Sand
    10. She's So Fine
    11. One Rainy Wish
    12. Little Miss Lover
    13. Bold As Love
    Jimi Hendrix
    $38.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Wayne Cochran Wayne Cochran Quick View

    $24.99
    Buy Now
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    Wayne Cochran

    Wayne Cochran! The exclamation point is there for a reason. Known as "The White Knight of Soul," Cochran was flamboyant in both voice and attire. Crowned by a swooping white pompadour, he held back nothing on stage. His performance style was very reminiscent of fellow Georgia native Little Richard Penniman. Like Penniman, music led Cochran to his current career as a minister. Anyone who's ever witnessed a fire-and-brimstone southern gospel service can see the connection between gospel's passion and r&b's groove.


    Issued by Chess Records in 1967, Wayne Cochran! captured the outrageous energy of his live show within the album's grooves. This explosive collection of songs proved that Cochran deserved to share the label home of r&b greats like Etta James, Howlin' Wolf and Muddy Waters. Rather than a traditional artist portrait, the front cover features an outline of his white pompadour against a black background. Simple and direct, it stood in stark relief against the sea of day-glo, psychedelic imagery of the day. To put it another way, the cover art clearly conveyed that this album was all killer, no filler.


    The original mono version of this LP is incredibly rare and changes hands for princely sums. However, there is no need to empty the savings account now that Sundazed Music has prepared a righteous reissue, in glorious mono! Sourced from the original analog master tapes, this Sundazed edition is 180gm of concentrated soul. Just add a turntable and watch the party spring to life!

    1. Get Ready
    2. Boom Boom
    3. The Peak Of Love
    4. You Don't Know Like I Know
    5. Some-A' Your Sweet Love
    6. I'm Leaving It Up To You
    7. You Can't Judge A Book By The Cover
    8. Big City Woman
    9. Little Bitty Pretty One
    10. I'm Your Hoochie Coochie Man
    11. Get Down With It
    12. When My Baby Cries
    Wayne Cochran
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Stoned Age Man Stoned Age Man Quick View

    $24.99
    Buy Now
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    Stoned Age Man

    180 Gram Audiophile Pressed At RTI


    From The Original Master Tapes


    Faithful Reproduction Of The Original Artwork


    Mono


    Rooted in the steamy backroads of Texas and deep-fried at a Memphis recording studio, Joseph's Stoned Age Man was served up like a sizzling hot rattlesnake appetizer slathered in fuzz-blooz grease in 1969. Legend has it that the titles of eight of the album's nine songs came before they were written on the spot, which speaks volumes for the talents of Joseph (aka, Joseph Longeria) - who A&R man Steve Tyrell signed to Scepter Records after witnessing the Lone Star State bluesman gig with B.B. King and T-Bone Burnett. Brandishing his guitar like a Cro-Magnon's club, Joseph mixes his fuzzy licks with meat-grinder vocals as he loudly ruminates of fattened snakes, fish heads, mountains, cavemen and gumbo in the maddest peyote hallucination Alley Oop never had. Long revered among collectors, this fine slab o' rock gets its first-ever reissue from the original masters, pressed at RTI onto 180 grams of cold hard vinyl that'll rip your turntable from its hinges.

    1. Trick Bag
    2. I Ain't Fattenin' No More Frogs For Snakes
    3. Cold Biscuits and Fish Heads
    4. Stone Age Man
    5. I'm Gonna Build A Mountain
    6. Mojo Gumbo
    7. House of the Rising Sun
    8. Gotta Get Away
    9. Come The Sun Tomorrow
    Joseph
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Foggy Mountain Jamboree Foggy Mountain Jamboree Quick View

    $19.99
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    Foggy Mountain Jamboree

    180 Gram Audiophile Mono Vinyl Gatefold Package


    Mastered by Kevin Gray at Cohearent Audio!


    Pressed at RTI!


    One of the most important and influential records in the history of American Roots Music. Includes appearances by numerous Foggy Mountain Boys including Chet Atkins & Josh Buck Graves.


    Widely regarded as one of bluegrass' most influential recordings, Foggy Mountain Jamboree introduced audiences -- more specifically radio listeners -- to the crystal-clear vocals and peerless musicianship of former Bill Monroe Bluegrass Boys Lester Flatt and Earl Scruggs. Amassed between 1951 and 1955, the 12 tracks that made the cut served as a veritable blueprint for a genre that had been growing in popularity since the late '40s. While numerous Foggy Mountain Boys appear throughout -- Chet Atkins, Josh Buck Graves -- Flatt's fluid tenor and rhythm guitar work anchored the sessions, Scruggs' machine-gun banjo work provided the steam, and fiddler Chubby Wise, along with mandolin player Curly Seckler, carried the whole thing home without a care in the world. Flint River Special, Earl's Breakdown, and Foggy Mountain Special became part of American culture, celebrating both its trailblazing work ethic and spirituality with equal amounts of grace and hellfire. Foggy Mountain Jamboree is essential listening for anyone with even the most remote interest in bluegrass. - allmusic.com


    Features:

    180 Gram Vinyl

    Mono

    Exhibit Records Audiophile Series

    Gatefold Package

    Mastered by Kevin Gray at Cohearent Audio!

    Pressed at RTI!


    Musicians:

    Earl Sruggs, banjo

    Lester Flatt, guitar

    1. Flint Hill Special
    2. Some Old Day
    3. Earl's Breakdown
    4. Jimmie Brown, The Newsboy
    5. Foggy Mountain Special
    6. It Won't Be Long
    7. Shuckin' The Corn
    8. Blue Ridge Cabin Home
    9. Randy Lynn Rag
    10. Your Love Is Like A Flower
    11. Foggy Mountain Chimes
    12. Reunion In Heaven
    Lester Flatt & Earl Scruggs
    $19.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Beat Group Beat Group Quick View

    $24.99
    Buy Now
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    Beat Group

    Originally released in the U.S. in 1966, Beat Group! was the American cousin to the Hollies' British LP Would You Believe?. However, identical cousins they were not: Beat Group! boasts substantially altered musical content and completely different cover art. Led by the snap-jangle-pop of the smash single, I Cant Let Go, the album is a thrilling combination of originals and R&B covers ripped from their riotous live sets. Highlights include commanding versions of Buddy Holly's Take Your Time, Sam and Dave's I Take What I Want and the Otis Redding/O.V. Wright classic That's How Strong My Love Is. Original songs Hard Hard Year, Oriental Sadness and Fifi the Flea, along with Mersey Beat staples A Taste of Honey and Mr. Moonlight round out the disc.


    Out of print for decades, this classic album is FINALLY available again. Sourced from the aurally awesome original U.K. mono master, this LP is pressed on pristine 180-gram vinyl per your turntables request. Get in the queue!


    Perhaps the most undervalued band of the original British Invasion, The Hollies hits are well known in the U.S. but their early albums are almost impossible to find! Taking their name from Buddy Holly and modeling their harmonies on the Everly Brothers, the Hollies gathered these American musical ingredients and whipped them into a wholly-UKnique concoction. Forging their sound to the east of their Liverpool brothers-in-beat, this Manchester quintet had it all: the soaring vocals of Allan Clarke, Graham Nash and Tony Hicks; Hicks cascading, arpeggio-laden licks on guitar and a hard-hitting rhythm section driven by drummer extraordinaire Bobby Elliot. On top of that, their keen ears for top quality songs, written by the premier songsmiths of the day like teenage wunderkind Graham Gouldman, Chip Wild Thing Taylor and the stellar in-house writing team of Clarke/Hicks/Nash, ensured that their albums were extraordinary from start to finish. In short, they were a band that exuded greatness on all fronts. Now, as that greatness has been acknowledged by their induction into the Rock and Roll Hall of Fame, Sundazed Music is proud to present meticulously restored vinyl editions of the rare U.S. mono versions of the Hollies third and fourth Imperial label albums, from 1966.

    1. I Cant Let Go

    2. Thats How Strong My Love Is
    3. Running Through The Night
    4. Oriental Sadness (Shell Never Trust In Anybody No More)
    5. A Taste Of Honey
    6. Mr. Moonlight
    7. Dont You Even Care (Whats Gonna Happen To Me?)
    8. Hard Hard Year
    9. Take Your Time
    10. Fifi The Flea
    11. I Take What I Want

    The Hollies
    $24.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Bus Stop Bus Stop Quick View

    $24.99
    Buy Now
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    Bus Stop

    No rest for the Hollies in 1966! Hot on the heels of Beat Group!, Bus Stop rolled into U.S. record shops, right on schedule. Written by Gouldman, the title track became the bands first Top Ten U.S. single, peaking at #5, and featuring their bell-tone harmonies to perfection. In addition to the sparkling single, the album is packed with their renditions of contemporary hits like Simon and Garfunkel's I Am A Rock, Smokey Robinson and the Miracles' Mickey's Monkey' and the Fred Neil/Roy Orbison chestnut Candy Man. Self-penned songs We're Through, Don't Run and Hide and You Know He Did also shine brightly and prove there was no danger of covering up the band members writing skills. With this disc, the Hollies put the rock world on notice that they were the British Invasions most beat-filled battalion!


    Out of print for decades, this classic album is FINALLY available again. Sourced from the aurally awesome original U.K. mono master, this LP is pressed on pristine 180-gram vinyl per your turntables request. Get in the queue!


    Perhaps the most undervalued band of the original British Invasion, The Hollies hits are well known in the U.S. but their early albums are almost impossible to find! Taking their name from Buddy Holly and modeling their harmonies on the Everly Brothers, the Hollies gathered these American musical ingredients and whipped them into a wholly-UKnique concoction. Forging their sound to the east of their Liverpool brothers-in-beat, this Manchester quintet had it all: the soaring vocals of Allan Clarke, Graham Nash and Tony Hicks; Hicks cascading, arpeggio-laden licks on guitar and a hard-hitting rhythm section driven by drummer extraordinaire Bobby Elliot. On top of that, their keen ears for top quality songs, written by the premier songsmiths of the day like teenage wunderkind Graham Gouldman, Chip Wild Thing Taylor and the stellar in-house writing team of Clarke/Hicks/Nash, ensured that their albums were extraordinary from start to finish. In short, they were a band that exuded greatness on all fronts. Now, as that greatness has been acknowledged by their induction into the Rock and Roll Hall of Fame, Sundazed Music is proud to present meticulously restored vinyl editions of the rare U.S. mono versions of the Hollies third and fourth Imperial label albums, from 1966.

    1. Bus Stop

    2. Candy Man
    3. Baby Thats All
    4. I Am A Rock
    5. Sweet Little Sixteen
    6. Were Through
    7. Dont Run And Hide
    8. Oriental Sadness
    9. Mickeys Monkey
    10. Little Lover
    11. You Know He Did
    12. Whatcha Gonna Do Bout It

    The Hollies
    $24.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Go Bo Diddley Go Bo Diddley Quick View

    $26.99
    Buy Now
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    Go Bo Diddley


    The Bo Diddley/Friday Music 180 Gram Audiophile Series Begins!


    Bo Diddley's Masterwork Album!


    First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover


    Mastered From The Authorized Chess Records Mono Tapes By Joe Reagoso


    Bo Diddley (Elias McDaniel) was truly an American original. There will never be another Bo Diddley nor anyone in the music
    industry who could influence generations upon generations of aspiring rock 'n rollers like Bo Diddley has and continues to this
    day, even years after his short time on earth.


    Celebrating six decades in the music business, this Mississippian native initially captivated millions of kids in the fifties
    with his first recordings like Bo Diddley and Say Man. He drove the rockers mad with his famous guitar riffs and boogie beat,
    filled with poetic lyrics and a thrilling presence on the stage.


    Bringing his original "Bo Diddley Beat" to Chess Records in early 1955, the Chicago based label and the pioneer rocker hit
    a goldmine immediately with his arsenal of tunes that he presented to Phil and Leonard Chess. A lot of these great songs became
    top charting singles which culminated in his masterwork album Go! Bo Diddley.


    Kicking things off with one of his finest smash hits Cracking Up, Bo roars through a treasure trove of 11 more champions
    which made this one of the most important and emulated albums of all time. The album features classic gems like his classics
    Dearest Darling, Say Man, Don't Let It Go and The Clock Struck Twelve. Noted for his stellar guitar work, pretty much introducing his Bo Diddley Beat riff to a whole new generation of guitar players, Go! Bo Diddley was truly a primer for a ton of rock and
    blues artists for years like Eric Burdon and The Animals, George Thorogood, Buddy Holly, The Rolling Stones, The Beatles and
    The Yardbirds.


    Bo Diddley opened the doors for millions of music fans around the world to enjoy rock and blues, making him along with
    Chuck Berry, Elvis Presley and Little Richard as one of the first pioneers of the popular recording business that we all enjoy to
    this day.


    Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why we are so
    very proud to announce our first installment in The Bo Diddley/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
    masterpiece Go! Bo Diddley.


    Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl
    from the Chess monophonic tapes, Bo Diddley's Go! Bo Diddley will truly become one of the most important and historical 180
    Gram Audiophile Vinyl titles in quite some time.


    To further celebrate this first time audiophile vinyl LP, we enhance this limited edition masterwork with a stunning gatefold
    cover featuring the original artwork elements as well as two classic rare inside gatefold photos of the man who helped start
    rock and roll.


    Bo Diddley Go! Bo Diddley Impeccable mono from the AUTHORIZED Chess Records tapes! Go Bo Diddley!

    1. Crackin' Up
    2. I'm Sorry
    3. Bo's Guitar
    4. Willie and Lillie
    5. You Don't Love Me (You Don't Care)
    6. Say Man
    7. The Great Grandfather
    8. Oh Yea
    9. Don't Let It Go
    10. Little Girl
    11. Dearest Darling
    12. The Clock Strikes Twelve
    Bo Diddley
    $26.99
    180 Gram Audiophile Virgin Vinyl LP Mono Buy Now
  • The Ultimate Analogue Test LP The Ultimate Analogue Test LP Quick View

    $39.99
    Buy Now
    x

    The Ultimate Analogue Test LP

    Editors Editors Editors Editors


    Analogue Productions set out to produce the ultimate test record.


    We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.


    Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.


    This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.


    Side 1

    General Reference Level

    This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
    Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)

    Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
    Adjust preamp channel balance for equal output.
    Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.


    Azimuth Adjustment

    Track 2 1kHz reference level Left channel only

    Measure Right channel output.

    Track 3 1kHz reference level Right channel only

    Measure Left channel output.

    The object is to sit the stylus exactly perpendicular in the groove.

    Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.


    High Frequency Adjustment

    Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.

    Track 4 1 kHz tone at -20 below reference level, Lateral

    Reference for High Frequency test.

    Track 5 10 kHz reference tone at -20dbu, Lateral
    Adjust the high frequency until the output level equals that of Track 4.

    Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)

    The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.


    Low Frequency Adjustment

    Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.

    Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)

    Play Track 7 and measure the output with your AC millivolt meter.

    Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.

    Track 8 100 Hz reference tone at 0 vu (Lateral)
    Adjust LF Eq to reference (which is your reading from Track 1).


    Track 9 VTA adjust

    This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.

    Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.


    Track 10 Standard Wow & Flutter test signal; 3150Hz
    The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.

    Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.


    Side 2

    Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)

    Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.

    It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.


    Track 2 Pink noise lateral

    Track 3 Pink noise vertical

    Used for cartridge "demagnetizing"

    You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.


    Track 4 1kHz @ reference level, vertical
    This out-of-phase signal should cancel to nothing when summed to mono.

    Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.


    Track 5 1kHz to 10Hz sweep @ -20 below

    reference level, vertical
    Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.

    Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.


    Track 6 Silent groove for bearing rumble and table isolation

    During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.

    Analogue Productions
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Early Years Early Years Quick View

    $64.99
    Buy Now
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    Early Years

    Sierra Records presents their most ambitious project ever, literally in the works for decades, with the Gram Parsons The Early Years Box Set. This exclusive, collectors edition is packaged in a 12 x 12 high gloss full color, rigid deluxe, presentation box, containing 4 distinct discs: CD1: Gram Parsons The Early Years Vol. 1 & 2; CD2: Big Mouth Blues - A Conversation with Gram Parsons; DVD: rare and only performance of Gram Parsons and the Fallen Angels; and Gram Parsons The Early Years Volume 1 picture disc vinyl. The set also includes a new 24 page color booklet/pictorial and posters!


    CD1 is the first ever release on compact disc of the now classic and ground breaking, Gram Parsons The Early Years Volume 1 (1963-65) folk recordings of Gram Parsons and the Shilos with all original tracks from the 1979 LP. Added to these original ten tracks, will be the never released in any format, Volume 2 of lost early recordings focusing on Gram's solo efforts recorded by Dick Weissman including several never before heard Parsons' compositions! Continuing on this expanded compact disc are recordings by Gram Parsons & The Like, his experimental band from his brief stay in late 1965 at Harvard University. This includes a rare performance with the late actor, turned singer, Brandon deWilde. Closing out this disc is the holy grail of lost Gram Parsons recordings; Brandon deWilde singing lead, with Gram on Do Right Woman and Hickory Wind.


    CD2 features Big Mouth Blues: A Conversation with Gram Parsons, a full color digipak packaged release of a 76 minute interview with Gram Parsons conducted in 1972. He speaks about his musical influences, his formation of the eclectic, International Submarine Band, his part in creating and encouraging the Byrds' Sweetheart of the Rodeo album, his hopes for and disappointments with, the iconoclast Flying Burrito Brothers, his plans for a solo career and his enduring musical vision. Hearing his story in his own words and voice will give you a better glimpse of Gram Parsons, the man.


    The accompanying DVD features the official release of the original video tape of the rare and only performance of Gram Parsons and the Fallen Angels. Though the video quality was not very good to begin with, the aging video tape has been enhanced utilizing today's newest digital video technology. Additional never seen before, non-performance footage from the show has been added which includes longer introductions by Gram on stage. As an added bonus, a very rare video performance closes the DVD with Gram performing a lip sync version of Hot Burrito #1.


    The long lost, recently discovered 1979 picture disc vinyl LP features Gram Parsons The Early Years, Volume 1 with a color picture of Gram on Side 1 and on Side 2 the original full color Sierra-Briar Records orange crate' logo. Originally conceived in April of 1979, only one test pressing of the disc existed until now! The disc is playable on any phonograph turntable, recorded and pressed in magnificent Mono. But there is more! This collector's vinyl disc is even more unique as the disc was pressed on 180g pure virgin vinyl, highly sought after today by audiophiles everywhere! It is packaged in it's own clear plastic sleeve.


    Booklet: A new 24 page booklet/pictorial with additional accompanying notes and featuring photographs by noted Life Magazine photographer Ted Polumbaum. Entitled Gram Parsons at Harvard - Fall 1965 with commentary by Harvard grad (Class of 1968) and fellow Gram classmate, David Johnson, these never before seen, let alone published, photographs capture Gram's brief stay as an incoming freshman at Harvard University in the Fall of 1965. See Gram at his desk studying, going to class, hanging out with teachers and students, playing his guitar, composing new songs plus photos of Gram Parsons and the Like (John Nuese, Ian Dunlap, Mickey Gauvin, Tom Scott). Commissioned by Life/Look Magazine for a proposed pictorial on the incoming college freshmen of 1965, these photos are incredible and Gram never looked better. These were photographs were shot just days before he would leave Harvard to head for New York moving in with new found music contemporary, Brandon deWilde, famed actor and now budding country singer!


    Posters: Folded posters of Gram Parsons at the Chateau Marmont 1969 (24 x 36 poster) and two versions of the Pete Frame's Gram Parsons Rock Family Tree The Grievous Angel and Gram & Emmylou (both posters are 18x 24).

    CD1: Gram Parsons The Early Years Volume 1 & 2
    1. I May Be Right
    2. Big Country
    3. Zah's Blues
    4. Mary Don't You Weep
    5. Bells of Rhymney
    6. Goin' Away, Don't You Want To Go
    7. They Still Go Down
    8. On My Journey Home
    9. Surfinanny
    10. Oh, Didn't They Crucify My Lord
    11. The Great Silkie
    12. Race With The Wind
    13. The Rains Come Down
    14. Hand Within The Glove
    15. Rolling Stone
    16. Darkest Years
    17. That Kind of Livin'
    18. A River Is Made Out of Raindrops
    19. I Can't Take It Any More (Gram Parsons & the Like)
    20. Remember
    21. Together Again (Brandon deWilde with Gram Parsons & the Like)


    CD2: Big Mouth Blues - A Conversation with Gram Parsons


    DVD: Gram Parsons and the Fallen Angels
    1. Big Mouth Blues
    2. New Soft Shoe
    3. Streets Of Baltimore
    4. Six Dasy On The Road
    5. Hot Burrito #1 (bonus)


    Picture Disc Vinyl LP
    1. I May Be Right
    2. Big Country
    3. Zah's Blues
    4. Mary Don't You Weep
    5. Bells of Rhymney
    6. Goin' Away, Don't You Want To Go
    7. They Still Go Down
    8. On My Journey Home
    9. Surfinanny
    10. Oh, Didn't They Crucify My Lord

    Gram Parsons
    $64.99
    Vinyl LP Picture Disc + 2 CDs + DVD - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
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    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Ortofon 2M 78 Phono Cartridge Ortofon 2M 78 Phono Cartridge Quick View

    $125.00
    Buy Now
    x

    Ortofon 2M 78 Phono Cartridge

    Ortofon


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


    Spherical 65um Diamond, true mono, for 78s


    The 2M 78 Series - the true MONO from Ortofon!


    2M are designed for precise and accurate retrieval of the information in the record groove. Our philosophy is to play the record sound as accurate as possible, without coloring the sound. We have optimized the design for ease of mounting the cartridge, weight and size to fit the most common turntables at the market today.


    The name 2M was selected among several ideas. We wanted a modern name that would be easy to pronounce and to remember, and therefore an alpha numerical name was chosen. 2M means MM, which is the abbreviation for moving magnet.


    Of course the 2M isn't just another pretty face. It has been engineered to the highest standards and is congruent with the unrelenting commitment of Ortofon to provide the most precise and accurate reproduction possible without coloration.


    The 2M series of cartridges feature Ortofon's trademark split pole pins, an invention that enables moving magnet cartridges to have a flat frequency response, as with a moving coil cartridge. Split pole pins were invented by Ortofon, and were originally presented in the 500 series and Super OM series.


    The 2M 78 features a 65um diamond for playback of 78rpm records, and a true-mono engine.

    Ortofon Cartridges
    $125.00
    Cartridge Buy Now
  • Hard Bop Hard Bop Quick View

    $32.99
    Buy Now
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    Hard Bop

    Cut from the Original Analog Mono Master Tapes by Kevin Gray and Robert Pincus & Pressed at RTI


    Numbered Limited Edition of Only 2500 Copies


    Some of the greatest jazz musicians of all time have passed through Art Blakey's Jazz Messengers: Horace Silver, Hank Mobley, Kenny Dorham, Wayne Shorter and Donald Byrd, among many others. However brief their stay, working with the demanding and full-throttle drummer not only increased their visibility, but also their chops and interpretive capacity. Blakey's ability to drum up the best players in the game may have even eclipsed his superhuman ability to play drums.


    Altoist Jackie McLean, trumpeter Bill Hardman, bassist Spanky deBrest, and pianist Sam Dockery join the fold here to along with Blakey deliver whole-bop goodness on five propulsive, fiery tracks. True to its title, this LP bops hard, with a ferocious swing, boundless energy and telepathic communication between players - especially Blakey and Hardman. Considering the rhythmic demands of Blakey's locomotive playing style, this was an incredible achievement.


    Impex Records has cut this gorgeous, limited edition (2,500 pressings) 180-gram LP with the original analog mono master tapes and without computer processing of any kind. You hear all the vivacious interplay that occurred on that weekend in 1957 when Blakey and crew forged a bold new vision of muscular, funky jazz. This is music that still resonates over 50 years later. Not to be missed!

    1. Cranky Spanky
    2. Stella By Starlight
    3. My Heart Stood Still
    4. Little Melonae
    5. Stanley's Stiff Chickens
    Art Blakey and the Jazz Messengers
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ortofon 2M 78 - Replacement Stylus Ortofon 2M 78 - Replacement Stylus Quick View

    $93.00
    Buy Now
    x

    Ortofon 2M 78 - Replacement Stylus

    Ortofon


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


    Replacement Stylus For The Ortofon 2M Mono


    2M are designed for precise and accurate retrieval of the information in the record groove. Our philosophy is to play the record sound as accurate as possible, without coloring the sound. We have optimized the design for ease of mounting the cartridge, weight and size to fit the most common turntables at the market today.


    The name 2M was selected among several ideas. We wanted a modern name that would be easy to pronounce and to remember, and therefore an alpha numerical name was chosen. 2M means MM, which is the abbreviation for moving magnet.


    Of course the 2M isn't just another pretty face. It has been engineered to the highest standards and is congruent with the unrelenting commitment of Ortofon to provide the most precise and accurate reproduction possible without coloration.


    The 2M series of cartridges feature Ortofon's trademark split pole pins, an invention that enables moving magnet cartridges to have a flat frequency response, as with a moving coil cartridge. Split pole pins were invented by Ortofon, and were originally presented in the 500 series and Super OM series.


    The 2M 78 features a 65um diamond for playback of 78rpm records, and a true-mono engine.

    Ortofon Cartridges
    $93.00
    Replacement Stylus Buy Now
  • Blues A Plenty Blues A Plenty Quick View

    $49.99
    Buy Now
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    Blues A Plenty

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    One of the giants of the alto saxophone, Johnny Hodges was perhaps the most important soloist and sideman in Duke Ellington's orchestra from 1928 up to Hodges' death in 1970. The self-taught player made many solo forays during his long career - one of his '50s outfits included a young John Coltrane - but history remembers Hodges for his virtuosic sidemanship, particularly his sensitive rendering of ballads.


    Originally released in 1958.

    1. I Didn't Know About You
    2. Cool Your Motor
    3. Gone With The Wind
    4. Honey Hill
    5. Blues-A-Plenty
    6. Don't Take Your Love From Me
    7. Saturday Afternoon Blues
    8. Satin Doll
    9. Reeling and Rocking
    Johnny Hodges
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
  • The Verve / MGM Tapes The Verve / MGM Tapes Quick View

    $109.99
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    The Verve / MGM Tapes

    Sourced from the original Verve/MGM analog reels and mastered by Bob Irwin.


    At a time when the Rolling Stones were forbidden from singing about spending the night together on national television, the Velvet Underground was crafting songs about such taboo subjects as illegal drugs, sadomasochism and black angels of death. And that was just on their debut. Throughout their first three albums, VU continued to challenge societal norms through their lyrics and rock music itself through their unorthodox instrumental approach. Their sound was theirs alone, which proved to be an obstacle when it came to sales. The majority of popular music fans simply weren't ready for the bleakly beautiful vision of VU. But for those who were, this LP trilogy was a clarion call, drawing together the outsiders who felt disenfranchised and unfulfilled by Top Forty fodder. Like time release capsules, these LPs became catalysts for change as they spread from city to city and were consumed by adventurous listeners. Bands formed, scenes coalesced and new musical paths emerged which would eventually branch off into punk, alternative, indie and more. Take a sample from any underground music genre and you're likely to find VU DNA pulsing through its core.


    As the alternative scene grew, so did the legend of the Velvet Underground. However, with relatively few of the original LPs in circulation, finding them could be difficult and, as a result, more people had probably heard OF the band than had actually heard their music. The emergence of compact discs in the mid-80s, along with a groundswell of VU-influenced bands singing their praises, finally got their music into wider distribution. Yet, for vinyl enthusiasts who longed to place those precious albums on their turntables, that thrill remained elusive.


    Until now. With tremendous pride, Sundazed presents The Velvet Underground: The Verve/MGM Albums. This beautiful, deluxe boxed set gathers the rare mono versions of the band's first three studio albums along with the superior mono version of Nico's Chelsea Girl and a definitive edition of the band's unfinished fourth album! Sourced from the original Verve/MGM analog reels and mastered by Bob Irwin, this collection is an essential purchase for the discerning vinyl devotee. For all tomorrow's parties, this is your soundtrack.


    - The ultimate collection of underground rock's big bang!

    - Includes the rare mono versions of the VU's first three albums, the superior mono version of Nico's Chelsea Girl (featuring Reed, Cale & - Morrison) and a definitive edition of the band's unfinished fourth album!

    - Housed in a beautiful deluxe box with all original LP artwork along with two bonus poster inserts!

    - Introduction by Rolling Stone senior editor/MOJO contributor David Fricke.

    The Velvet Underground & Nico (mono)
    1. Sunday Morning
    2. I'm Waiting for the Man
    3. Femme Fatale
    4. Venus In Furs
    5. Run Run Run
    6. All Tomorrow's Parties
    7. Heroin
    8. There She Goes Again
    9. I'll Be Your Mirror
    10. The Black Angel's Death Song
    11. European Son


    Nico: Chelsea Girl (mono)
    1. The Fairest of the Seasons
    2. These Days
    3. Little Sister
    4. Winter Song
    5. It Was a Pleasure Then
    6. Chelsea Girls
    7. I'll Keep It with Mine
    8. Somewhere There's a Feather
    9. Wrap Your Troubles in Dreams
    10. Eulogy to Lenny Bruce


    White Light/White Heat (mono)
    1. White Light/White Heat
    2. The Gift
    3. Lady Godiva's Operation
    4. Here She Comes Now
    5. I Heard Her Call My Name
    6. Sister Ray


    The Velvet Underground (mono)
    1. Candy Says
    2. What Goes On
    3. Some Kinda Love
    4. Pale Blue Eyes
    5. Jesus
    6. Beginning to See the Light
    7. I'm Set Free
    8. That's the Story of My Life
    9. The Murder Mystery
    10. Afterhours


    1969: The Lost Fourth Album/Originally Unissued (stereo)
    1. Foggy Notion
    2. One of These Days
    3. Lisa Says
    4. I'm Sticking with You
    5. Ocean
    6. I Can't Stand It
    7. I'm Gonna Move Right In
    8. We're Gonna Have a Real Good Time Together
    9. Rock and Roll
    10. Ride into the Sun

    Velvet Underground
    $109.99
    Vinyl LP Box Set - 5 LPs Sealed Buy Now
  • Dexter Calling Dexter Calling Quick View

    $49.99
    Buy Now
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    Dexter Calling

    Blue Note Reissue




    As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008



    I have my two new Blue Note LPs here and as I sit writing this I am listening to the Dexter Gordon, WOW!sitting here listening to this wonderful music, just clean, no background noise, a black background, like the studio that they recorded this in, it is wonderful. The instruments coming out of the sound stage positioned as they were recorded, this is a real treat. Miller Steel, Acoustic Sounds customer


    ...these first five Acoustic Sounds Blue Note re-issues are pure bop genius...The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good! Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Amazing! Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana. - Dan Babineau, Tone Audio, No. 14 2008, www.tonepublications.com


    I have just listened, in succession, to my mono and early stereo versions of each LP. I have purchased other similar reissues over the years, but find the engineering and pressing of this 45rpm/180 series to be superior to all to others. This is particularly since I find many new releases to be of inferior quality or handling during manufacture, despite being re-engineered and of heavier vinyl. Barry Paulson, Acoustic Sounds customer


    Dexter Gordon connects immediately with the sublime rhythm section of Kenny Drew, Paul Chambers and Philly Joe Jones on this, his second Blue Note album. The material ranges from Drew originals to pieces from Gordon's score for the Los Angeles production of The Connection to stunning performances of the standards The End Of A Love Affair and Smile.

    Soul Sister
    Modal Mood
    I Want More
    The End of a Love Affair
    Clear the Dex
    Ernie's Tune
    Smile
    Landslide
    Dexter Gordon
    $49.99
    180 Gram Audiophile Virgin Vinyl 45rpm LP - 2 LPs Sealed Buy Now
  • Masterpieces (45 RPM) Masterpieces (45 RPM) Quick View

    $54.99
    Buy Now
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    Masterpieces (45 RPM)


    A Historic Record - Recorded Just Four Years Removed From The Dawn Of The Analog Tape Era!


    Remastered By Ryan Smith At Sterling Sound From The Original Analog Tapes


    Recorded On An Ampex 200, Using 3M-111 Magnetic Tape Running At 15 Inches Per Second


    Gatefold Old-School Tip-on On Jacket By Stoughton Printing Plated And Pressed At Quality Record Pressings!


    Named A 2015 Record To Die For By Stereophile Magazine.


    Remastered by Ryan Smith at Sterling Sound from the original analog tapes, the record was plated and pressed at Quality Record Pressings. The depth and space when those rich chromatic harmonies create a wide and well-defined soundscape, the timbre of the orchestra as a whole as well as individual instruments, and the thick, wooden sound of Wendell Marshall's bass are among the aural pleasures provided when you drop a needle on this platter; expect goose bumps. - Music = 5/5; Sonics = 4.5/5 - Jeff Wilson, The Absolute Sound, May-June 2015.


    I chose the CD reissue of this album as one of my R2D4s for 2012, but now from Chad Kassem's Analogue Productions comes this QRP LP, and it's an occasion for popping corks. Released in 1950, this was Ellington's first LP, and he used the new medium to stretch out four of his biggest hits. The arrangements are jaw-droppingly gorgeous and the sound just slightly less so. Recorded by Fred Plaut, who later miked Kind of Blue and other Columbia classics, it has the dynamics, depth, and in-your-face tonal realism of a modern (mono) audiophile thumper. Among the best jazz albums ever. - Fred Kaplan, for Stereophile - Records To Die For - February 2015.


    This new re-issue slays my vintage copy in every way. Every dimension of the recording was much better...dynamics, harmonics, frequency response, detail, jump...all just leaped out at me! The recording sounded like it had been made that morning...absolutely fresh-sounding. No veiling. No roll-off. In fact, it's so good that it doesn't matter that this is a mono recording! Listen to it on a great turntable...you'll hear mono that fools you into thinking that it's not mono. Just wait until you hear Yvonne Lanauze sing, Mood Indigo amigos, after a long instrumental build-up...she'll take you there! ... The pressing itself was impeccable: flat, and free of noise, tics and pops...a genuine masterpiece of the pressing-plant arts. The Hyperion OCL, the finest cartridge that I've ever heard, revealed how superbly these grooves were carved! Commendable, reference-grade analog...very, very close to master tape sound. Very damned close! Kissing cousins close! Hell, maybe even closer than that. In fact, I now consider the Analogue Productions re-issue of Masterpieces by Ellington to be one of the very finest Jazz records ever released. (Sorry Miles! Move over, Kind of Blue!). - David W. Robinson, editor-in-chief, Positive Feedback Online.


    Most highly recommended (the record is now on the QRP presses). It's one of my 'Records to Die For' in the February 2015 Stereophile. A true classic both musically and sonically and a historical work of art you can now own. - Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com.

    LP 1
    1. Mood Indigo
    2. Sophisticated Lady


    LP 2
    1. The Tattooed Bride
    2. Solitude

    Duke Ellington
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Konitz Meets Mulligan (Pure Pleasure) Konitz Meets Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Konitz Meets Mulligan (Pure Pleasure)

    O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?



    But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.



    And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.



    Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
    Mono - so what? This is a treasure from the vaults of Pacific Jazz.



    Musicians:



    • Lee Konitz (alto saxophone)

    • Gerry Mulligan (bassoon)

    • Chet Baker (trumpet)

    • Carson Smith (bass)

    • Joe Mandragon (bass)

    • Larry Bunker (drums)



    Recording: January 1953 at The Haig, Los Angeles, by Richard Bock

    Production: Richard Bock



    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.



    Side One


    1. I Can't Believe That You're In Love With Me
    2. Broadway
    3. Almost Like Being In Love
    4. Sextet
    5. Oh, Lady Be Good
    6. Bernie's Tune
    7. Oh, Lady Be Good (alternative version)


    Side Two


    1. Too Marvelous For Words
    2. Lover Man
    3. I'll Remember April
    4. These Foolish Things
    5. All The Things You Are

    Lee Konitz & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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