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  • Songs In The Attic (On Sale) Songs In The Attic (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Songs In The Attic (On Sale)

    Songs In the Attic on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    1981 Live Album Finds Joel Adding Warmth to Ballads, Punch and Kick to Rockers


    Taking You to the Stage: Mobile Fidelity Version Pulls Gives You a Dead-Center Seat and Wonderful Sonic Perspective


    Ideal Summation of Joel's Early Period Material, Enhanced by Accomplished Band in Concert Setting


    Great live albums often function as documents of a performer's stinting onstage abilities, stopgaps between studio albums, introductions to a musician's earlier work, and/or opportunities for familiar material to be showcased in superior ways. Songs In the Attic serves all of these purposes and more. As Billy Joel's first live album, it's still his best, punctuated by dynamic renditions of favorites and deep cuts, and augmented by a tested band in sync with the pianist.


    A vital component of Mobile Fidelity's Billy Joel catalog restoration series, Songs In the Attic is mastered from the original master tapes and pressed on 180 gram LP at RTI. The resulting presentation effortlessly outshines that heard on all previous editions of this 1981 set. Joel's piano possesses fuller body and lifelike resonance. His veteran group's contributions emerge with newfound clarity, dynamics, decay, and extension. Balances are supreme, and shades and colors blend, amplifying richness and presence.


    On the heels of three multi-platinum albums and a commercial breakthrough, Joel released Songs In the Attic to both tide fans over until 1982's The Nylon Curtain as well to feature material in a looser, warmer setting. The record highlights not only the singer's consistency and knack for indelible melodies, but savvy live techniques. Upbeat tunes such as "Everybody Loves You Now" receive a more fleshed-out treatment that yields added punch and swagger, while balladic numbers like "I've Loved These Days" take on a cozy warmth akin to the feeling of putting on a sweater on a cool fall day.


    Songs In the Attic also bridged the gap for listeners for whom Joel was then a new entity, as many didn't come to his music until The Stranger. Hence, tracks like "Captain Jack" and "The Ballad of Billy the Kid," from Piano Man, get a fresh identity, particularly courtesy of a backing band that, by then, had been gigging with Joel for years. No wonder that, unlike a majority of live records, Songs In the Attic yielded two Top 40 pop hits: "Say Goodbye to Hollywood" and "She's Got a Way." No matter from what angle it's viewed, the set stands as one of the most important and enjoyable live records ever released.


    This title is not eligible for further discount.

    1. Miami 2017 (Seen the Lights Go Out on Broadway)
    2. Summer, Highland Falls
    3. Streetlife Serenader
    4. Los Angelenos
    5. She's Got a Way
    6. Everybody Loves You Now
    7. Say Goodbye to Hollywood
    8. Captain Jack
    9. You're My Home
    10. The Ballad of Billy the Kid
    11. I've Loved These Days
    Billy Joel
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - Sealed Buy Now
  • Masterpieces (45 RPM) Masterpieces (45 RPM) Quick View

    $54.99
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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.


    This title is not eligible for discount.

    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
  • The Gigolo The Gigolo Quick View

    $49.99
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    The Gigolo


    Limited Edition!


    Remastered by Kevin Gray and Steve Hoffman from the Original Rudy Van Gelder Blue Note Master Tapes!


    The Definitive issue of this classic Blue Note title!


    THE SOUND:

    Mono or Stereo? Rudy Van Gelder first began recording Blue Note sessions in stereo in March of 1957. From then until an October 30, 1958 Art Blakey session, Rudy simultaneously ran both mono and stereo session tapes. The stereo presentation revealed more air, more detail and more sheer life than the mono. The mono playback was a wonderful remembrance of the old LP we all knew and loved. The stereo playback from the original masters was eerie. It was like going back in time to that day in Rudy's studio. Quite simply, the stereo masters revealed more of what it was like to be there that day.


    Why 45rpm? Simply...Because it sounds better! 180 gram pressings versus 200 gram? Music Matters, Lt. uses 180 gram pressings for the simple reason that they believe 180 gram weight is more than sufficient to provide a near perfect pressing. When Music Matters asked their friends at Record Technology Inc. for their recommendation to achieve the highest possible quality pressings their answer was unequivocal... go with 180 gram!


    Upgrading Connections at Acoustech! It goes without saying that there are many controversies and debates in the perfectionist audio/LP collector market. But one area of near universal agreement is the quality of mastering that emerges from Kevin Gray's custom-built AcousTech Mastering studio in Camarillo, CA. Kevin, along with Steve Hoffman, has provided many of the best sounding new and reissued albums on LP during the last 5 or 6 years working outs of AcousTech.


    THE JACKETS:

    Music Matters Exclusive! Music Matters strongly feels that these Blue Note recordings deserve nothing less than the finest graphic presentation. The Music Matters Definitive 45RPM Blue Note jackets are designed to last a lifetime, using ultra-durable extra thick cardboard stock and thick, luxurious lamination... quality you'll be able to feel in your hand the moment you pick up one of these albums. In addition, Music Matters has obtained exclusive access to a treasure trove of over 30,000 original Blue Note session photos from Mosaic Images for use in this series. The gatefold opens to display these session photos in stunning high resolution - four times sharper than original Blue Note jacket photos.


    THE REVIEWS:

    Hear what Michael Fremer, Wayne Garcia and others are saying about the Blue Note Definitive 45rpm Reissue Series from Music Matters, Ltd:

    They're BIG and open and definitely work in stereo because they're not hard left/right stereo. The cymbals are so chimey and the skins so open! Even Rudy's typical boxy piano isn't too bad. These are going to be really good....!!!! (Real time reaction after hearing his first test pressing of Horace Parlan's Speakin' My Piece LP.) - Michael Fremer, Stereophile Magazine


    I've heard a lot of Blue Note originals and myriad reissues over the years, but based on the sample test pressings heard so far, none-and I mean none-convey the intensity of living, breathing music-making the way the Music Matter's Blue Note series does. The sense of air, texture, and dynamic pop in these grooves is astonishing. - Wayne Garcia, The Absolute Sound


    Art Blakey & the Jazz Messengers "The Big Beat" and Horace Parlan, "Speakin' My Piece." And if this is any indication of what's to come, I advise you to get on the list now, before this collection is sold out. - Albert Porter, www.positive-feedback.com


    The Music Matters 45s have all immediacy and add a free-flowing naturalness that is surprising at first but very easy to get used to. - Marc Mickelson, www.soundstage.com


    There is no real explanation for Lee Morgan's greatness. He emerged in 1956 as a precocious 18-year old already recording for Blue Note and performing as one of the stars of the Dizzy Gillespie Orchestra. He continued to grow during his years with Art Blakey's Jazz Messengers and in the 1960s was jazz's leading trumpeter. In 1965 when he recorded The Gigolo, Morgan was still only 27 yet had already created a lifetime of exciting music. On The Gigolo, he builds upon his earlier successes and plays with a brilliance only reached by the most immortal of jazz musicians. His four originals include the original version of his memorable blues Speed Ball, and he really digs into You Go To My Head. Hearing The Gigolo with its phenomenal sound and brilliant playing is a thrill that all jazz fans need to experience.


    Features:

    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


    Musicians:

    Lee Morgan, trumpet

    Wayne Shorter, tenor saxophone

    Harold Mabern, Jr., piano

    Bob Cranshaw, bass

    Billy Higgins, drums


    The albums are being cut at 45 RPM for maximum quality by Kevin Gray and me using our full ANALOG disk cutting system; most studios cannot even cut vinyl in 100% true analog anymore (they convert to digital first) but we can. The original Rudy Van Gelder engineered stereophonic session tapes are used when we master these gems. The sound quality is amazing on our test cuts. Like from heaven. First totally uncompressed versions of these jazz classics that I've ever heard and trust me, you will be impressed; they sound like no other releases of this music.


    The sound is lifelike, the horns are in the room with you. Our non-invasive mastering insures the true breath of life on these original Van Gelder session tapes is transferred to the virgin vinyl with absolute authenticity. It is like hearing these BLUE NOTE masterpieces for the first time and that is NO exaggeration. When we heard the first lacquer acetate playback from our first mastering session I thought Joe Harley was going to pee in his pants he was so excited. Actually we all were; after 50 years of many lackluster and some downright bad sounding versions of these albums, hearing the real deal is a humbling experience, even for us hardened music veterans. You will be able to listen to the music exactly like we did...
    - Steve Hoffman

    This title is not eligible for discount.

    1. Yes I Can, No You Can't
    2. Trapped
    3. Speed Ball
    4. The Gigolo
    5. You Go To My Head
    Lee Morgan
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Judgment! Judgment! Quick View

    $49.99
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    Judgment!

    This 1964 post-bop Blue Note date from Andrew Hill follows-up 1963's Smokestack and finds the pianist/composer in a quartet setting with Elvin Jones on drums, Richard Davis on bass and rounded out by world class vibraphonist Bobby Hutcherson. Jones' fiery drumming and Hutcherson's inventive coloring serve as the near perfect foils for Hill's abstract tendencies here, enriching his complex and provocative compositions with a stellar interplay!


    Musicians:



    • Andrew Hill (piano)

    • Bobby Hutcherson (vibraphone)

    • Elvin Jones (drums)

    • Richard Davis (bass)


    Features:



    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Numbered, Limited Edition

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


    This title is not eligible for discount.



     

    1. Siete Ocho
    2. Flee Flop
    3. Yokada Yokada
    4. Alfred
    5. Judgment
    6. Reconciliation
    Andrew Hill
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Swing, Swang, Swingin' Swing, Swang, Swingin' Quick View

    $49.99
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    Swing, Swang, Swingin'

    Prior to 1959, Jackie McLean was an important young Turk whose sharp tone and intense style on alto grew out of Charlie Parker yet were very much his own. Growing up in New York, his neighbors included such friends as Bud Powell, Thelonious Monk and Sonny Rollins. By 1951 he was recording with Miles Davis and other associations in the 1950s included Charles Mingus and two years with Art Blakey's Jazz Messengers. But all of that was a prelude to his recording 21 brilliant, explorative and frequently explosive albums for Blue Note during 1959-67. While McLean became one of the first jazz musicians of his generation to stretch beyond hard bop into freer explorations inspired by Ornette Coleman, Swing, Swang, Swingin' is a straight ahead affair in which he mostly puts his stamp on standards. Few versions of Let's Face The Music And Dance and I Love You have ever had this much intensity and, when McLean digs into the ballad What's New, he gives it a fiery passion that had never been heard before. Jackie McLean not only swings and swangs but he burns with the urgency, agony and ecstasy of the 1960s.



    Features:



    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


    Musicians:



    • Jackie McLean, alto saxophone

    • Walter Bishop Jr., piano

    • Jimmy Garrison, bass

    • Art Taylor, drums 


     



    This title is not eligible for discount.

    1. What's New
    2. Let's Face the Music and Dance
    3. Stable Mates
    4. I'll Remember You
    5. I Love You
    6. I'll Take Romance
    7. 116th and Lenox
    Jackie McLean
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Kind Of Blue (Box Set) (Awaiting Repress) (On Sale) Kind Of Blue (Box Set) (Awaiting Repress) (On Sale) On Sale Quick View

    $59.99 $53.99 Save $6.00 (10%)

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    Kind Of Blue (Box Set) (Awaiting Repress) (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 AWAITING REPRESS Buy Now
  • Inventions & Dimensions (Awaiting Repress) Inventions & Dimensions (Awaiting Repress) Quick View

    $49.99
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    Inventions & Dimensions (Awaiting Repress)

    Herbie Hancock was only 23 when he recorded the amazing Inventions And Dimensions, his third Blue Note album. While Hancock had already recorded Takin' Off and My Point Of View, he had quickly developed his own innovative style, and was about to become a member of the Miles Davis Quintet. Inventions and Dimensions is unlike anything he had previously created. Hancock manages the impossible feat of performing music that is both free form and very accessible. In teaming up with bassist Paul Chambers, drummer Willie Bobo and percussionist Osvaldo "Chihuahua" Martinez, Hancock might have been expected to play Latin jazz, but in reality this innovative album has Hancock freely improvising all of the pieces. He creates music that has melodies, drama, development, exciting moments and logical if unexpected conclusions. His performances may sound arranged and worked out in advance but Hancock made it all up on the spot, quite an accomplishment. Very few other pianists in the history of jazz could do this, but Herbie Hancock made it all seem effortless, creating a timeless gem as easily as most people breathe.



    Features:



    •  Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    •  Remastered by Kevin Gray and Steve Hoffman at Acoustech

    •  Cut at 45rpm for Better Sound!

    •  Pressed on two 180 gram Virgin Vinyl LPs by RTI

    •  Limited Edition

    •  Numbered

    •  Ultra-Durable, Extra Thick Album Jackets

    •  Gatefold Album with Session Photos in stunning High Resolution


    Musicians:



    • Herbie Hancock, piano

    • Paul Chambers, bass

    • Willie Bobo, drums

    • Osvaldo "Chihuahua" Martinez, percussion  


    This title is not eligible for discount.


    1. Succotash
    2. Triangle
    3. Jack Rabbit
    4. Mimosa
    5. A Jump Ahead

    Herbie Hancock
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • In 'N Out In 'N Out Quick View

    $49.99
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    In 'N Out

    From the moment that Kenny Dorham picked a 25-year old Joe Henderson out of obscurity in 1962 and had him join his band, it was obvious that Henderson was a very powerful force, a young giant who sent shock waves through the jazz world. Henderson, who had a very distinctive sound from the start along with the ability to play both "inside" and "outside," sounded very much at home whether playing bebop or free improvisations. He also proved to be a perfect musical brother for Dorham. Henderson's In 'N Out album finds the two horns expressing similar ideas, blending together perfectly, and creating memorable music that is beyond description. Every note that Dorham and Henderson play on this classic album is passionate, intense and meaningful. While most young musicians would be in awe if teamed with Dorham, McCoy Tyner, Richard Davis and Elvin Jones, Henderson not only had no difficulty playing with those masters, but he raised the intensity level and forced them to keep up with him. Rudy Van Gelder brilliantly captured this group, which has never sounded better than on this must-have reissue.

     

    Features:


    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Numbered

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


     

    Musicians:


    • Joe Henderson

    • Kenny Dorham

    • McCoy Tyner

    • Richard Davis

    • Elvin Jones


    This title is not eligible for discount.

    In 'N Out
    Punjab
    Serenity
    Short Story
    Brown's Town
    Joe Henderson
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • John Wesley Harding (Mono) (On Sale) John Wesley Harding (Mono) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    John Wesley Harding (Mono) (On Sale)

    Ranked 301/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time


    John Wesley Harding On Numbered Limited Edition Mono 180 Gram 45 RPM 2LP From Mobile Fidelity


    Stripped-Back, Unobtrusive 1967 Album A Mellow Return To Dylan's Roots And Harbinger of Country Rock


    Includes Original Version Of All Along The Watchtower


    Leave it to Bob Dylan to follow three of the most pioneering electric-based albums in history by deviating from the norm and straying from expectation - but continuing to work in the mono format. Hinting at a return to his folk roots and firmly pointing toward the field that became country rock, John Wesley Harding breathes with reassurance and freshness, the unobtrusive sound of an artist re-engaging with the past, forging a future, and stepping into new realms after recovering from an accident and unimaginable pressure.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, this restored mono version presents the 1967 album with finite details and in the original sound Dylan intended. Immediately notable for the slimmed-down instrumentation, brisk flow, and simple approach, the record continues to endure via a rustic, era-defying naturalism tied to the organic sounds and warm production swathing Dylan's acoustic guitar, mellow voice, breezy harmonica, and minor accompaniments. All these traits translate with incredible realism and lifelike air on this reissue, which also brings out the low end of Charlie McCoy's bass with previously unheard character. With the advantage of wider and deeper grooves, the 45RPM pressing also affords the opportunity to detect more information and lavish in the extra richness.


    The preferred mix at the time of the recording, the mono version presents Dylan with unparalleled directness. Since the separation of the stereo versions isn't as sharp, this mono edition places Dylan's vocals in the heart of the musical action and as one with the all-star accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. As much as any Dylan record, the music here fits the mono spectrum to a proverbial 't.'


    Recorded around the same time as the sessions that yielded The Basement Tapes, John Wesley Harding came together after just three studio sessions and approximately 12 hours of time. While many specifics are shrouded in mystery, a majority of songs are tied to Biblical figures, ominous matters, and morality themes. Making not just a clear sonic break from his most recent efforts, but a songwriting transformation as well, Dylan embraces a strict economy of scale, dropping beat-poetry techniques in favor of stanzas that waste no words and progress narratives at every turn. It's as if the Bard is saying that truth is spoken here. Few, if any artists, have captured the American myth and its population of immigrants, drifters, and outlaws with such convincing scope and parabolic sagacity.


    Combined with the lyrical evolution and unabashed move towards country conventions, Dylan manages to turn popular music on its side, forging a subdued hybrid style no other peers had yet attempted. Arriving during a period of intense experimentalism and psychedelia, John Wesley Harding functions as a sigh of relief, a piano- and pedal steel-flavored set steeped in requisite simplicity in an environment that was increasingly marked by chaos and madness.


    Climbing to number two on the Billboard charts and quickly tallying one million in sales, the pared-down work resonated with a public ensnared by its myriad charms. Then, of course, there's the utter brilliance of every one of the songs here, each seemingly occupying a timeless space that suggests they could've been made in 1967, 1937, or 2007. With All Along the Watchtower, Dylan landed upon a tune that would soon become one of the most-covered and revered tracks in history. And yet it isn't even a standout on an album on which every note just belongs.


    This title is not eligible for further discount.

    1. John Wesley Harding
    2. As I Went Out One Morning
    3. I Dreamed I Saw St. Augustine
    4. All Along the Watchtower
    5. The Ballad of Frankie Lee and Judas Priest
    6. Drifter's Escape
    7. Dear Landlord
    8. I Am a Lonesome Hobo
    9. I Pity the Poor Immigrant
    10. The Wicked Messenger
    11. Down Along the Cove
    12. I'll Be Your Baby Tonight
    Bob Dylan
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
  • Hidden City Hidden City Quick View

    $30.99
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    Hidden City

    When Rolling Stone hailed THE CULT as "the Messianic moment of Coachella" in 2014, few knew that their next release would be unveiled in the form of HIDDEN CITY, their tenth studio album (and second for Cooking Vinyl).


    The final instalment in a trilogy of recordings, completing 2007's Born Into This (The Fall) and 2012's Choice of Weapon (Dark Night of the Soul), Hidden City is a tightly-woven series of experience and visions with underlying themes of redemption and rebirth threaded through The Cult's visceral music. Astbury's signature baritone and blood-soaked lyrics paired with Duffy's smouldering, textured guitar tones, create a musical environment that is fearless and peerless.


    From the sonic assault of the opening track Dark Energy, Hidden City launches quickly into the dark underbelly of its subject matter. Stemming from the Spanish phrase "La Ciudad Oculta" or "hidden city," the album reflects an awakening of consciousness through its tone and complexity. "Hidden City is a metaphor for our spiritual lives our intimate interior lives," explains Astbury. "I find today's gurus are trying to peddle some cure, product or insight as if it's a new phenomenon. My place is to respond, not react, to observe, participate and share through words and music. There is no higher authority than the heart."


    Produced by Bob Rock and written by Ian Astbury and Billy Duffy the team has collaborated on what has turned out to be the brutal and beautiful masterpiece Hidden City.


    The Cult have revealed in a storied career. From the iconic Love album bursting with idealism to the dystopia of 2001's Beyond Good & Evil to the current seductive Hidden City, the band lives their art. A new chapter dawns for The Cult as the future unfolds The Cult will respond. It's what they do.


    The Cult are Ian Astbury (vocals), Billy Duffy (guitars), John Tempesta (drums), Grant Fitzpatrick (bass), Damon Fox (keyboards + rhythm guitar).

    1. Dark Energy
    2. No Love Lost
    3. Dance The Night
    4. In Blood
    5. Birds Of Paradise
    6. Hinterland
    7. G O A T
    8. Deeply Ordered Chaos
    9. Avalanche Of Light
    10. Lilies
    11. Heathens
    12. Sound and Fury
    The Cult
    $30.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • John Wesley Harding (On Sale) John Wesley Harding (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    John Wesley Harding (On Sale)

    Ranked 301/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    John Wesley Harding on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Stripped-Back, Unobtrusive 1967 Album a Mellow Return to Dylan's Roots and Harbinger of Country Rock


    Hear the Musical Cousin to Dylan and The Band's The Basement Tapes in Extraordinary Fidelity: Transparent 45RPM Edition Mastered on Mobile Fidelity's World-Renowned Mastering System


    Includes Original Version of All Along the Watchtower


    Leave it to Bob Dylan to follow three of the most pioneering electric-based albums in history by again deviating from the norm and straying from expectation. Hinting at a return to his folk roots and firmly pointing toward the field that became country rock, John Wesley Harding breathes with relief and freshness, the sound of an artist re-engaging with the past, forging a future, and stepping into new realms after recovering from an accident and unimaginable pressure.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 45RPM analog version presents the 1967 album with the finite details and impressionistic tones. Immediately notable for the slimmed-down instrumentation, brisk flow, and simple approach, the record continues to endure via a rustic, era-defying naturalism tied to the organic sounds and warm production swathing Dylan's acoustic guitar, mellow voice, breezy harmonica, and minor accompaniments. All of these traits translate with incredible realism and lifelike air on this reissue, which also brings out the low end of Charlie McCoy's bass with a previously unheard supple character. Wider grooves mean more information reaches your ears.


    Recorded around the same time as the sessions that yielded The Basement Tapes, John Wesley Harding came together after just three studio sessions and approximately 12 hours of time. While many specifics are shrouded in mystery, a majority of songs are tied to Biblical figures, ominous matters, and morality themes. Making not just a clear sonic break from his most recent efforts, but a songwriting transformation as well, Dylan embraces a strict economy of scale, dropping beat-poetry techniques in favor of stanzas that waste no words and progress narratives at every turn. It's as if the Bard is saying that truth is spoken here. Few, if any artists, have captured the American myth and its population of immigrants, drifters, and outlaws with such convincing scope and parabolic sagacity.


    Combined with the lyrical evolution and unabashed move towards country conventions, Dylan manages to turn popular music on its side, forging a subdued hybrid style no other peers had yet attempted. Arriving during a period of intense experimentalism and psychedelia, John Wesley Harding functions as a sigh of relief, a piano- and pedal steel-flavored set steeped in requisite simplicity in an environment that was increasingly marked by chaos and madness.


    Climbing to number two on the Billboard charts and quickly tallying one million in sales, the pared-down work resonated with a public ensnared by its myriad charms. Then, of course, there's the utter brilliance of every one of the songs here, each seemingly occupying a timeless space that suggests they could've been made in 1967, 1937, or 2007. With "All Along the Watchtower," Dylan landed upon a tune that would soon become one of the most-covered and revered tracks in history. And yet it isn't even a standout on an album on which every note just belongs.


    This title is not eligible for further discount.

    1. John Wesley Harding
    2. As I Went Out One Morning
    3. I Dreamed I Saw St. Augustine
    4. All Along the Watchtower
    5. The Ballad of Frankie Lee and Judas Priest
    6. Drifter's Escape
    7. Dear Landlord
    8. I Am a Lonesome Hobo
    9. I Pity the Poor Immigrant
    10. The Wicked Messenger
    11. Down Along the Cove
    12. I'll Be Your Baby Tonight
    Bob Dylan
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Last Exit Last Exit Quick View

    $26.99
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    Last Exit

    Limited 45th Anniversary Edition on 180 Gram Vinyl with Rare Gatefold Cover and Original UK Photos of Dave Mason, Stevie Winwood, Chris Wood and Jim Capaldi


    Mastered by Joe Reagoso from Original Island Records Tapes at Friday Music Studios with Kevin Gray


    Traffic were one of the premier architects of the acid rock movement in the sixties and blossomed further into one of the most important super groups of the seventies. Their recordings are the soundtrack to a generation of music enthusiasts that continues to this day and will forever stand the test of time.


    In 1968, the legendary founding members Stevie Winwood, Dave Mason, Jim Capaldi and Chris Wood went back to the recording studio after releasing two smash albums with Dear Mr. Fantasy and Traffic and continued their winning streak with their groundbreaking third LP Last Exit.


    Known for their superior progressive rock, jazz and pop influences, the multi-faceted music of Last Exit offers non-stop entertainment which truly illustrates the legendary talent of this English quartet. Whether standout tracks from the pens of Dave Mason like his classic rock opener Just For You or the prog-rock Winwood and Capaldi's classic Withering Tree, the Last Exit album has surely earned its currency over the years as one of the more important albums of their highly embraced musical catalog.


    Filled with the piano driven melodies and vocals of the legendary Stevie Winwood, the hard rocking vocals and guitar work of the masterful Dave Mason, the explosive sax breaks by the late Chris Wood and the power drumming and vocals of the late great Jim Capaldi, the Last Exit album will always be one of the most revered albums in their extraordinary career.


    Even further classics ensued with each of the hard rockin' seven tracks that make up this masterwork how about the smash sounds of Shanghai Noodle Factory or another Traffic classic Medicated Goo, plus more Windwood/Capaldi/Mason collaborations like Something's Got A Hold Of My Toe In addition to all of these brilliant tracks, there are two lengthy live performances captured at the Fillmore West with the jam vibes of Feelin' Good or the Bobby Blue" Bland belter Blind Man. No matter what track is your favorite, it's all about Traffic, classic Traffic, and it just doesn't get much better than this.

    1. Just For You
    2. Shanghai Noodle Factory
    3. Something's Got A Hold Of My Toe
    4. Withering Tree
    5. Medicated Goo
    6. Feelin' Good (from the musical production "The Roar of the Greasepaint - The Smell of the Crowd")
    7. Blind Man
    Traffic
    $26.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The Best Of Sam Cooke The Best Of Sam Cooke Quick View

    $54.99
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    The Best Of Sam Cooke

    This Best Of Sam Cooke album was the beacon that kept Cooke's most popular songs in the public eye. Between 1957 and his death seven years later, Cooke recorded an average of one Top Ten single every four months! And now on this single LP, you can relive the timeless best known and best-loved Sam Cooke classics.



    For a couple of generations this was the first - and often only - Sam Cooke album they owned. Although there are more ambitious collections that show Cooke's remarkable range and diversity, this is still the best starting place. These are Sam Cooke's biggest commercial hits. This is the message in a bottle that brought his gifts to millions of people.



    What is it that makes Cooke's music so irresistible? Well, first the voice, of course. So good, in fact, was Cooke as a vocalist that Atlantic Records vice president Jerry Wexler said matter-of-factly, Sam Cooke was the best singer who ever lived, no contest. But beyond just his voice, it's the phrasing that makes these songs so timeless and memorable. Cooke himself explained it this way: You just talk the story. That's how you get people to come to you - because it's not like a song, it's like two people rapping, only with a melody attached. But then when you come to the hook ('That's the sound of the men working on the chain gang'), then you're free, everybody's gonna sing that part, you want to get everybody to sing along. And they're still singing along.



    So we all know the songs. We all know they're great. But nobody's known not unless you were there when it was recorded just how incredible these recordings actually sound. Now, cut at 45 RPM with every detail tended to and no expense spared, we've got The Best of The Best of Sam Cooke.


    This title is not eligible for discount.

    1. You Send Me
    2. Only Sixteen
    3. Everybody Loves to Cha Cha Cha
    4. (I Love You) For Sentimental Reasons
    5. (What A) Wonderful World
    6. Summertime
    7. Chain Gang
    8. Cupid
    9. Twistin' The Night Away
    10. Sad Mood
    11. Having A Party
    12. Bring It On Home To Me
    13. Another Saturday Night (Alternate Take)
    Sam Cooke
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Roll The Bones Roll The Bones Quick View

    $26.99
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    Roll The Bones

    200 Gram Vinyl LP


    From a lyrical perspective, 1991's Roll the Bones is quite possibly Rush's darkest album (most of the songs deal with death in no uncertain terms), but from a musical point of view, the record treads territory (highbrow melodic hard rock) similar to its recent predecessors, with only a few surprises thrown in for good measure. These include an amusing rap section in the middle of the title track, a welcome return to instrumentals with Where's my Thing?, and one of the band's finest songs of the '90s in the gutsy Dreamline. Neurotica is another highlight which lives up to its title, and though their negative subject matter can feel stifling at times, fine tracks like Bravado, The Big Wheel, and Heresy feature wonderful melodies and arrangements.

    1. Dreamline
    2. Bravado
    3. Roll The Bones
    4. Face Up
    5. Where's My Thing?
    6. The Big Wheel
    7. Heresy
    8. Ghost Of A Chance
    9. Neurotica
    10. You Bet Your Life
    Rush
    $26.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Terry Riley: In C (Pure Pleasure) Terry Riley: In C (Pure Pleasure) Quick View

    $34.99
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    Terry Riley: In C (Pure Pleasure)

    If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous--even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again.


    This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music -- ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music -- that can, and will, change your life.



    Musicians:



    • Terry Riley (conductor, saxophone, organ)

    • Margaret Hassell, Lawrence Singer (oboe)

    • Darlene Reynard (bass)

    • Jon Hassell (trumpet)

    • Jerry Kirkbride (clarinet)

    • David Shostac (flute)

    • Stuart Dempster (trombone)

    • Edward Burnham (vibraphone)

    • Jan Williams (marimba)



    Recording: 1968 at Columbia's 30th Street Studio, New York, by Fred Plaut and Russ Payne

    Production: David Behrman

    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. In C
    Terry Riley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chopin - Scherzo No. 3 / Brahms -  Rhapsodies (Speakers Corner) Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner) Quick View

    $34.99
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    Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner)

    The debut recording by the Argentinian pianist Martha Argerich took the public by the storm all over the world - and the applause has still not subsided! A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages - and Martha Argerich proves herself a master of them all! The demonic opening of the Scherzo in C sharp minor gives way to an iridiscent dialogue which sings and sparkles beyond compare. The Barcarolle rocks gently along; Prokofiev's Toccata is filled with dynamic force and nervous agitation; Ravel's Jeux d'eau is pensive and introverted, with the water rippling in a circular motion. As a contrast, the two famous Brahms Rhapsodies are performed with passion, impetuosity and occasionally the required heaviness.



    This recording is surely one of the brightest candles to burn anew on Deutsche Grammophon's birthday cake.



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



    Musicians:



    • Martha Argerich (piano)




    Recording: July 1960 at Beethoven-Saal, Hannover by Heinz Wildhagen

    Production: Prof. Elsa Schiller





    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. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp
    2. Minor, Op.39
    3. Rhapsody, Op.79: No.1 Agitato In B Minor
    4. Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
    5. Toccata, Op. 11
    6. Jeux D'Eau: Tres doux
    7. Barcarole In F Sharp Major, Op. 60
    8. Hungarian Rhapsody No.6:
    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mussorgsky - Pictures at an Exhibition (Speakers Corner) Mussorgsky - Pictures at an Exhibition (Speakers Corner) Quick View

    $69.99
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    Mussorgsky - Pictures at an Exhibition (Speakers Corner)

    This two-LP set includes as a very special bonus the piano-only version of Pictures at an Exhibition cut at 45 RPM. This is how this work was originally composed though no recording of that version has previously been released. The full symphonic version of Pictures at an Exhibition is cut here at 33 1/3.



    The orchestral version of Mussorgskys musical picture gallery has always been one of the most popular works ever heard in concert halls all over the world. Originally written for the piano, the unsuccessful composer never heard the work in all its symphonic glory, although many of his contemporaries had often been tempted to arrange his works. As early as 1891, ten years after his death, Mikhail Tushmalov a pupil of Rimsky-Korsakov presented a first version. However, it is Maurice Ravels orchestral version from 1922 that remains unsurpassed to this day. His arrangement amalgamates the original force and angularity of the piano with the brilliance of a modern orchestra.The transparent and powerful performance by the Minneapolis Symphony Orchestra is complemented by an equally fascinating version from one of Mercurys main pianists, Byron Janis. In listening to the two interpretations one after the other it becomes clear as to how closely Ravel remained true to the original version while still managing to imbue his genial orchestral version with his own tonal conception. The solo piano recording, released for the first time on vinyl, will certainly be of special interest to record collectors.




    Recording: April 1959 at Northrup Auditorium, Minneapolis, USA, and September 1961 in

    Ballroom Studio A at Fine Recording, New York, by C.R. Fine / Production: Wilma Cozart




    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. Gnomus
    2. Il Vecchio Castello
    3. Tuilleries, Disput D'Enfants Apres Jeux
    4. Bydlo
    5. Ballet of the Chickens in Eggs
    6. Samuel Goldenberg and Schmuyle
    7. Limoges
    8. Catacombs
    9. The Hut on the Fowl's Legs
    10. The Great Gate at Kiev
    Byron Janis
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Puttin' It Together Puttin' It Together Quick View

    $49.99
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    Puttin' It Together

    1968's Puttin' It Together finds Elvin Jones stepping out from under John Coltrane's giant shadow with an impressive trio session featuring Jimmy Garrison on bass and a young Joe Farrell on tenor, soprano sax and flute. The energy driven approach here makes strong use of Jones' work on the drum kit and the soulful undercurrents of Garrison's bass, while Farrell tops things off with his angular, effortlessly-blown lines.


     


    Features:



    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


    Musicians: 



    • Elvin Jones, drums

    • Jimmy Garrison, bass

    • Joe Farrell, tenor saxophone, soprano saxophone, flute


     


    This title is not eligible for discount.

    1. Reza
    2. Sweet Little Maia
    3. Keiko's Birthday March
    4. Village Greene
    5. Jay-Ree
    6. For Heaven's Sake
    7. Ginger Bread Boy
    Elvin Jones
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Homesick Homesick Quick View

    $20.99
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    Homesick

    Before digging into the steely, handcrafted technoisms of Homesick, you need to
    know a few things about Charles Du , the Bay Area artist behind Matrixxman.
    Perhaps most importantly, he is a dedicated futurist-quick to name Google's
    director of engineering, Ray Kurzweil, as a major personal inspiration, and prone to
    contemplating artificial intelligence and a true post-corporeal reality. He's also a
    voracious information junkie, soaking up government conspiracies and
    contemporary science-fiction like a proper X-Files fanatic. These cultural reference
    points are as integral to the background of Homesick as Detroit, Chicago, and
    Berlin's musical legacies. Across the record's versatile tracklist, Matrixxman uses
    the language of machines and dancefloors like a hungry pulp novelist, weaving
    together his divergent narratives and characters under one sprawling dystopian
    sky.


    If you listened to house and techno in 2014, you've undoubtedly heard the name
    Matrixxman. The guy has been on a prolific tear since debuting his project in 2013,
    having issued no fewer than 12 cold-ass futuristic releases and taken his
    genre-blurring DJ sets around the world in under two years. But his story reaches
    much further into the past: back to being a drum & bass-obsessed teenager in the
    late '90s, back to when Du 's best friend changed his life with a Juan Atkins mix
    CD in 2001, back to producing for hotly tipped MCs like Le1f, Ty Dolla Sign, and YG.
    Matrixxman is already a venerable pro with workmanlike constitution, to say the
    least, and yet his debut album has only just materialized.


    My obsession with the darker sides of humanity's exploits gone awry is secondary
    to the more important matter at heart: evolutionary transcendence, Matrixxman
    explains. And his focus on cybernetic themes shines through the music. Emergent
    AI, interplanetary travel, neuroenhancement drugs, incredible opulence
    juxtaposed with abject poverty, leaving physical form and existing as data-Homesick
    distills the concepts into thick acid lines, brawny 909 patterns, tonal contrasts,
    dynamic aesthetics, and viscous pads steeped in digital ephemera. It begins with
    Necronomicon, a massive black cloud of noxious ambience looming over our
    story, and ends on the astral mysticism of Earth Like Conditions. Yes, there is an
    arc built into Homesick, and the sci-fi epic it illustrates seizes your undivided
    attention.


    Even the tracklist speaks volumes to the record's music and narrative-from the
    enhanced motorik systems of Augmented and Network Failure's cognitive
    dissonance, to the dark hedonism in Opium Den and the drum machine violence
    that drives Switchblade. As Matrixxman says himself, The titles correlate to
    distinct, separate scenes. And those visuals just about come alive on tracks like
    Packard Plant-a whirring, windswept homage to the desolate Detroit
    landmark-or the album's haunted and distant centerpiece, Annika's Theme. Du
    is quick to share Annika's identity: She's an incredibly gifted neuroscientist,
    pursuing cutting-edge research in fields that will have a profound impact on
    humanity. But what exactly she accomplishes and where she goes is unexplained.
    Homesick outlines the cues needed to follow along, careful to leave room for us to
    fill in the details.


    Matrixxman uses his debut album to evoke visions of a not-too-distant-future with
    music made both for the dancefloor and the early morning zone-outs that follow.
    These are the real world applications of Homesick, though Du comes to it all from
    an entirely di erent mindset. We will have the technological capability to fully
    map out a human brain in its entirety within 30 years, he starts. The implications
    of such a possibility are deep and far reaching. We will be crossing a rubicon
    towards a new phase in human consciousness. I am one person that is prepared to
    take that step. Once you emerge on the other side of Homesick, it seems possible
    that Matrixxman already has.

    1. Necronomicon
    2. Augmented
    3. Red Light District
    4. Packard Plant
    5. Dejected
    6. Network Failure
    7. False Pattern Recognition
    8. Opium Den
    9. Annika's Theme
    10. HMU (Hit Me Up) feat. Vin Sol
    11. Switchblade
    12. Earth Like Conditions
    Matrixxman
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Schubert - Symphony 9 (Speakers Corner) Schubert - Symphony 9 (Speakers Corner) Quick View

    $34.99
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    Schubert - Symphony 9 (Speakers Corner)

    This is Schubert's longest symphony, and its music has been described as heavenly. The symphony is typically and specifically Schubertian in its form, occupying a position in the history of music between Beethoven, Bruckner and Mahler - right on the threshold which separates classicism from romanticism.



    It is hard to say if Josef Krips ever succeeded in making a finer recording. The presentation has a direct, unforced spontaneity, confirming that Krips had an intuitive understanding of Schubert's compositions. The orchestra plays with dynamic vivacity without ever sounding aggressive. The interpretation of the two final movements is delightful in its airy exhilaration: swaying in a dance-like rhythm, tripping lightly through virtually every key there is, and in between, in the Scherzo, the gravity of the trio. The Finale, again, is merry in character with triplets rushing past, and the listener revels in every single repetition as the magnificence of this work reveals itself.



    The inspired orchestra does full justice to the music and renders an interpretation in the Viennese tradition at its very best. This recording simply cannot be surpassed in terms of performance or sound quality - it is a must not only for the lover of Schubert's music.





    Musicians:



    • London Symphony Orchestra

    • Josef Krips (conductor)




    Recording: May 1958 at Kingsway Hall in London by Kenneth E. Wilkinson

    Production: Erik Smith




    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. First Movement: Andante
    2. First Movement: Allegro Ma Non Troppo
    3. Second Movement: Andante Conmoto
    4. Third Movement: Scherzo
    5. Fourth Movement: Allegro Vivace
    Josef Krips with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina Simone At Carnegie Hall (Pure Pleasure) Nina Simone At Carnegie Hall (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Nina Simone At Carnegie Hall (Pure Pleasure)

    Pianist and singer Nina Simone defied categorization by blending classical, jazz and popular music into an unconventional and highly personal idiom: over four decades, she galvanized audiences with albums and performances replete with deep passion and keen attention to emotion.



    Fiercely honest, Simone was admired for her eccentricity and individualism. She was known for her spirited personality on and off the stage, which included flirting with audience members and voicing her opinions about social topics of the time.



    The legacy of Simone's music and message can be heard not only in jazz but amongst the many pop artists who cite her influence. Several of Simone's songs have become jazz standards, and her voice is even familiar to audiences who don't know her name through their frequent use in movie soundtracks and commercials.



    Musicians:



    • Nina Simone (piano, vocal)

    • Alvin Schackman, Phil Orlando (guitar)

    • Lisle Ackinson (b)

    • Montego Joe (dr)




    Recording: May 1963 live at Carnegie Hall, New York

    Production: Jack Lewis




    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. Black Swan
    2. Theme From Samson and Delilah
    3. If You Knew
    4. Theme From Sayonara
    5. The Twelth Of Never
    6. Will I Find My Love Today
    7. The Other Woman/Cotton Eyed Joe
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Meal You Can Shake Hands With In The Dark (Pure Pleasure) A Meal You Can Shake Hands With In The Dark (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    A Meal You Can Shake Hands With In The Dark (Pure Pleasure)

    Pete Brown was a Londoner and a veteran of the underground scene. Born in 1940, he first came to prominence as a poet. He was just 14 when his first poem appeared in Evergreen Revue in the US. Then in the early sixties he worked alongside another British poet Mike Horowitz. His direct involvement with rock music came when he was asked to form a songwriting partnership with Jack Bruce to write lyrics for Cream and the partnership proceeded to produce the lyrics for many of their finest songs: Wrapping Paper, I Feel Free, Sunshine Of Your Love and White Room. After the demise of Cream, Brown continued to write with Bruce but also began his own recording career with The Battered Ornaments who included Chris Spedding. After an initial 45, which with its wailing saxes and effective vocals was underrated, the band recorded this album which was a mixture of jazz-rock and blues. Dark Lady, The Old Man and Station Song were among the fine tracks and the latter later got a further airing on the Before Singing Lessons compilation. Station Song and Dark Lady had earlier featured along with Travelling Blues on the ultra-rare promo-only Harvest Sampler in 1969.



    Brown then suffered the humiliation of being thrown out of the band the night before they had a Hyde Park gig with The Rolling Stones. Brown's response was to form a new band, Piblokto!



    This release breaks the long sides down to four sides of vinyl which enhances the sound quality considerably. Also of interest is that it has been mastered in the same studio at Abbey Road as was the initial release and from the same original analogue tape masters.




    Musicians:



    • Pete Brown (vocal, trumpet)

    • Nisar A. Khan (tenor saxophone)

    • Dick Heckstall-Smith (tenor saxophone)

    • Chris Spedding (guitar)

    • Charlie Hart (organ)

    • Butch Porter (bass)

    • Rob Tait (drums)

    • Pete Bailey (conga)




    Production: Andrew King and Dick Heckstall-Smith



    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.



    LP1
    1. Dark Lady
    2. The Old Man
    3. Station Song
    4. The Politician


    LP2
    1. Rainy Taxi Girl
    2. Morning Call
    3. Sandcastle
    4. Travelling Blues (Or The New Used Jew's Dues Blues)

    Pete Brown
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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