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  • On The Corner (On Sale) On The Corner (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    On The Corner (On Sale)

    Miles Davis On the Corner on Numbered Limited Edition 180g LP from Mobile Fidelity


    Get Down and Make It Funky: Miles Davis' Groundbreaking On the Corner Focuses on the Groove and Bottom End


    Mastered From the Original Master Tapes: Mobile Fidelity 180g LP Reveals Multiple Levels of Rhythm, Visceral Bass, and Pioneering Production Techniques In Transparent Fashion


    Exotic, Bold, Streetwise: Spirited 1972 Album Embraces Davis' Jungle Sound With Percussive Foundations, Trance Loops, and Transformational Arrangements


    Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches - the likes of which fill Davis' boldest and most controversial - undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid audiophile-grade sonics. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can even discern the multiple levels of rhythm Davis employed on complex tracks such as Black Satin, as On the Corner stands as his first effort to use overdubbing and multiple tape machines.


    New degrees of spaciousness and airiness - equally important to the musique concrete arrangements - give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's analog version captures Teo Macero's innovative production - and the trumpeter's cutting-edge aural collages - in definitive fashion.


    Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure - he also relies on an all-star cast of sidemen for concentrated soloing and additional support.


    With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party. Exotic, intrepid, and filled with Davis' jungle sound, On the Corner remains daringly hip more than four decades later.


    This title is not eligible for further discount.

    1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles
    2. Black Satin
    3. One and One
    4. Helen Butte/Mr. Freedom X
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On The Corner On The Corner Quick View

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    On The Corner

    Scorned by critics at the time of its release, Miles Davis' 1972 album 'On The Corner' is now seen as a forerunner of Post Punk, Hip Hop, Drum and Bass and Electronic music, thanks to its revolutionary recording techniques.


    Miles wanted to reconnect with a younger audience, who had forsaken him for Rock and funk, and the experimental 'On The Corner' was his answer. Leaning more heavily on a drum and bass groundwork, the overdubs consisted of free improvisations held in the studio.


    'On The Corner' isn't one of Miles easiest records to listen to, but it can yield the most fruits. Now released with completely re-mastered audio.

    1. On The Corner
    2. New York Girl
    3. Thinkin' One Thing And Doin' Another
    4. Vote For Miles
    5. Black Satin
    6. One And One
    7. Helen Butte
    8. Mr. Freedom X
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On The Corner (180 Gram) On The Corner (180 Gram) Quick View

    $19.99
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    On The Corner (180 Gram)

    Scorned by critics at the time of its release, Miles Davis' 1972 album 'On The Corner' is now seen as a forerunner of Post Punk, Hip Hop, Drum and Bass and Electronic music, thanks to its revolutionary recording techniques.


    Miles wanted to reconnect with a younger audience, who had forsaken him for Rock and funk, and the experimental 'On The Corner' was his answer. Leaning more heavily on a drum and bass groundwork, the overdubs consisted of free improvisations held in the studio.

    1. On The Corner
    2. New York Girl
    3. Thinkin' One Thing And Doin' Another
    4. Vote For Miles
    5. Black Satin
    6. One And One
    7. Helen Butte
    8. Mr. Freedom X
    Miles Davis
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On The Corner On The Corner Quick View

    $19.99
    Buy Now
    x

    On The Corner

    Scorned by critics at the time of its release, Miles Davis' 1972 album 'On The Corner' is now seen as a forerunner of Post Punk, Hip Hop, Drum and Bass and Electronic music, thanks to its revolutionary recording techniques.


    Miles wanted to reconnect with a younger audience, who had forsaken him for Rock and funk, and the experimental 'On The Corner' was his answer. Leaning more heavily on a drum and bass groundwork, the overdubs consisted of free improvisations held in the studio.

    1. On The Corner
    2. New York Girl
    3. Thinkin' One Thing And Doin' Another
    4. Vote For Miles
    5. Black Satin
    6. One And One
    7. Helen Butte
    8. Mr. Freedom X
    Miles Davis
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • DeFalla:  The Three Cornered Hat (Discontinued) (On Sale) DeFalla: The Three Cornered Hat (Discontinued) (On Sale) On Sale Quick View

    $34.99 $27.64 Save $7.35 (21%)

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    DeFalla: The Three Cornered Hat (Discontinued) (On Sale)

    The Goosen's / London Symphony recordings from 1959 feature Joseph Fuchs as the soloist on these Bert Whyte recordings at Walthamstow Assembly Hall in London - the same hall used extensively by the Decca and Kenneth Wilkinson. The performance is electrifying and wonderfully complemented by the 35mm sound which has a textural richness that is more realistic than any other tape format. The LP was cut DIRECTLY FROM THE 35mm MAGNETIC FILM using a vintage Westrex 1551 tape machine, with specially built playback electronics that are vastly superior to any others used on these machines to playback the original 35mm tapes. The Len Horowitz / History of Recorded Sound specially modified 1551, fitted with brand new playback heads matched to the revolutionary playback electronics was stationed at Bernie Grundman Mastering in Hollywood. With Len Horowitz running the playback machine and Bernie Grundman mastering from the three track 35mm tapes, Classic Records has been able to cut the legendary sound and performances DIRECTLY FROM THE 35mm MAGNETIC FILM through Classic's ALL TUBE tape playback system and cutting system at Bernie Grundman Mastering in Hollywood. The LP's are pressed on Classic's 200g Super Vinyl Profile making it
    possible to get ever nuance out of the non-distorted grooves that make SVP sound superior to all other records on the market today. Authentic tip on construction jackets with all original artwork and labels add to this must have deluxe LP edition! FANTASTIC SHOWPIECES!
    Enrique Jorda conducting The London Symphony Orchestra
    $34.99 $27.64 Save $7.35 (21%)
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Farmer's Corner Farmer's Corner Quick View

    $24.99
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    Farmer's Corner

    Following the critically acclaimed Blood Oaths of the New Blues, James Jackson Toth a.k.a Wooden Wand decided to try something different: instead of spending a week in a studio with the same people, the same engineer, the same equipment and the same state of mind, he would record in fits and starts, whenever - and wherever - he felt like it. Over six sessions in four studios spanning three states, he began amassing tracks. Toth then chose his favourites for Farmer's Corner, which is, remarkably, the very first self-produced Wooden Wand album. Aided on the majority of the tracks by bassist Darin Gray (On Fillmore, Jim O'Rourke, Grand Ulena ), and guitarists William Tyler (Lambchop, Silver Jews, Yo La Tengo) and Doc Feldman. The result reflects Toth's omnivorous musical and narrative obsessions. The arrangements - think Little Feat covering Harvest Moon - only serve to highlight his capabilities as both a songwriter and storyteller. The collected songs form an easy entry into the ever-growing Toth output, where outlaws on the run, epic landscapes, endless travels, agitated insomniacs and ditch-digging memory-evaders lurk behind every turn.
    1. Alpha Dawn
    2. Uneasy Peace
    3. When the Trail Goes Cold
    4. Adie
    5. Dambuilding
    6. Sinking Feelings
    7. Home Horizon
    8. Port of Call
    9. Gone to Stay
    Wooden Wand
    $24.99
    Vinyl LP - Sealed Buy Now
  • Brilliant Corners Brilliant Corners Quick View

    $27.99
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    Brilliant Corners

    Two superb piano trio albums of covers had set the stage for Monk the composer to re-emerge with horns, and the pianist responded with BRILLIANT CORNERS, one of his greatest recordings, featuring three classic new tunes and two formidable studio bands. The Sonny Rollins featured on BRILLIANT CORNERS is a far more imposing presence than the young acolyte of previous Monk sessions--just witness the title tune. With its multiple themes, quirky intervallic leaps, idiomatic rhythmic changes and tricky transitions in tempo, it is one of Monk's masterpieces--a miniature symphony. So daunting were its technical challenges, that the final ending was edited on from another take. Rollins begins his solo with swaggering composure, boldly paraphrasing Monk's vinegary intervals and trademark trills, before navigating the swift rapids of the double-time chorus with deft syncopations. Monk plies dissonance upon dissonance in his first chorus, playing rhythmic tag with Max Roach on the out chorus. Ernie Henry's slip-sliding bluesiness is followed by a brilliant rhythmic edifice from Roach, who maintains melodic coherence at a drowsy tempo, then explodes into the final chorus.Elsewhere, Ba-Lue Bolivar Ba-Lues-Are is a soulful, easygoing blues, and Monk's solo is a compendium of pithy rhythmic devices, bent notes and calculated melodic abstractions, played with enormous relaxation and swing. He concludes with heckling big-band figures that form the basis for Rollins' expressive rhythmic testimonies. Monk employs the bell-like timbre of a celeste to stunning effect on Pannonica, one of his loveliest melodies and improvisations. And in closing, Bemsha Swing is a hard-swinging, conversational performance, with fine contributions from trumpeter Clark Terry, bassist Paul Chambers and Roach on drums and timpani.
    1. Brilliant Corners
    2. Ba-Lue Bolivar Ba-Lues-Are
    3. Pannonica
    4. I Surrender Dear
    5. Bemsha Swing
    6. Pannonica (Thelonious Monk)(Alt. Take)*


    *Bonus Track

    Thelonious Monk
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brilliant Corners Brilliant Corners Quick View

    $21.99
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    Brilliant Corners

    Few composers or improvisers can match the originality of pianist Thelonious Monk. Quirky yet rigorously logical, Monk's playful but always purposeful choice of skewed melodies and interrupted rhythm patterns gave the bebop movement, and jazz in total, a new sound that was totally modern. Although he created a surprisingly limited body of compositions, his impact on the vocabulary and canon of jazz is second to none, including such prolific giants as Duke Ellington. Brilliant Corners is a triumph of both performance and conception: the two small-group sessions, anchored by Monk, drummer Max Roach, and the bass work of either Oscar Pettiford or Paul Chambers, feature superb front-line performances by saxophonists Sonny Rollins and the tragically under-recorded Ernie Henry, as well as trumpeter Clark Terry. The title track, which centers the collection, is one of Monk's most unconventional pieces, skirting whole-tone, chromatic and Lydian scales; a version of Pannonica finds Monk doubling on celeste, while the band stretches out on Bemsha Swing and the blues Ba-lue Bolivar Ba-lues-are. - Fred Goodman
    1. Brilliant Corners
    2. Ba-Lue Bolivar Ba-Lues-Are
    3. Pannonica
    4. I Surrender, Dear
    5. Bemsha Swing
    Thelonious Monk
    $21.99
    Vinyl LP - Sealed Buy Now
  • On Stage On Stage Quick View

    $42.99
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    On Stage

    The Kenny Loggins - Jim Messina Friday Music 180 Gram Audiophile Series Begins!

    First Time 180 Gram Translucent Gold Audiophile Vinyl Release

    Presented In Original Gatefold LP Cover Art With 12 X 24 Poster

    Mastered Impeccably By Joe Reagoso

    Pressed At R.T.I.

    New Liner Notes From Kenny Loggins And Jim Messina

    Their Top Charting Live Album From 1973 Featuring Smash Hits: Your Mama Don't Dance, House At Pooh Corner, Angry Eyes, Danny's Song & Vahevala

    On Stage is the fourth album by singer/songwriter duo Loggins and Messina, released in 1974. As their first live album, it was released as a double album and featured a side-long version of their hit song Vahevala.

    LP 1
    1. House At Pooh Corner
    2. Danny's Song
    3. You Could Break My Heart
    4. Lady Of My Heart
    5. Long Tail Cat
    6. Listen To A Country Song
    7. Holiday Hotel
    8. Just Before The News
    9. Angry Eyes
    10. Golden Ribbons
    11. Another Road


    LP 2
    1. Vahevala
    2. Back To Georgia
    3. Trilogy:
    - Lovin' Me
    - To Make A Woman Feel Wanted

    - Peace Of Mind
    4. Your Mama Don't Dance
    5. Nobody But You

    Loggins and Messina
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Four Cornered Night (Pre-Order) Four Cornered Night (Pre-Order) Quick View

    $24.99
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    Four Cornered Night (Pre-Order)

    Pressed On 180 Gram Vinyl

    Consisting of ex-Jawbreaker frontman Blake Schwarzenbach, ex-Texas Is the Reason drummer Chris Daly, and ex-Handsome vocalist/guitarist Jeremy Chatelain, Jets to Brazil could be considered an amalgam of their forefathers with a slightly darker and more mature musical perspective.

    With the 1998 release of their first LP, Orange Rhyming Dictionary, Jets to Brazil took the expectations of their peers and turned them on their heads, surprising most with their breed of music that is fresh and excitingly powerful. As the band members continue to move away from their namesakes and become more comfortable with their expanding sound, the world could see something quite intriguing evolve. Jets to Brazil followed up with Four Cornered Night in August 2000. Two years later, the band returned with their darkest, most inspirational material to date; Perfecting Loneliness was released in October 2002 and reflected mega-tight musicianship from the band. - All Music Guide

    LP 1
    1. You're Having The Time Of My Life
    2. One Summer Last Fall
    3. Air Traffic Control
    4. Pale New Dawn
    5. In The Summer's When You Really Know
    6. Empty Picture Frame


    LP 2
    1. Little Light
    2. Your X-Rays Have Just Come Back From The Lab And We Think We Know What Your Problem Is
    3. Milk And Apples
    4. Mid-Day Anonymous
    5. *******
    6. Orange Rhyming Dictionary
    7. All Things Good And Nice

    Jets To Brazil
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Solitude On Guitar (Speakers Corner) (Awaiting Repress) Solitude On Guitar (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
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    Solitude On Guitar (Speakers Corner) (Awaiting Repress)

    The acoustic guitar shares the same destiny as so many music companies: almost all of them dabble with the six strings at some point, many attempt to play entertaining harmonic roulette with it, but only a few really make the grade. Baden Powell belongs to the small circle of guitarists whose early virtuosity is perfectly combined with a keen sense of harmony. Powell demonstrates this special talent in his slow numbers in particular, in which broken chords are developed like a bud opening out to a blossom. He guides the listener cautiously through his melodies in that he makes a tiny pause before a harmonic change. Full timbre and lightness are not a question of what is written down on the manuscript but result from a powerful performance, as is shown by the totally un-Brazilian, gentle major-minor key version of the children's song Kommt Ein Vogel Geflogen.



    Naturally, the wonderfully crafted, animated and bouncy bossas flow along easily. As befits the album's title, the guitar is in the limelight here, driven on, held back, and then propelled forward by the rhythm group. The ballad Se Todos Fossem Iguais A Voce is strongly recommended to whet your appetite for the bossa Na Gafieira Do Vidigal.



    Musicians:



    • Baden Powell (arranger, guitar, vocal)

    • Joaquim Paes Henriques (drums)

    • Eberhard Weber (bass)




    Recording: December 1971 by Torsten Wintermeir at Studio Walldorf, Germany

    Production: Joachim Ernst Berendt





    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.



    Baden Powell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • What's Going On (Pure Pleasure) What's Going On (Pure Pleasure) Quick View

    $34.99
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    What's Going On (Pure Pleasure)

    In 2006, exactly a year after Katrina, in the aftermath of a vicious natural disaster that displayed the incompetence of the Crescent City's infrastructure, the Army Corps of Engineers, and the Federal Government, they addressed the tragedy in the only way they know how, by re-creating the same kind of bewilderment and anger that Marvin Gaye felt and witnessed in 1971 by issuing their own take on Gaye's classic album What's Goin' On. This is a question that is proved all the more poignant given the efforts of an entire region trying not only to rebuild homes and businesses, but trying to preserve a culture as this recording was released. The Dirty Dozen recruit a number of vocalists to help out on the hinge tunes. The samples of New Orleans Mayor Ray Nagin's voice in the aftermath of the hurricane usher in the brass slip-sliding along the dark funky overtones of Gaye's signature tune. Guitarists Doug Bossi and Ben Keeler dig into the groove, as does drummer Terence Higgins and keyboardist/producer Anthony Marinelli, as Chuck D raps the refrain in the context of modern history, the disaster, and the ineptitude and even hostility of a government who wages war and ignores domestic problems. It's a news report from the front lines as the horns cut the melody, the harmony, and the deep, steamy funk groove. What's Happening Brother, closes the funk from the inside, turning the groove back in on itself not only playing the rage, but echoing it in the grain of Bettye LaVette's vocal, which dares to spit out the truth with questions and observations in the pain of a first person narrative. The airy arrangement of Flyin' High (In the Friendly Sky) is nearly mournful, nostalgic for a more innocent time, but is all the more poignant for that longing. The deep tribal drums Mardi Gras Indian-style, with the skronky saxophones, tight guitar groove, and screaming narrative in Save The Children give way to the smoothness of Gaye's melody. It's a bewildered tune, sad with undercurrents of rage. Ivan Neville's arrangement for God Is Love is a stunner, full of deeply imaginative hues and colors and gospel grooves. G. Love helps out on Mercy Mercy Me (The Ecology), where the musicality in Gaye's vocal disappears but is supercharged in the horn charts, and Love's vocal sounds confused, displaced, out of time against the instruments. Right On is both militant and celebratory. It's got the funk, but it's also got gospel, rock, and deep soul blaring from the trombones and the repetitive riff in the rest of the brass section. Guru from Gang Starr cuts out from the moody, spectral introduction of Inner City Blues, when Higgins drums play counter to Kirk Joseph's deep blues sousaphone on the bassline. Frustration is everywhere and the horns point fingers to this truth which Guru lays out: that today is the same and perhaps even more so than it was in Gaye's time. The desolation in Gaye's lyric isn't lost but it is fleshed out over the chart so that they are merely the ghosts from the past preaching and exhorting in this new generation. Never has party music sounded so poignant, so utterly damning and hopeful and unbowed. This is the next step in the Homecoming that was a funeral for a friend; this is the aftermath, the sound of angry resurrection coming out with the sun, one where the revolution may be televised but bursts out of the edges in the screen and makes itself known by the medium understood by the people who have to live its realization. With killer grooves that take no prisoners, What's Goin' On is the most fitting tribute yet to Gaye, because not only does it prove the timelessness of the music itself, it echoes that what is indeed goin' on (Gaye's dedication to Detroit as its decline became a reality with no onlookers interested in doing anything) is even more true today than it was in 1971.



    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. What's Going On feat. Chuck D
    2. What's Happening Brother feat. Bettye Lavette
    3. Flying High (In the Friendly Skies)
    4. Save the Children
    5. God is Love feat. Ivan Neville
    6. Mercy Mercy Me (The Ecology)
    7. Right On
    8. Wholy Holy
    9. Inner City Blues (Make Me Wanna Holler)
    The Dirty Dozen Brass Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Four Cornered Night (Clear Vinyl) (Pre-Order) Four Cornered Night (Clear Vinyl) (Pre-Order) Quick View

    $24.99
    Buy Now
    x

    Four Cornered Night (Clear Vinyl) (Pre-Order)

    Pressed On Clear Colored Vinyl

    Consisting of ex-Jawbreaker frontman Blake Schwarzenbach, ex-Texas Is the Reason drummer Chris Daly, and ex-Handsome vocalist/guitarist Jeremy Chatelain, Jets to Brazil could be considered an amalgam of their forefathers with a slightly darker and more mature musical perspective.

    With the 1998 release of their first LP, Orange Rhyming Dictionary, Jets to Brazil took the expectations of their peers and turned them on their heads, surprising most with their breed of music that is fresh and excitingly powerful. As the band members continue to move away from their namesakes and become more comfortable with their expanding sound, the world could see something quite intriguing evolve. Jets to Brazil followed up with Four Cornered Night in August 2000. Two years later, the band returned with their darkest, most inspirational material to date; Perfecting Loneliness was released in October 2002 and reflected mega-tight musicianship from the band. - All Music Guide

    LP 1
    1. You're Having The Time Of My Life
    2. One Summer Last Fall
    3. Air Traffic Control
    4. Pale New Dawn
    5. In The Summer's When You Really Know
    6. Empty Picture Frame


    LP 2
    1. Little Light
    2. Your X-Rays Have Just Come Back From The Lab And We Think We Know What Your Problem Is
    3. Milk And Apples
    4. Mid-Day Anonymous
    5. *******
    6. Orange Rhyming Dictionary
    7. All Things Good And Nice

    Jets To Brazil
    $24.99
    Colored Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Light: On The South Side (Awaiting Repress) Light: On The South Side (Awaiting Repress) Quick View

    $60.99
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    Light: On The South Side (Awaiting Repress)

    2 LPs and 132-page book!


    Between 1975-1977, Chicago's South Side night clubs were a little lighter. Photographer Michael Abramson hit Perv's House, Pepper's Hideout, The High Chaparral, The Patio Lounge, and The Showcase Lounge, not to capture the artists on stage, instead popping off a half dozen rolls every night on the crowd. Light: On The South Side gathers for the first time over 100 of these images, as Numero Group shines its own strobe on yet another dark corner of the past. The 132-page hard back book features photos, an ephemera section, and an essay by Nick Hornby.


    Housed in a gorgeous slipcase with the 12x12 book is Pepper's Jukebox, a seventeen track compilation of the kind of funky Chicago blues heard from the stage and the Wurlitzer. The deluxe 2LP set is packaged in a sharp gatefold jacket with two inner sleeves crammed to the gills with label scans and stories. All in all, it's the classiest Numero record ever made, spotted easily from across the room with its near 2 spine.


    Light: On the South Side is undoubtedly Numeros most extravagant and audaciously packaged seta dazzling collection that should receive an automatic Grammy nomination for Best Recording Package. Housed in a slipcase box, the compilations 2-LP gatefold vinyl and 132-page hardbound 12x12 book offer the ultimate immersion into Chicagos African-American South Side nightclubs and the sounds, sights, personalities, and smells that filled them on a nightly basis. The gorgeous collection is a prerequisite for any fan of blues, R&B, and soul (and by natural extension, rock and pop)and anyone curious to glimpse a bygone era of life-after-dark celebrations staged by urbanites that lived for evenings on the dance floor, in front of the Wurlitzer, and in leather booths surrounded by the opposite sex, booze, and cigarettes. -Bob Gendron, TONE Audio, Issue 25

    1. Arlean Brown - I'm A Streaker Baby
    2. Bobby Rush - Bowlegged Woman
    3. Ricky Allen - No Better Time Than Now
    4. Little Mac Simmons - The Same One
    5. Lady Margo - This Is My Prayer
    6. Andrew Brown - You Made Me Suffer
    7. Artie White - Gimmie Some Of Yours
    8. Lucille Span - Women's Lib
    9. Hugh Hawkins - Bring It Down Front
    10. Slim Willis Band - I Sayed That
    11. Little Ed - It's A Dream
    12. Syl Johnson - Is It Because I'm Black
    13. Walter 'Butterball' Davis - Baby Watcha' Doing
    14. Willie Williams - Detroit Blues
    15. Little Mack - Goose Walk
    16. Detroit Jr. - Young Blood
    17. Willie Davis - I Learned My Lesson
    18. James Kind - California Lady
    Various Artists
    $60.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Breakfast On The Morning Tram (Pure Pleasure) Breakfast On The Morning Tram (Pure Pleasure) Quick View

    $49.99
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    Breakfast On The Morning Tram (Pure Pleasure)

    Stacey Kent is what men used to call a classy broad. Her elegant fashion sense and understated vocal style make her sound like a woman from another time, an unflappable sophisticate with a warm, slightly world-weary persona. She was born in the United Sates but after a trip to France, she decided to become a jazz singer. In the early '90s she landed in Oxford where she met her husband, musical director/sax player Jim Tomlinson. Tomlinson also produces Kent's albums, and this time out, he composed several charming tunes that sound like potential standards, plus collaborations with lyricist Kazuo Ishiguro, author of Remains Of The Day. Original tunes like The Ice Hotel and I Wish I Could Go Traveling Again are full of wry humor, and Kent delivers them with her usual effortless grace.



    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (tenor saxophone, alto saxophone, soprano saxophone, flute)

    • John Parricelli (guitar)

    • Graham Harvey (piano, electric piano)

    • Dave Chamberlain (bass)

    • Matt Skelton (drums, percussion)




    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. The Ice Hotel
    2. Landslide
    3. Ces Petits Riens
    4. I Wish I Could Go Traveling Again
    5. So Many Stars
    6. Samba Saravah
    7. Breakfast On the Morning Tram
    8. Never Let Me Go
    9. So Romantic
    10. Hard Hearted Hannah
    11. La Saison des Pluies
    12. What A Wonderful World
    Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Chase Is On (Pure Pleasure) The Chase Is On (Pure Pleasure) Quick View

    $34.99
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    The Chase Is On (Pure Pleasure)

    The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie 'Lockjaw' Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. They also seem to do a hard bop jam, then a ballad, and back to hard swinging.


    The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set This Can't Be Love apart from the original and The Things I Love displays the two tenors at their conversational best, while the lone original, Knittin', is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of When The Blues Come On and the good-old basic vintage swinger You're Cheating Yourself. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy -- and now legendary -- session.


    Musicians:



    • Charlie Rouse, Paul Quinichette (tenor saxophone)

    • Wynton Kelly, Hank Jones (piano)

    • Freddie Green (guitar)

    • Wendell Marshall (bass)

    • Ed Thigpen (drums)



    Recording :August and September 1957 in New York




    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. The Chase Is On
    2. When The Blues Come On
    3. This Can't Be Love
    4. Last Time For Love
    5. You're Cheating Yourself
    6. Knittin'
    7. Tender Trap
    8. The Things I Love
    Paul Quinichette & Charlie Rouse
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Three-Cornered Hat (Speakers Corner) The Three-Cornered Hat (Speakers Corner) Quick View

    $34.99
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    x

    The Three-Cornered Hat (Speakers Corner)

    The very fact that Manuel de Falla composed his ballet El sombrero de tres picos (The Three-Cornered Hat) for the ambitious impresario Serge Diaghilev and his epoch-making Ballets Russes indicates the historical importance of this work. Although the Impressionistic character of the musical language reflects his studies with Debussy, the composer never once renounces his native origins. Overflowing with the thrilling rhythms and electrifying melodies of Spanish folkmusic, this work achieved worldwide popularity virtually overnight.



    As so often before in this genre, the Swiss conductor Ernest Ansermet proves once again in this DECCA recording that he is a power to be reckoned with. The Orchestre de la Suisse Romande executes the slightest nuance, the most exquisite of figures and gentlest lyrical tone with meticulous precision. Powerful rolls of thunder, the click of castanets, lively rhythms and rich sonority conjure up a picture of fiery Spanish temperament so tangibly before our eyes that any comment on the recording quality appears almost superfluous. In a nutshell: this record is, quite simply, incredibly good.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: February 1960 at Victoria Hall, Geneva by Roy Wallace

    Production: James Walker





    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.



    Ernest Ansermet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sin & Soul (Speakers Corner) (On Sale) Sin & Soul (Speakers Corner) (On Sale) On Sale Quick View

    $34.99 $27.64 Save $7.35 (21%)

    Buy Now
    x

    Sin & Soul (Speakers Corner) (On Sale)

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



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



    Musicians:



    • Oscar Brown Jr. (vocal)

    • Phil Bodner (saxophone)

    • Billy Butterfield (trumpet)

    • Floyd Morris (piano)

    • Don Arnone (guitar)

    • George Duvivier (bass)

    • Osie Johnson (drums)




    Recording: June - October 1960




    About Speakers Corner



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



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



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



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



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



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


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

    $34.99
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    x

    Burgers (Speakers Corner)

    The exploration of psychedelic depths did not appear to suffice the founders of Jefferson Airplane - Jorma Kaukonen and Jack Casady - when searching for their musical salvation. So why not amalgamate their hippy-like simple lifestyle and folksy music with the formation of a second band called Hot Tuna, emotional yet not so synthetically hotted-up? Even in the very first number, True Religion, whose airy, bubbling folksy finger-picking soars up into powerful waves of rock, the message of this first studio album comes over loud and clear. Growling bass melodies and the representation of a life on the road (Keep On Truckin') conjure up a down-to-earth country feeling, with an off-key fiddle tune (Let Us Get Together Right Down Here) accentuating the rough yet cordial get-together. The purely instrumental Water Song is a stroke of genius - this humming, buzzing guitar mix doesn't only demonstrate the players' instrumental dexterity but also their keen sense of melody and ear for sound colouring. No matter whether gruff Hillbilly, cool blues rocker, or square and nostalgic former hippy - they'll all love this album. Just think: for whom else does Hot Tuna still go on tour ...?

    Musicians:



    • Jorma Kaukonen (guitar, vocal)

    • Jack Casady (bass, vocal)

    • Papa John Creach (violin, vocal)

    • Sammy Piazza (drums, percussion, vocal)

    • Nikki Buck (organ, piano)

    • Richmond Talbott (vocal, guitar)

    • David Crosby (vocal)




    Recording: 1972 by 'The Unknown Engineer' at Wally Heider Studios, San Francisco

    Production: Fisohobay Production



    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. True Religion
    2. Highway Song
    3. 99 Year blues
    4. Sea Child
    5. Keep on Truckin'
    6. Water Song
    7. Ode for Billy Dean
    8. Let Us Get Together Right Down Here
    9. Sunny Day Strut
    Hot Tuna
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • J.J. Inc. (Speakers Corner) J.J. Inc. (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    J.J. Inc. (Speakers Corner)

    He was a shining example for many European modern-jazz trombonists: J. J. Johnson, the man from Indianapolis, and the swinging half of the pair Jay and Kai. (Kai Winding was the white guy with the "cool" sound.) On this Columbia LP, recorded in August 1960, we can experience J. J. in three ways - as a soloist, composer, and arranger. To this is added a superbly well-rehearsed combo consisting of Freddie Hubbard, Clifford Jordan and one of the very best rhythm groups of late hard bop: Cedar Walton, Arthur Harper, and Albert Heath on the drums.



    Thanks to having performed the works over the previous eight months in concerts before the recording, all the works sound wonderfully homogeneous, and the improvisations never once become stereotyped. The theme tune of In Walked Horace well illustrates Jay Jay's musical background, which lies somewhere between Thelonious Monk, Bud Powell and Horace Silver.
    On the reverse side of the LP cover, J. J. Johnson describes his feelings during the recording session: »Wow! What a pleasure!« And the listener will certainly go along with that for the whole length of the LP!



    Musicians:



    • J.J. Johnson (trombone)

    • Clifford Jordan (tenor saxophone)

    • Freddy Hubbard (trumpet)

    • Cedar Walton (piano)

    • Arthur Harper (bass)

    • Albert Heath (drums)




    Recording: August 1960 in New York

    Production: Teo Macero




    About Speakers Corner



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



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



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



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



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



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

    1. Mohawk
    2. Minor Mist
    3. In Walked Horace
    4. Fatback
    5. Aquarius
    6. Shutter-Bug
    The J.J. Johnson Sextet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Clown (Speakers Corner) The Clown (Speakers Corner) Quick View

    $34.99
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    x

    The Clown (Speakers Corner)

    Who hasn't got an ancient, worn-out copy of The Clown on his shelf, with a tatty cover and torn inner sleeve? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. The Clown was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.


    In the present new release, The Clown can be enjoyed to the full from the very first note of Haitian Fight Song up until the words William Morris Sends Regrets in the title work.

    Musicians:



    • Charles Mingus (bass)
    • Curtis Porter (alto saxophone, tenor saxophone)
    • Jimmy Knepper (trombone)
    • Wade Legge (piano)
    • Dannie Richmond (Drums)
    • Jean Shepherd (Vocals)



    Recording: February and March 1957 in New York City by Tom Dowd and Larry Hiller in mono

    Production: Nesuhi ErtegÜn




    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. Haitian Flight Song
    2. Blue Cee
    3. Reincarnation of a Lovebird
    4. The Clown
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Second Winter (Speakers Corner) Second Winter (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Second Winter (Speakers Corner)

    Johnny Winter released the album Second Winter, a passionate and fervent collection of songs, just a few months after his record debut. This legendary band's steadfast commitment to blues is apparent in every single note they play, although tender emotions are all the more discernible in hard, rock'n'roll-like outbursts than ever before. Winter blends his crystal-clear, unmannered guitar playing with the gravelly charm of his raspy voice to produce a compact sound in which both his own compositions and old favourites (Johnny B. Goode) are revived. It is quite clear that the white shooting star is on a par with the giants of blues as far as vocals and guitar playing are concerned.
    It is often speculated over as to whether Johnny's new ideas were simply too numerous for a single LP, or whether the producers thought they were not quite sufficient for a double LP. Whatever the answer, the original was released as a three-sided album, with a blank fourth side! In order to fill the album with fiery rock'n'roll, a new production with the 45 rpm versions of Miss Ann, Hustled Down In Texas, and Highway 61 Revisited is now included on the fourth side. It goes without saying that alongside the present double LP Winter's audiophile first release (Columbia CS 9826) is available from Speakers Corner, too.



    Musicians:



    • Johnny Winter (guitar, mandolin, vocal)

    • Edgar Winter (piano, alto saxophone, organ, harpsichord)

    • Tommy Shannon, Dennis Collins (bass)

    • 'Uncle' John Turner (percussion)



    Recording: 1969 by Ed Kollins

    Production: Johnny and Edgar Winter




    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. Memory Pain
    2. I'm Not Sure
    3. The Good Love
    4. Slippin' and Slidin'
    5. Miss Ann
    6. Johnny B. Goode
    7. Highway 61 Revisited
    8. I Love Everybody
    9. Hustled Down in Texas
    10. I Hate Everybody
    11. Fast Life Rider
    Johnny Winter
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Spartacus (Speakers Corner) Spartacus (Speakers Corner) Quick View

    $34.99
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    Spartacus (Speakers Corner)

    Aram Khachaturian, the most well-known of all Armenian composers, believed that art should be closely bound to the people and indeed it was a pre-requisite for his own creative inspiration. Largely uninfluenced by the manifold trends of the 20th century, Khachaturian's works reflect the folk heritage of his native country. In the two richly orchestrated ballets, which he himself later arranged into suites, we find the musical spirit and customs of an ancient culture. In particular the unrestrained exuberance of the Sabre Dance from Gayaneh has contributed to the immense popularity of this suite. The ballet Spartacus could be described as a monumental historical drama and made Khachaturian one of the Soviet Union's most highly honoured composers.



    That a slave uprising can not only be expressed in music but can also take place on an international dimension is admirably demonstrated by the maestro personally in this recording where Khachaturian takes on the role of leader of the Vienna Philharmonic Orchestra.



    Musicians:



    • Vienna Philharmonic Orchestra

    • Aram Khachaturian (conductor)




    Recording: March 1967 at Sofiensaal, Vienna by James Brown

    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.



    Aram Khachaturian
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Horses (Speakers Corner) Horses (Speakers Corner) Quick View

    $34.99
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    Horses (Speakers Corner)

    Ranked 44/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Patti Smith, the first published poet to move her poetry completely into rock 'n' roll and to entice experimental rock fans into the forbidden cinema of her hallucinatory fantasy (New York Times), began her musical career unconventionally. It took off at a poetry reading where she was backed by Lenny Kaye on guitar; later star photographer Robert Mapplethorpe financed her punk-rock cult single Hey Joe. In 1975, encouraged by her success, Patti Smith released Horses, an album in which she fused rock riffs and spoken rhythms to create a punk-trash sound. The rock scene was electrified, raging about the best garage sound of the 70s (Creem Magazine) and conjectured that Smith had drawn up material from Rimbaud, Burroughs, Dylan and Velvet Underground into a hot needle and injected it under the skin (Sounds Magazine). Later productions were dismissed as sentimental and self-loving outpourings, since the rock-poet didn't continue in the same vein as Horses, with its metallic harshness and raw language. That's why this recording remains an impressive unique production by a visionary rock 'n' roll singer.



    Musicians:



    • Patti Smith (guitar, vocals)

    • Richard Sohl (piano)

    • Lenny Kaye (bass, guitar, vocal)

    • Tom Verlaine, Allen Lanier (guitar)

    • Ivan Kral (bass, guitar, keyboards, vocals)

    • Jay Dee Daugherty (drums)




    Recording: January 1975 at Electric Ladyland Studios, New York City, by Bernie Kirsh

    Production: John Cale




    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. Gloria
    2. Redondo Beach
    3. Birdland
    4. Free Money
    5. Kimberly
    6. Break it Up
    7. Land
    8. Elegie
    Patti Smith
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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