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  • Revolution Radio Revolution Radio Quick View

    $20.99
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    Revolution Radio

    Produced by Green Day and recorded in Oakland, Revolution Radio is a potent 12-track blitz of angst-ridden anthems that unites Green Day's fully formed stylistic approach with lyrical themes that address the complexities and uncertainties of modern day existence. Musically, the album is raw, visceral, and fearless -- solidifying the band's reign as one of the leading voices in rock music. The first single, Bang Bang, released today and inspired by recent events, marks a welcome return from a band with more to say than ever.


    Of course the world has lost its collective mind... and me, Mike and TrÉ are lost souls too, said Green Day frontman Billie Joe Armstrong. Revolution Radio is a movement for lost souls to come together... dance together... sing together... and most of all, find each other. That's what the spirit of Green Day has been about since day one.

    1. Somewhere Now
    2. Bang Bang
    3. Revolution Radio
    4. Say Goodbye
    5. Outlaws
    6. Bouncing Off The Wall
    7. Still Breathing
    8. Youngblood
    9. Too Dumb To Die
    10. Troubled Times
    11. Forever Now
    12. Ordinary World
    Green Day
    $20.99
    Vinyl LP - Sealed Buy Now
  • Revolution Radio (Picture Disc) (Pre-Order) Revolution Radio (Picture Disc) (Pre-Order) Quick View

    $24.99
    Buy Now
    x

    Revolution Radio (Picture Disc) (Pre-Order)

    Picture Disc Edition


    Produced by Green Day and recorded in Oakland, Revolution Radio is a potent 12-track blitz of angst-ridden anthems that unites Green Day's fully formed stylistic approach with lyrical themes that address the complexities and uncertainties of modern day existence. Musically, the album is raw, visceral, and fearless -- solidifying the band's reign as one of the leading voices in rock music. The first single, Bang Bang, released today and inspired by recent events, marks a welcome return from a band with more to say than ever.


    Of course the world has lost its collective mind... and me, Mike and TrÉ are lost souls too, said Green Day frontman Billie Joe Armstrong. Revolution Radio is a movement for lost souls to come together... dance together... sing together... and most of all, find each other. That's what the spirit of Green Day has been about since day one.

    1. Somewhere Now
    2. Bang Bang
    3. Revolution Radio
    4. Say Goodbye
    5. Outlaws
    6. Bouncing Off The Wall
    7. Still Breathing
    8. Youngblood
    9. Too Dumb To Die
    10. Troubled Times
    11. Forever Now
    12. Ordinary World
    Green Day
    $24.99
    Vinyl LP Picture Disc - Sealed PRE-ORDER Buy Now
  • Radio Silence (Speakers Corner) Radio Silence (Speakers Corner) Quick View

    $34.99
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    Radio Silence (Speakers Corner)

    Radio Silence is the sound of a band fully comfortable in their unique sonic skin. And if an album is simply a snapshot of a work in progress, then this is a perfect portrait, capturing Neil Cowley and his co-conspirators in the right place at the right time. This is the record that he has been working towards, documenting the magical empathy of a unit, who, with thousands of hours under their belt have learnt to breathe and listen as one.
    Described by Cowley as music for the 'heart and feet', Radio Silence shifts effortlessly between moments of poetic grace, rip-roaring riffs and Chaplinesque ditties that reminds us that for all his many influences, Cowley's music is as British as 'Test Match Special', warm beer or a bacon sarnie.



    Originally released on compact disc and download in April 2010, Radio Silence has proved pinnacle in a hectic year for Neil, in which he has recorded extensively for Adele's new single and album, recorded the theme tune to a worldwide Nokia Cubes advertising campaign, recorded a live session at the famous Maida Vale Studios for BBC Radio 2, toured internationally, drawn mass critical acclaim and sold out his homecoming appearance at London Jazz Festival amongst others.



    Radio Silence, as Naim's biggest-selling record of 2010, has been delicately crafted for vinyl at Abbey Road Studios from 24bit masters and pressed using the famous EMI 1400 Press at The Vinyl Factory in Middlesex, UK.



    Musicians:



    • Neil Cowley (piano)

    • Richard Sadler (bass)

    • Evan Jenkins (drums)




    Recording: September 2009 at State of the Ark Studios, London and August 2009 at Real World Studios, Wiltshire (UK)





    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. Monoface
    2. Radio Silence
    3. Vice Skating
    4. A French Lesson
    5. Gerald
    6. Steroface
    7. Box Lily
    8. Hug The Greyhound
    9. Portal
    Neil Cowley Trio
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • ...And Star Power ...And Star Power Quick View

    $20.99
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    ...And Star Power

    Foxygen have joined Star Power.

    It is a punk band, and you can be in it, too.

    Star Power is the radio station that you can hear only if you believe.

    We're all stars of the scene.


    FOXYGEN AND STAR POWER is the new DOUBLE ALBUM from Foxygen, a CINEMATIC
    AUDITORY ADVENTURE for the speedy freaks, skull krunchers, abductees, and misfits...Made by
    Foxygen at Dream Star Studios in their Secret Haunted House with the UFOs flying around in the sky.


    A gaggle of guest stars. Roman-numeraled musical suites.Vocals recorded on a shoddy tape machine at The
    Beverly Hills Hotel and Chateau Marmont. A svelte 82-minute run time of psych-ward folk, cartoon
    fantasia, songs that morph into each other, weaving in and out of the head like UFO radio transmission
    skullkrush music. ADHD star power underground revolution. Soft-rock indulgences, D&D doomrock and
    paranoid bathroom rompers. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile
    one. Rock and roll for the skull...*


    *From Patti Smith's 1973 CREEM review of Todd Rundgren's A Wizard, A True Star. The section concludes
    Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation.

    1. Star Power Airlines
    2. How Can You Really
    3. Coulda Been My Love
    4. Cosmic Vibrations
    5. You & I
    6. Star Power I: Overture
    7. Star Power II: Star Power Nite
    8. Star Power III: What Are We Good For
    9. Star Power IV: Ooh Ooh
    10. I Don't Have Anything/The Gate
    11. Mattress Warehouse
    12. 666
    13. Flowers
    14. Wally's Farm
    15. Cannibal Holocaust
    16. Hot Summer
    17. Cold Winter/Freedom
    18. Can't Contextualize My Mind
    19. Brooklyn Police Station
    20. The Game
    21. Freedom II
    22. Talk
    23. Everyone Needs Love
    24. Hang
    Foxygen
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Operation: Mindcrime Operation: Mindcrime Quick View

    $24.99
    Buy Now
    x

    Operation: Mindcrime

    Operation Mindcrime was Queensryche's breakthrough album, garnering the band commercial and critical success. Arguably their best release, it's a complex, ambitious effort, with top-notch music and a complicated storyline that flows smoothly from start to finish. The combination of experimental, progressive music with shorter, more radio-friendly songs enabled the band to release singles from the album while keeping the story intact and the cuts Revolution Calling, Eyes of a Stranger and I Don't Believe in Love happen to be some of the best metal songs out there.
    1. I Remember Now
    2. Anarchy-X
    3. Revolution Calling
    4. Operation: Mindcrime
    5. Speak
    6. Spreading the Disease
    7. The Mission
    8. Suite Sister Mary
    9. The Needle Lies
    10. Electric Requiem
    11. Breaking The Silence
    12. I Don't Believe In Love
    13. Waiting For 22
    14. My Empty Room
    15. Eyes of a Stranger
    Queensryche
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Red Mecca (Awaiting Repress) Red Mecca (Awaiting Repress) Quick View

    $20.99
    Buy Now
    x

    Red Mecca (Awaiting Repress)

    Remastered And Available On Vinyl For The First Time Since Mute's Reissue In 1990


    Mute are delighted to announce a series of Cabaret Voltaire releases, starting with the vinyl issue of Cabaret Voltaire's iconic 1981 album Red Mecca


    Remastered and available on vinyl for the first time since Mute's reissue in 1990, Red Mecca features the line up of Richard H Kirk, Stephen Mallinder and Chris Watson, and is Cabaret Voltaire's third album, and the final full album with co-founder Chris Watson.


    Red Mecca was produced at Western Works, Sheffield, and, although rioting at this time hadn't reached Cabaret Voltaire's hometown, it was a particularly incendiary time across Britain and the tension was explicit through the news media. Explains Kirk, "that insurrection on the streets found its way into the music" and the album was seen by many as the alternative soundtrack to the unrest on the streets.


    With Middle Eastern musical influences and a title that reflected the beginnings of long running tensions stemming from the Islamic Revolution and the resulting Afghanistan conflict and rise in fundamentalism, the buried vocals and large instrumental passages are a wonderful bridge between the punkier ethos of earlier releases, Mix Up and The Voice Of America and the more dance minded 2X45 and Yashar EPs that followed.


    Inspirations on the album were varied, but these tensions were particularly highlighted by 'A Touch Of Evil', which bookends the album and was itself was inspired by the Orson Welles film Touch of Evil (1958) and the soundtrack by Henry Mancini. For 'Spread The Virus', the inspiration came from William Burroughs and northern soul while CB became another, initially unlikely sounding, inspiration. CB radio was important at the time as an alternative method of communication. Says Richard, "we were thinking about doing a pirate radio at that time, which never happened, but buried in the sounds before 'Red Mask', are clips of CB radio transmissions."


    Red Mecca is an intriguing snapshot of a band continuing to experiment and evolve, different enough to anything of theirs before or after, and very different to whatever the rest of the planet was producing at the time (or since).


    Red Mecca was remastered by mastering engineer extraordinaire Stefan Betke (Pole), who also works with Third Ear, Minus, Wagon Repair, Uncanny Valley, Ornaments, BPitch Control, K7 and mastered the VCMG project for Martin Gore and Vince Clarke.

    1. A Touch Of Evil
    2. Sly Doubt
    3. Landslide
    4. A Thousand Ways
    5. Red Mask
    6. Split Second Feeling
    7. Black Mask
    8. Spread The Virus
    9. A Touch Of Evil (Reprise)
    Cabaret Voltaire
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • AmeriKKKa's Most Wanted (Remastered) AmeriKKKa's Most Wanted (Remastered) Quick View

    $24.99
    Buy Now
    x

    AmeriKKKa's Most Wanted (Remastered)

    Remastered


    When Ice Cube split from N.W.A after the group's seminal Straight Outta Compton album changed the world forever, expectations were high, too high to ever be met by anyone but the most talented of artists, and at his most inspired. At the time Cube was just that. With AmeriKKKa's Most Wanted the rapper expanded upon Compton, making a more full-bodied album that helped boost the role of the individual in hip-hop.


    Save the dramatic intro where a mythical Ice Cube is fried in the electric chair, his debut is filled with eye-level views of the inner city that are always vivid, generally frightening, generally personal, and sometimes humorous in the gallows style. Ripping it quickly over a loop from George Clinton's Atomic Dog, Cube asks the question that would be central to his early career, Why there more niggas in the pen than in college?, while sticking with the mutual distrust and scare tactics N.W.A used to wipe away any hopes of reconciliation (They all scared of the Ice Cube/And what I say what I portray and all that/And ain't even seen the gat). What I'm kicking to you won't get rotation/Nowhere in the nation he spits on the classic Turn Off the Radio, which when coupled with the intoxicating Bomb Squad production and Cube's cocksure delivery that's just below a shout, makes one think he's the only radio the inner city needs.


    The Bomb Squad's amazing work on the album proves they've been overly associated with Public Enemy, since their ability to adapt to AmeriKKKa's more violent and quick revolution is underappreciated. Their high point is the intense Endangered Species, a live by the trigger song that offers It's a shame, that niggas die young/But to the light side it don't matter none. This street knowledge venom with ultra fast funk works splendidly throughout the album, with every track hitting home, although the joyless You Can't Fade Me has alienated many a listener since kicking a possibly pregnant woman in the stomach is a very hard one to take. Just to be as confusing as the world he lives in, the supposedly misogynistic Cube introduces female protÉgÉ Yo-Yo with It's a Man's World before exiting with The Bomb, a perfectly unforgiving and visceral closer.


    Save a couple Arsenio Hall disses, AmeriKKKa's Most Wanted is a timeless, riveting exercise in anger, honesty, and the sociopolitical possibilities of hip-hop.


    - David Jeffries (All Music Guide)

    1. Better off Dead
    2. The Nigga Ya Love to Hate
    3. AmeriKKKa's Most Wanted
    4. What They Hittin' Foe?
    5. You Can't Fade Me/JD's Gaffilin'
    6. Once Upon a Time in the Projects
    7. Turn Off the Radio
    8. Endangered Species (Tales From the Darkside)
    9. A Gangsta's Fairytale
    10. I'm Only Out for One Thang
    11. Get off My *** and Tell Yo ***** to Come Here
    12. The Drive-By
    13. Rollin' Wit the Lench Mob
    14. Who's the Mack?
    15. It's a Man's World
    16. The Bomb
    Ice Cube
    $24.99
    Vinyl LP - Sealed Buy Now
  • What It Is To Burn - X Live What It Is To Burn - X Live Quick View

    $19.99
    Buy Now
    x

    What It Is To Burn - X Live

    Formed in Temecula, CA
    in 1999, the quintet of Nate
    Barcalow, Alex Linares, Randy
    Strohmeyer, Alex Pappas
    and Derrek Doherty known
    as Finch, are labeled as the
    fore-fathers of the "screamo"
    and post hardcore genre. Influenced by the hard leanings
    of bands like Deftones and
    Hum, and the pop sensibilities of Jimmy Eat World and
    Blink-182, Finch began a sonic
    revolution in popular music
    that still echoes today.


    The band signed to Drive-Thru
    Records in 2001 after guitarist Strohmeyer sent out a demo to owners Richard and Stephanie Reines while he was working on the label's street team.
    Drive-Thru saw something in the Southern California band and decided
    to take a risk on a sound that was more aggressive than their current range
    of artists. Their first EP, Falling into Place sold more than 6,000 copies
    within the first few months and gave them the momentum they needed to
    create their groundbreaking first album What It Is To Burn. Recorded in
    the winter of 2001, What It Is To Burn was released the following spring.
    The album produced three radio hits, charted Number 1 on the Billboard
    Heatseekers chart and 188 on the Billboard 200.


    They spent years touring in support of What It Is To Burn, sharing
    the stage with the likes of Glassjaw, The Starting Line, Yellowcard, and
    Blink-182, among others. In 2005, they decided it was time for a follow up,
    and went in a more artsy direction with Say Hello To Sunshine. Drummer
    Alex Pappas left the band and was replaced by Marc Allen. After years of
    heavy touring, the band went on a short hiatus, rejoining one another in
    2007 with new bassist Daniel Wonacott to record their self-titled EP. Critics
    hailed the EP as a return to glory while still adding to their old sound.
    Finch would tour off the release for a few years until deciding on another
    break in 2009.


    In 2013, Finch reunited to its nearly original lineup and announced that
    they would embark on the What It Is To Burn Ten Year Anniversary
    tour. The group performed the full-length in its entirety with a few extra
    bonuses for fans along the way. One concert in particular in Pomona, CA
    was filmed and recorded and will be released via Tragic Hero Records. With no bad blood and everything firing on all fronts, it's hard to
    tell what will come next for Finch, but one thing remains certain: all eyes
    are watching to find out.

    1. New Beginnings
    2. Letters To You
    3. Post Script
    4. Grey Matter
    5. Perfection Through Silence
    6. Awake
    7. Without You Here
    8. Stay With Me
    9. Project Mayhem
    10. Untitled
    11. Three Simple Words
    12. Ender
    13. Worms Of The Earth ** Previously Unreleased
    14. New kid ** Previously Unreleased
    15. What It Is To Burn

    Finch
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • We're Gonna Change The World - The 60's Chicago Garage Sound Of Quill Records We're Gonna Change The World - The 60's Chicago Garage Sound Of Quill Records Quick View

    $24.99
    Buy Now
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    We're Gonna Change The World - The 60's Chicago Garage Sound Of Quill Records


    Chicago was a great place to be if you were a member of a rock & roll combo in the mid-'60s -- there were plenty of teen clubs, radio stations were happy to play local product, and several Windy City labels were ready and willing to take hometown acts into the studio and get their music into stores. Dunwich Records and USA Records were the biggest labels in Chicago and both scored a handful of national hits, but they were far from the only game in town, and Peter Wright, a successful record promo man who went on to manage the New Colony Six, ran one of the city's most interesting small labels, Quill Records, which released top-notch sides on a number of fine groups and licensed a few of his masters to larger labels out of town.


    While Quill only lasted a bit less than two years (from 1966 to 1967), their output was impressive stuff from an eclectic variety of acts, and the great reissue label Sundazed, only a few months after releasing a definitive two-disc overview of the USA Records catalog (2131 South Michigan Avenue: 60's Garage and Psychedelia from U.S.A. and Destination Records), have unearthed 19 highlights from Quill's archives on We're Gonna Change the World! The 60's Chicago Garage Sound of Quill Productions.


    Many of Quill's acts followed the trends of the major British acts of the day, but hardly all of them; the Exterminators deliver a screed against long hair and take an America first position on rock with the over the top Declaration of Independence '65, Hot Pastrami by the Don Caron Orchestra is a high-powered instrumental dominated by honking saxophones and fuzzy guitars, and I'm Going to Change the World by the Commons Ltd. suggests the psychedelic revolution that was lurking around the corner while still maintaining a high degree of sneer and swagger.


    And even the acts that were looking to the U.K. for inspiration were turning their eyes to unusual places; the Delights were clearly obsessed with the Zombies, so much so that their original tune Every Minute, Every Hour, Every Moment mimics their style just as well as their cover of Just Out of Reach, and the Skunks, who true to their name bleached stripes into their hair, also leaned to the moody side of British pop with Don't Ask Why and a fine cover of the Beatles' It's Only Love (though Do the Duck is a raw and fuzzy celebration of some would-be dance craze).

    1. I'm Cryin' - The Malibu's
    2. Do The Duck - The Skunks
    3. Yes I Know - The Prophets
    4. I'll Have You Cryin' - Chances R
    5. Declaration Of Independence '65 - The Exterminators
    6. Losing You - The Ricochettes
    7. Just Out Of Reach - The Delights
    8. Hot Pastrami - Don Caron Orchestra
    9. A Heart Is Made Of Many Things - Jimmy Watson & The Original Royals
    10. It's One Thing To Say - The Riddles
    11. Without You - The Night Flight
    12. La-Do-Da-Da - Ronnie Rice & The Gents
    13. To Color Turn - The Night Flight
    14. I'm Going To Change The World - The Commons, LTD.
    15. Every Minute, Every Hour, Every Moment - The Delights
    16. Don't Ask Why - The Skunks
    Various Artists
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner)

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



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



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



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




    Musicians:



    • Radio-Symphony-Orchestra Berlin

    • Ferenc Fricsay (conductor)




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

    Hermanns and Werner Wolf / Production: Otto Gerdes





    About Speakers Corner



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



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



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



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



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



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



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

    $34.99
    Buy Now
    x

    The Warm Moods (Pure Pleasure) (Awaiting Repress)

    Actually I am not big fan of jazz mixing with strings - it seems to have a muzaky feeling to it. But ... this album is so well done, Webster's playing is so amazing, that there is no way anyone could call this muzak. The sound is excellent. It was recorded at Radio Recorders - a great sound studio that was very popular in Hollywood in the 50s. The strings are extremely lush and Webster sounds as if he is in the room with you. One additional note - Webster's signiture breathy sound is much less breathy than in later albums. Not better, not worse - just a different sound than I am used to hearing. I highly suggest this LP to any Webster fan and anyone looking for a big fat mellow sound.« By T. Butler on August 7, 2004


    I grew up on late 70s and early 80s R&B and soul music and then aggressively got into hip-hop. Hip hop music was the music that began to expose me to the jazz classics that seldomly became sampled in the art form. I'm grateful for that and I have been an avid collector of jazz music for 15 years now. I buy music randomly and at the spur of the moment and from many artists I have never heard of ... so yes, do own a whole lot of musical garbage! but sometimes I get lucky .. like this album here. This was my first Ben Webster album (of which I now own five) and this one still remains my favorite. This is music for a grown spirit ... it is indeed warm and quiet and lush. Buy this as soon as possible, you'll enjoy it



    Musicians:



    • Ben Webster (tenor saxophone)

    • Armond Kaproff (cello)

    • Cecil Figelski (viola

    • Lisa Minghetti (violin)

    • Don Bagley (bass)

    • Donn Trenner (piano)

    • Frank Capp (drums)



    Recording: 1961 at Radio Recorders Studio, Los Angeles




    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 Sweetheart Of Sigma Chi
    2. Stella By Starlight
    3. With Every Breath I Take
    4. Accent On Youth
    5. But Beautiful
    6. Time After Time
    7. Nancy
    8. I'm Beginning To See The Light
    9. It Was So Beautiful
    10. The Whiffenpoof Song
    11. It's Easy To Remember
    12. There's No You
    Ben Webster
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Tyranny And Mutation (Speakers Corner) Tyranny And Mutation (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tyranny And Mutation (Speakers Corner)

    Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.


    After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?

    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal, keyboards)

    • Albert Bouchard (drums, vocal)



    Recording: 1972 at Columbia Studios, New York City, by Tim Geelan

    Production: Murray Krugman and Sandy Pearlman




    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. The Red & The Black
    2. O.D.'d On Life Itself
    3. Hot Rails To Hell
    4. 7 Screaming Diz-Busters
    5. Baby Ice Dog
    6. Wings Wetted Down
    7. Teen Archer
    8. Mistress Of The Salmon Salt (Quicklime Girl)
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • From Elvis in Memphis (Speakers Corner) From Elvis in Memphis (Speakers Corner) Quick View

    $34.99
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    x

    From Elvis in Memphis (Speakers Corner)

    Ranked 190/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    A record by Elvis, produced in Tennessee. What's so special about that? Surely everyone knows that the lorry driver from the Southern State sobbed his early songs into the local radio microphones. But Elvis in Memphis is far more than just one of around 40 albums which the King of Rock' n' Roll produced during the course of 35 years. »This marks what is probably the most impressive comeback in the entire history of pop music«, enthused the normally reticent New York Times.



    What had happened? In 1969, after a 14-year meteoric career in show business and movies, and an exemplary PR campaign, Elvis returned to his hometown to record these songs which, in their style, are reminiscent of those recorded in the Fifties for Sun Records. Alongside the lavishly mixed pop and blues numbers (Power Of My Love) and country sound (I'm Movin' On), there is also one of the greatest chart-busters and heart-breakers of a whole generation: In The Ghetto.



    There is certainly no room for discussion about the value of this collectors' item - the astronomical price for a good secondhand copy speaks for itself!



    Musicians:



    • Elvis Presley (vocal, guitar, piano)

    • Ronnie Milsap (piano)

    • Bobby Emmons (organ)

    • Reggie Young (guitar, electric-guitar)

    • Tommy Cogbill, Mike Leech (bass)

    • Gene Chrisman (drums)

    • The Memphis Horns and background vocals




    Recording: 1969 by Al Pachucki

    Production: Felton Jarvis and Chips Moman





    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. Wearin' that Loved Look
    2. Only the Strong Survive
    3. I'll Hold You in My Heart
    4. Long Black Limousine
    5. It Keeps Right On A-Hurtin'
    6. I'm Movin On
    7. Power of My Love
    8. Gentle on My Mind
    9. After Loving You
    10. True Love Travels on a Gravel Road
    11. Any Day Now
    12. In the Ghetto
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Mass in C Minor (Speakers Corner) Mozart: Mass in C Minor (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Mass in C Minor (Speakers Corner)

    It is not often that incomplete works enjoy great popularity. And it is even rarer that a torso should exercise such great importance in music history, but this is the case with Mozart's Great Mass, K. 427. The C minor Mass is always spoken of as if it were complete: it is spoken of with reverence, eyes looking towards Heaven, lost in the beauty of the music, transported to celestial heights. Mozart combines the compositional style of the Baroque masters with the more modern style of the Viennese Classic. Lofty arioso sections alternate with tremendous choral sections for up to eight parts whose splendid and spectacular timbre broke the bounds of tradition and set new standards for the genre.



    This Mass is, of course, not merely performed but celebrated, as the Berlin RSO under its Principal Conductor Ferenc Fricsay has so admirably demonstrated in this recording. Precise entries, strict tempi, a polished orchestral timbre and vocal soloists so brilliant one might think they were standing in one's own front room lend this recording top marks for musical quality and repertoire value.




    Musicians:



    • Maria Stader

    • Hertha Töpper

    • Ernst Haefliger

    • Ivan Sardi

    • Chorus

    • The Berlin Radio Symphony Orchestra

    • Ferenc Fricsay (conductor)




    Recording: September/ October 1967 at the Haus des Rundfunks, Berlin by Werner Wolf

    Production:Otto Gerdes





    About Speakers Corner



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



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



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



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



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



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



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Partitas (Speakers Corner) Partitas (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Partitas (Speakers Corner)

    Formerly concertmaster of Sergiu Celibidache's Munich Philharmonic Orchestra, today Florin Paul occupies the same position with Hamburg's North German Radio Symphony Orchestra. Some years ago he travelled to a small and rather unattractive church in the south of France, which was blessed with heavenly acoustics. With a precious, loaned Stradivari, he performed a silky and delicate yet crystal-clear Bach which Andreas Spreer captured using dust-free Neumann tube microphones. Thanks to the church's slight resonance, an aura of consummate polyphony with lingering harmonies is created when the music ebbs away. With Bach's Partitas sounding like this, it is irrelevant who the soloist was in days gone by. How fortunate we are to be able to enjoy such glorious sounds today!




    Musicians:



    • Florin Paul (violin)



    Recording: 1989 in Falicon, Nice, France by Andreas Spreer

    Production: Andreas Spreer





    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.



    Johann Sebastian Bach (1685-1750)
    Partitas
    Johann Sebastian Bach
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • But Not Really (Speakers Corner) But Not Really (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    But Not Really (Speakers Corner)

    One man comes to mind when the words 'funk' and 'fun' are connected with a jazz musician: Les McCann. The man from Kentucky, self-taught and a true heavyweight on the delicate piano stool, dedicated his whole life on the road to performing funk. He was highly successful - whether playing with his trio or with Eddie Harris, as a pianist or as a singer, in a club or on a big stage - and he always succeeded in captivating his audience.
    On But Not Really, the first of seven LPs on the Limelight label, he plays in a trio with Victor Gaskin on the bass and Paul Humphrey on drums. The three musicians were carefully guided by their producer, Jack Tracy and the liner notes describes their close collaboration. A Little Three-Four is highly recommended listening, as is Yours Is My Heart Alone which fans of Lehar's operettas will enjoy singing along to while others will appreciate the fantastic improvisations in this popular piece which Les McCann performs less showily than Oscar Peterson in his version but with more humour and emotion.



    This Limelight album offers piano trio jazz that is free from intellectual encumbrance - it is jazz for the soul. Recorded in December 1964, the LP is now available once again after almost 60 years with the original outstanding and lavish cover artwork!



    Musicians:



    • Les McCann (piano)

    • Victor Gaskin (bass)

    • Paul Humphrey (drums)



    Recording: December 1964 at Radio Recorders, Hollywood

    Production: Jack Tracy



    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. But Not Really
    2. A Little Three-Four
    3. Our Delight
    4. Sweetie
    5. We're On The Move Now
    6. Jack V. Schwartz
    7. Little Freak
    8. Yours Is My Heart Alone
    Les McCann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bartok: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Bartok: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bartok: Concerto for Piano and Orchestra No. 1 (Speakers Corner)


    Between Bartók's Rhapsody for Piano and his First Piano Concerto lie 22 years of development, a struggle to find subject matter, form and his own musical language. While the Rhapsody from 1904 is dominated by a late-Romantic tone, which delights in a free, craggy and capricious feast of affable harmonies, the Piano Concerto reflects contemplation and a delving into the formal strictness of the classical three-movement concerto form. Rather less concerto-like and unconventional is, however, the use of the piano as a percussion instrument, which after just a few bars on the winds, hammers out an unrelenting staccato against the harsh and dissonant orchestra. In the slow movement too the piano is predominantly employed as a percussion instrument that, like the pendulum of a clock, rhythmically bulldozes on against the cheerless, bleak winds. Wild emotion predominates in the Finale. Stormy, insistent figures in the piano are answered by the orchestra with animated blows, but the quick flashes of melodies cannot establish themselves and are slashed to pieces as if caught in a storm.
    This uncompromising severity presents an enormous challenge that is mastered with aplomb by GÉza Anda and the RSO Berlin under Ferenc Fricsay.




    Musicians:



    • GÉza Anda and the Radio Symphonie Orchester Berlin

    • Ferenc Fricsay (conductor)





    Recording: October 1960 at Jesus-Christus-Kirche, Berlin, by GÜnter Hermanns

    Production: Otto Gerdes





    About Speakers Corner



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



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



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



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



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



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



    1. Allegro Moderato - Allegro
    2. Andante
    3. Allegro Molto
    Bela Bartok
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bartok: Concerto for Piano and Orchestra Nos. 2 and 3 (Speakers Corner) Bartok: Concerto for Piano and Orchestra Nos. 2 and 3 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bartok: Concerto for Piano and Orchestra Nos. 2 and 3 (Speakers Corner)



    Bartók wanted his Second Piano Concerto to be understood as a contrast to his harsh and - for the orchestra - extremely difficult First Piano Concerto. But notwithstanding its more easily understandable theme, this work too was composed using strict classical sonata form. With a bright atmosphere, fired on by the sound of trumpets, the theme of the first movement forges ahead and sets the course for the whole work. Lively exuberance and a committed interplay between the soloist and orchestra result in a work that is wholly positive throughout and which remains full of energy yet bell-like and accessible right up to the final movement.


    Bartok composed his third and final piano concerto in the year of his death -1945. However, the work in no way possesses a mood of demise but breathes a worldly-wise, cheerful, and mellowed atmosphere. Delightfully audible melodies, with a chorale-like grandeur in the middle movement, are woven into a rhythmically lively but well-rounded and flowing movement structure.
    With these two piano concertos, GÉza Anda and the RSO Berlin led by the legendary Ferenc Fricsay, complete their great artistic achievement, which began with the recording of Bartók's Rhapsody op. 1 and his First Piano Concerto (DGG 138 708). For anyone who possesses just one of these two LPs, the other is absolutely essential.




    Musicians:



    • GÉza Anda and the Radio Symphonie Orchester Berlin

    • Ferenc Fricsay (conductor)





    Recording: September 1959 at Jesus-Christus-Kirche, Berlin, by Werner Wolf

    Production: Hans Weber & Otto Gerdes





    About Speakers Corner



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



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



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



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



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



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



    1. Piano Concerto No. 2 - Allegro
    2. Piano Concerto No. 2 - Adagio - Presto - Adagio
    3. Piano Concerto No. 2 - Allegro Molto
    4. Piano Concerto No. 3 - Allegretto
    5. Piano Concerto No. 3 - Allegro Religioso
    6. Piano Concerto No. 4 - Allegro Vivace
    Bela Bartok
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis Presley: Gold Records Vol. 4 (Speakers Corner)

    At first sight, it does not look as though Elvis's 31st album was destined to be a hit. But if you take a look at his artistic biography in the year of its release - 1968 - then you will recognise the clever gimmicks that his wide-awake management employed to captivate rock 'n' roll fans when Elvis was somewhat 'stiff in the hips'. In this fourth Gold Edition, a tried and tested method was used to create a new LP: namely, a compilation of single hits from the years 1961 to 1967. The result was just what fans wanted! Alongside sentimental songs such as Love Letters, the tearjerker Lonely Man and the sobbing, heartstring tugging ballad It Hurts Me, we find spirited rock 'n' roll (Witchcraft, Ain't That Loving You Baby) and honky-tonk blues (A Mess Of Blues) in a toned-down 12-beat measure. In contrast, Don't Drag That String Around is cheerful, light and springy and, - for a change - not a blues number.
    Then we have the country song Devil In Disguise with its angry lyrics, and the soul title What'd I Say by Ray Charles with an electric sound that is lent by the Rhodes piano. All in all, this LP is a great collection from the grand old days of rock 'n' roll.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: Juyl 1960 - June 1966 at RCA Studio B in Nashville, Tennessee, RCA Studios and Radio Recorders in Hollywood

    Production: Steve Sholes, Chet Atkins, George Stoll, Felton Jarvis, a.o.


    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. Love Letters
    2. Witchcraft
    3. It Hurts Me
    4. What'd I Say
    5. Please Don't Drag That String Around
    6. Indescribably Blue
    7. You're The Devil In Disguise
    8. Lonely Man
    9. A Mess Of Blues
    10. Ask Me
    11. Ain't That Loving You Baby
    12. Just Tell Her Jim Said Hello
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Variations IV Variations IV Quick View

    $24.99
    Buy Now
    x

    Variations IV

    Pressed On Clear Vinyl


    Anything can happen and often does. This is John Cage. A seminal example of indeterminate music from an icon on experimental sounds.


    It could be argued that there is no more controversial figure in music history as avant-garde electronic composer John Cage. Perhaps best known for his composition 4'33, which consisted of Cage sitting at a piano for four-plus minutes of total silence, Cage was both loved and loathed in the 60s and 70s as a leading light in avant-garde music and as an entertainingly weird guy who used radios, televisions, live dancers and his own Adam's apple as instruments in his live performances. Cage's music blurred the line between music, performance art and visual art in a way that no other composer has before or since.


    Cage's performances were often wild one-of-a-kind happenings, and the shows that make up the recording of Variations IV are no different. The fourth in a series of concerts that stretched the boundaries of what music was, IV was designed for a group of performers playing literally anything they could get their hands on. They were also encouraged, if they got bored playing, to do other activities in addition to the music. The score consisted of two circles and seven points on a transparent sheet, to be interpreted however the performers saw fit. The end result: a wild album of music-concrete that should sound familiar to fans of the Beatles' Revolution 9 -- no question Cage's composition influenced Lennon and Ono's experiments.


    Modern Harmonic brings you this gorgeous reissue of Cage's masterpiece, pressed on clear vinyl and wrapped in restored artwork that captures the unique and strange beauty of this headphone classic. Join the avant-garde!

    1. Introduction
    2. Excerpts - 7pm to 8pm
    3. Excerpts - 8pm to 9pm
    4. Excerpts - 9pm to 10pm
    5. Excerpts - 10pm to 11pm
    John Cage with David Tudor
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Cloud Atlas Soundtrack Cloud Atlas Soundtrack Quick View

    $42.99
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    Cloud Atlas Soundtrack

    180 Gram Audiophile Vinyl


    First Time On Vinyl


    Gatefold Sleeve


    Includes 6-Page Insert With Liner Notes, Credit And Photos


    PVC Protective Sleeve


    Cloud Atlas is a 2012 science fiction film written and directed by The Wachowskis and Tom Tykwer. Adapted from the 2004 novel of the same name by David Mitchell, the film has multiple plots set across six different eras, which Mitchell described as a sort of pointillist mosaic. The official synopsis describes it as an exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution. Tom Hanks, Halle Berry, and Jim Broadbent lead an ensemble cast.


    The score was composed by director Tom Tykwer and his longtime collaborators, Reinhold Heil and Johnny Klimek. The trio have worked together for years as Pale 3, having composed music for several films directed by Tykwer, most notably Run Lola Run, The Princess and the Warrior, Perfume: The Story of a Murderer, and The International, and contributed music to the Wachowskis' The Matrix Revolutions. Work on the Cloud Atlas score began months before shooting commenced. The music was recorded in Leipzig, Germany with the MDR Radio Symphony Orchestra and the Leipzig Radio Chorus. The score was nominated for a Golden Globe Award for Best Original Score.

    LP 1
    1. Prelude: The Atlas March
    2. Cloud Atlas Opening Title
    3. Travel To Edinburgh
    4. Luisa's Birthmark
    5. Cavendish In Distress
    6. Papa Song

    7. Sloosha's Hollow
    8. Sonmi-451 Meets Chang
    9. Won't Let Go
    10. Kesselring
    11. The Escape
    12. Temple Of Sacrifice
    13. Catacombs


    LP 2
    1. Adieu
    2. New Direction
    3. All Boundaries Are Conventions
    4. The Message
    5. Chasing Luisa Rey
    6. Sonmi's Discovery
    7. Death Is Only A Door
    8. Cloud Atlas Finale
    9. The Cloud Atlas Sextet For Orchestra
    10. Cloud Atlas End Title

    Tom Tykwer, Johnny Klimek & Reinhold Heil
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • In Person (Pure Pleasure) In Person (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In Person (Pure Pleasure)

    Note: This issue is as the original vinyl album issue & contains all the dialogue from Ray and the stage promoter, along with audience participation.



    I bought this LP, of the Atlanta concert, in 1960. It knocked me out then, and it knocks me out now. For me, this IS Ray Charles. In the intro to Night Time Is The Right Time Ray says, »... and Miss Marjorie Hendricks will help us out on vocals ...«, and boy, does she help out! Turn up the volume and strap yourself down.
    The greatness of this album. Ray was touring with his band in the 50's, and they played at a concert in Herndon Stadium, Atlanta. An engineer at radio station WAOK recorded the occasion on a one track tape recorder using a single microphone. The recording was later played over the air. The response of the radio audience was overwhelming, resulting in the ultimate release of the Atlantic album. It is one of the most extraordinary albums of all time. First, the recording is amazing considering how it was recorded. The band is heard with perfect clarity and balance, and the audience is also picked up, and you can hear the shouting, whooping, the give and take with the audience, and the extraordinary energy in what was a typical concert of Ray Charles playing to his own audience. Many of the tunes were or became classics, known to every funk and blues musician in the country and to most of the population at large. Ray Charles was revered like no other musician.



    This is the most cathartic of all Ray Charles' recordings. On two tracks, The Right Time and Tell The Truth-both shared with the Raelettes' lead singer, Marjorie Hendricks-the music transcends art to become powerfully shamanistic. It remains one of the greatest rhythm and blues albums of all time.



    Musicians:



    • Ray Charles (piano, vocal)

    • Marcus Belgrave, John Hunt (trumpet)

    • David Newman (tenor saxophone)

    • Bennie Crawford (bassoon)

    • Edgar Willis (bass)

    • Teagle Flemming (drums)



    Recording: May 1959 at Herndon Stadium, Atlanta, Georgia, by Ivan Miles



    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 Right Time
    2. What'd I Say
    3. Yes, Indeed
    4. The Spirit Feel
    5. Frenesi
    6. Drown In My Own Tears
    7. Tell The Truth
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis Is Back! (Speakers Corner) Elvis Is Back! (Speakers Corner) Quick View

    $34.99
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    Elvis Is Back! (Speakers Corner)

    During the King's artistically unproductive period of military service, no costs or efforts were spared (e.g. A Date With Elvis, RCA LPM-2011), and no consolatory promises of things to come were left unsaid by the management in order to keep Elvis alive and well in the minds of his vast circle of fans. At last the great coup was landed: Elvis Is Back was what everyone was waiting to hear and American radio and television broadcasting stations made a gigantic medial feast of it.



    With the ink scarcely dry on his demobilization papers, Elvis entered the studio in March 1960 and recorded a whole series of numbers which later became worldwide hits, such as Are You Lonesome Tonight and It's Now Or Never. Released as singles, these tender ballads created a sensation, while the LP with numbers such as Dirty, Dirty Feeling, Like A Baby and The Thrill Of Your Love underlined Elvis's enhanced qualities as a rock, blues and gospel singer. That his voice - despite everyone's fears - had lost nothing of its erotic thrill is more than amply demonstrated in his rendering of Fever alone, which is accompanied merely by bass and percussion.



    With its amazing array of varying styles, this must surely be one of Elvis's most genial albums and was unrivaled right up until his great comeback in 1968 (From Elvis In Memphis, RCA LSP-4155).





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Floyd Cramer(piano)

    • Scotty Moore (guitar)

    • Boots Randolph (saxophone)

    • Hank Garland (bass, guitar)

    • Charlie Hodge (harmony)

    • Bob Moore (bass)

    • D.J. Fontana (drums)

    • Hoyt Hawkins, Neal Matthews, Gordon Stoker, Ray C. Walker (vocal)




    March 1960 at RCA Studios, Hollywood, CA. and April 1960 in Nashville, TS., USA,
    by Bill Porter

    Production: Chet Atkins





    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. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby

    12. Reconsider Baby
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Early Years 1965-1972 The Early Years 1965-1972 Quick View

    $699.99
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    x

    The Early Years 1965-1972


    Comprehensive 27-Disc Box Set, With 7 Individual Book-Style Volumes


    Box Set Includes:


    • 11+ hours of Audio (130+ tracks) & 14+ hours of Audio/Visual material including
    • 20+ previously unreleased songs, 7+ hours of previously unreleased live audio performances, 5+ hours of rare concert footage, along with 5 7" singles in replica sleeves, collectible memorabilia, feature films & new sound mixes
    • BBC Radio Sessions, remixes, outtakes, & alternative versions over 11 hours of audio (made up of 130+ tracks) as well as live TV performance in over 14 hours audio visual
    • Previously unreleased tracks include 1967's Vegetable Man and In The Beechwoods, which have been mixed for the first time specially for this release
    • 2 historic Quad mixes (1 previously unreleased) • Plus Pink Floyd's early vinyl singles - the first 5 UK releases, (1967-68) remastered from original tapes, original sleeves / heavyweight vinyl / paper labels replicated


    The Early Years 1965 - 1972 is a comprehensive 27-disc box set that sees Pink Floyd delve into their vast music archive to produce a deluxe package that includes 7 individual book-style volumes, featuring much previously unreleased material. The Early Years box set contains unreleased tracks, BBC Radio Sessions, remixes, outtakes and alternative versions over an incredible 11 hours, 45 mins of audio (made up of 130+ tracks) and live and TV performance in over 14 hours of audio-visual material. The content includes over 20 unreleased songs, more than 7 hours of previously unreleased live audio and over 5 hours of rare concert footage, along with 5 meticulously produced 7 singles in replica sleeves, collectable memorabilia, feature films and new sound mixes. Previously unreleased tracks include 1967's Vegetable Man and In The Beechwoods, which have been mixed for the first time, specially for this release. The Early Years 1965-1972 will give collectors the opportunity to hear the evolution of the band and witness their part in cultural revolutions from their earliest recordings and studio sessions to the years prior to the release of The Dark Side Of The Moon, one of the biggest selling albums of all time. From the single Arnold Layne to the 20-minute epic Echoes, fans will see the invention of psychedelic progressive rock via an insightful collection that explores the Pink Floyd story from the time Roger Waters, Richard Wright, Nick Mason and Syd Barrett met at London's Regent Street Polytechnic, through to Syd's departure and David Gilmour joining to form the iconic lineup.


    40+ items of archival memorabilia including: posters, flyers, tour programs, tickets, press advertisements, & much more.


    This set includes: 10 CDs, 8 Blu-ray Discs, 9 DVDs, 5 seven-inch vinyl singles, collectable memorabilia, & more.


    7 inch Singles:

    1. Side A: Arnold Layne Side B: Candy And A Currant Bun

    2. Side A: See Emily Play Side B: The Scarecrow

    3. Side A: Apples And Oranges Side B: Paintbox

    4. Side A: It Would Be So Nice Side B: Julia Dream

    5. Side A: Point Me At The Sky Side B: Careful With That Axe, Eugene

    †previously unreleased


    7 VINYL SINGLES IN REPRODUCTION SLEEVES:
    - Arnold Layne C/W Candy And A Currant Bun
    - See Emily Play C/W The Scarecrow
    - Apples And Oranges C/W Paintbox
    - It Would Be So Nice C/W Julia Dream
    - Point Me At The Sky C/W Careful With That Axe, Eugene


    1965-67 CAMBRIDGE ST/ATION
    CD 1:

    1965 Recordings*:
    1. Lucy Leave*
    2. Double O Bo*
    3. Remember Me*
    4. Walk With Me Sydney*
    5. Butterfly*
    6. I'm A King Bee*
    7. Arnold Layne
    8. See Emily Play
    9. Apples And Oranges
    10. Candy And A Currant Bun
    11. Paintbox
    12. Matilda Mother (2010 mix)
    13. Jugband Blues (2010 mix)†
    14. In The Beechwoods (2010 mix)†
    15. Vegetable Man (2010 mix)†
    16. Scream Thy Last Scream (2010 mix)†


    Total: 50 mins, 32 secs approx.
    Tracks 1-11 mono.
    Tracks 12-16 stereo


    *including Rado Klose on guitar and Juliette Gale on vocals on 'Walk With Me Sydney'


    CD 2:
    Live in Stockholm 1967:

    1. Introduction†
    2. Reaction in G†
    3. Matilda Mother†
    4. Pow R. Toc H.†
    5. Scream Thy Last Scream†
    6. Set The Controls For The Heart Of The Sun†
    7. See Emily Play†
    8. Interstellar Overdrive†
    Please note: the above tracks feature vocals recorded at a less than optimum level


    John Latham (studio recordings 1967)
    9. John Latham Version 1†
    10. John Latham Version 2†
    11. John Latham Version 3†
    12. John Latham Version 4†
    13. John Latham Version 5†
    14. John Latham Version 6†
    15. John Latham Version 7†
    16. John Latham Version 8†
    17. John Latham Version 9†


    Total: 79 mins, 13 secs approx.
    Tracks 1-8 recorded live Sept 10, 1967 at Gyllene Cirkeln, Stockholm, Sweden
    Tracks 9-17 recorded at De Lane Lea Studios, London, October 20, 1967
    All tracks stereo


    DVD/Blu-ray
    1. Chapter 24: Syd Barrett in the Gog Magog Hills, Cambridgeshire, UK 1966 / Pink Floyd at EMI Studios, London, April 1967
    2. Nick's Boogie†: recording Interstellar Overdrive and Nick's Boogie at Sound Techniques Studio, Chelsea, January 11, 1967 / Live at UFO, The Blarney Club, London, January 13, 1967
    3. Interstellar Overdrive: 'Scene - Underground' UFO at The Blarney Club, London, January 27, 1967
    4. Arnold Layne: promo video. Wittering Beach, UK, early 1967
    5. Pow R. Toc H. / Astronomy Domine: plus Syd Barrett and Roger Waters interview: BBC 'The Look Of The Week' - BBC Studios, London, May 14, 1967
    6. The Scarecrow: 'PathÉ Pictorial', UK, July 1967
    7. Jugband Blues: 'London Line' promo video, 1967, London
    8. Apples And Oranges: plus Dick Clark interview: 'American Bandstand', Los Angeles, USA, November 7, 1967
    9. Instrumental Improvisation†: BBC 'Tomorrow's World', London, December 12, 1967
    10. Instrumental Improvisation†: 'Die Jungen Nachtwandler', UFO, The Blarney Club, London, February 24, 1967
    11. See Emily Play: BBC 'Top Of The Pops' - partially restored BBC Studios, London, July 6, 1967
    12. The Scarecrow (outtakes): 'PathÉ Pictorial', UK, July 1967
    13. Interstellar Overdrive: 'Science Fiction - Das Universum Des Ichs', The Roundhouse, London, 1967


    Total: 57 mins, 59 secs approx.


    1968 GERMIN/ATION
    CD

    1. Point Me At The Sky
    2. It Would Be So Nice
    3. Julia Dream
    4. Careful With That Axe, Eugene (single version)
    5. Song 1, Capital Studios, Los Angeles, 22 August 1968†
    6. Roger's Boogie, Capitol Studios, Los Angeles, 22 August 1968†


    BBC Radio Session, 25 June 1968:
    7. Murderotic Woman (Careful With That Axe, Eugene) †
    8. The Massed Gadgets Of Hercules (A Saucerful Of Secrets) †
    9. Let There Be More Light†
    10. Julia Dream†


    BBC Radio Session, 20 December 1968:
    11. Point Me At The Sky†
    12. Embryo†
    13. Interstellar Overdrive†


    Total: 59 mins, 14 secs approx.


    DVD/Blu-ray
    'Tienerklanken', Brussels, Belgium, 18-19 February 1968:
    1. Astronomy Domine
    2. The Scarecrow
    3. Corporal Clegg
    4. Paintbox
    5. Set The Controls For The Heart Of The Sun
    6. See Emily Play
    7. Bike
    8. Apples And Oranges: 'Vibrato', Brussels, Belgium, February 1968


    'Bouton Rouge', Paris, France, 20 February 1968:
    9. Astronomy Domine
    10. Flaming
    11. Set The Controls For The Heart Of The Sun
    12. Let There Be More Light
    13. Paintbox: 'Discorama', Paris, France, 21 February 1968
    14. Instrumental Improvisation†: 'The Sound Of Change', London, UK, March 1968
    15. Set The Controls For The Heart Of The Sun: 'All My Loving', London, UK, 28 March 1968
    16. It Would Be So Nice (excerpt): 'Release-Rome Goes Pop', Rome, Italy, April 1968
    17. Interstellar Overdrive: 'Pop 68', Rome, Italy, 6 May 1968
    'Tienerklanken - Kastival', Kasterlee, Belgiu, 31 August 1968:
    18. Astronomy Domine
    19. + Roger Waters interview


    'Samedi et Compagnie', Paris, France, 6 September 1968:
    20. Let There Be More Light
    21. Remember A Day
    22. Let There Be More Light: 'A L'Affiche du Monde', London, UK, 1968


    'Tous En Scene', Paris, France, 21 October 1968:
    23. Let There Be More Light
    24. Flaming
    25. Let There Be More Light: 'Surprise Partie', Paris, France, 1 November 1968
    26. Point Me At The Sky: Restored promo video, UK, 1968


    Total: 84 mins, 18 secs approx.


    1969 DRAMATIS/ATION
    CD 1:

    'More' album non-album tracks
    1. Hollywood (non-album track) †
    2. Theme (Beat version) (Alternative version) †
    3. More Blues (Alternative version) †
    4. Seabirds (non-album track) †
    5. Embryo (from 'Picnic', Harvest Records sampler)


    BBC Radio Session, 12 May 1969:
    6. Grantchester Meadows†
    7. Cymbaline†
    8. The Narrow Way†
    9. Green Is The Colour†
    10. Careful With That Axe, Eugene†


    Live at the Paradiso, Amsterdam, 9 August 1969:
    11. Interstellar Overdrive†
    12. Set The Controls For The Heart Of The Sun†
    13. Careful With That Axe, Eugene†
    14. A Saucerful Of Secrets†


    Total: 68 mins, 50 secs approx.


    CD 2:
    Part 1: 'The Man', Amsterdam, 17 September 1969

    1. Daybreak (Grantchester Meadows)†
    2. Work†
    3. Afternoon (Biding My Time)†
    4. Doing It†
    5. Sleeping†
    6. Nightmare (Cymbaline)†
    7. Labyrinth†


    Part 2: 'The Journey', Amsterdam, 17 September 1969
    8. The Beginning (Green Is The Colour)†
    9. Beset By Creatures Of The Deep (Careful With That Axe, Eugene)†
    10. The Narrow Way, Part 3†
    11. The Pink Jungle (Pow R. Toc H.)†
    12. The Labyrinths Of Auximines†
    13. Footsteps / Doors†
    14. Behold The Temple Of Light†
    15. The End Of The Beginning (A Saucerful of Secrets)†


    Total: 76 mins, 36 secs approx.


    DVD/Blu-ray:
    'Forum Musiques', Paris, France, 22 January 1969:

    1. Set The Controls For The Heart Of The Sun
    David Gilmour interview
    2. A Saucerful Of Secrets


    3. 'The Man' and 'The Journey': Royal Festival Hall, London, rehearsal, April 14, 1969:
    Afternoon (Biding My Time)
    The Beginning (Green Is The Colour)
    Cymbaline
    Beset By Creatures Of The Deep†
    The End Of The Beginning (A Saucerful Of Secrets)


    Essencer Pop & Blues Festival, Essen, Germany, October 11 1969:
    4. Careful With That Axe, Eugene
    5. A Saucerful Of Secrets


    Music Power & European Music Revolution, Festival Actuel
    Amougies Mont de l'Enclus, Belgium, 25 October 1969:
    6. Green Is The Colour
    7. Careful With That Axe, Eugene
    8. Set The Controls For The Heart Of The Sun
    9. Interstellar Overdrive with Frank Zappa


    Total: 71 mins, 14 secs approx.


    1970 DEVI/ATION
    CD 1:

    1. Atom Heart Mother live in Montreux, 21 Nov 1970†
    BBC Radio Session, 16 July 1970:
    2. Embryo†
    3. Fat Old Sun†
    4. Green Is The Colour†
    5. Careful With That Axe, Eugene†
    6. If†
    7. Atom Heart Mother† with choir, cello & brass ensemble


    Total: 78 mins, 8 secs approx.


    CD 2:
    Unreleased tracks from the 'Zabriskie Point' soundtrack recordings:
    1. On The Highway†
    2. Auto Scene Version 2†
    3. Auto Scene Version 3†
    4. Aeroplane†
    5. Explosion†
    6. The Riot Scene†
    7. Looking At Map†
    8. Love Scene Version 7†
    9. Love Scene Version 1†
    10. Take Off†
    11. Take Off Version 2†
    12. Love Scene Version 2†
    13. Love Scene (Take 1)†
    14. Unknown Song (Take 1)†
    15. Love Scene (Take 2)†
    16. Crumbling Land (Take 1)†
    17. Atom Heart Mother†
    Early studio version, band only


    Total: 67 mins, 9 secs approx.


    DVD 1:
    An Hour with Pink Floyd:
    KQED, San Francisco, USA, 30 April 1970:

    1. Atom Heart Mother
    2. Cymbaline
    3. Grantchester Meadows
    4. Green Is The Colour
    5. Careful With That Axe, Eugene
    6. Set The Controls For The Heart Of The Sun


    Total: 59 mins, 9 secs approx.


    Audio only:
    Atom Heart Mother album original 4.0 Quad mix 1970:

    7. Atom Heart Mother
    8. If
    9. Summer '68
    10. Fat Old Sun
    11. Alan's Psychedelic Breakfast


    Total: 52 mins, 7 secs approx.


    DVD 2:
    'Pop Deux - Festival de St. Tropez', France, 8 August 1970:
    Part 1:

    1. Cymbaline (sound check)
    2. Atom Heart Mother
    3. Embryo
    Part 2:
    4. Green Is The Colour/
    5. Careful With That Axe, Eugene
    6. Set The Controls For The Heart Of The Sun


    Roland Petit Ballet, Paris, France, 5 December 1970:
    7. Instrumental Improvisations 1,2,3† live in the studio
    8. Embryo


    Blackhill's Garden Party, Hyde Park, London, UK, 18 July 1970:
    9. Atom Heart Mother with the Philip Jones Brass Ensemble/John Alldis Choir


    Total: 80 mins, 53 secs approx.


    Blu-ray:
    An Hour with Pink Floyd:
    KQED, San Francisco, USA, 30 April 1970:

    1. Atom Heart Mother
    2. Cymbaline
    3. Grantchester Meadows
    4. Green Is The Colour
    5. Careful With That Axe, Eugene
    6. Set The Controls For The Heart Of The Sun


    Total: 59 mins, 9 secs approx.


    Audio only:
    Atom Heart Mother album original 4.0 Quad mix 1970:

    7. Atom Heart Mother
    8. If
    9. Summer '68
    10. Fat Old Sun
    11. Alan's Psychedelic Breakfast


    Total: 52 mins, 7 secs approx.


    'Pop Deux - Festival de St. Tropez', France, 8 August 1970:
    Part 1:

    1. Cymbaline (sound check)
    2. Atom Heart Mother
    3. Embryo
    Part 2:
    4. Green Is The Colour/
    5. Careful With That Axe, Eugene
    6. Set The Controls For The Heart Of The Sun


    Roland Petit Ballet, Paris, France, 5 December 1970:
    7. Instrumental Improvisations 1,2,3† live in the studio
    8. Embryo


    Blackhill's Garden Party, Hyde Park, London, UK, 18 July 1970:
    9. Atom Heart Mother with the Philip Jones Brass Ensemble/John Alldis Choir


    1971 REVERBER/ATION
    CD:

    1. Nothing Part 14 (Echoes work in progress) †
    BBC Radio Session, 30 September 1971:
    2. Fat Old Sun†
    3. One Of These Days†
    4. Embryo†
    5. Echoes†


    Total: 67 mins 1 sec approx.


    DVD/Blu-ray:
    'Aspekte' feature

    1. Interview + Atom Heart Mother (extracts)
    Hamburg, Germany, 25 February 1971
    Brass & Choir conducted by Jeffrey Mitchell


    2. A Saucerful Of Secrets (extract)
    Offenbach, Germany, 26 February 1971


    'Cinq Grands Sur La Deux'
    Abbaye de Royaumont, Asnierès-sur-Oise, France, 15 June 1971
    3. Set The Control For The Heart Of The Sun
    4. Cymbaline


    5. Atom Heart Mother (extract)
    'Musikforum Ossiachersee', Ossiach, Austria, 1 July 1971
    Brass & Choir conducted by Jeffrey Mitchell 'Get To Know'
    Randwick Race Course, Sydney, Australia, 15 August 1971


    6. Careful With That Axe, Eugene
    Band interview


    '24 hours - Bootleg Records', London, UK, 1971
    7. Documentary including Pink Floyd and manager Steve O'Rourke


    'Review', London, UK, 1971
    8. Storm Thorgerson & Aubrey 'Po' Powell interviewed re: record cover design


    9. One of These Days ('French Windows')
    Ian Emes animation created July 1972, Birmingham, UK


    10. Atom Heart Mother (extract, in colour):
    'Musikforum Ossiachersee', Ossiach, Austria, July 1, 1971
    Brass & Choir conducted by Jeffrey Mitchell


    11. Atom Heart Mother: '71 Hakone Aphrodite
    Open Air Festival, Hakone, Japan, August 6-7, 1971


    Total: 68 mins 3 secs approx.


    Audio-only material:
    1. Echoes original 4.0 Quad mix 1971


    1972 OBFUSC/ATION
    CD:
    Obscured By Clouds 2016 Remix

    1. Obscured By Clouds†
    2 When You're In†
    3 Burning Bridges†
    4 The Gold It's In The... †
    5 Wot's...Uh The Deal†
    6 Mudmen†
    7 Childhood's End†
    8 Free Four†
    9 Stay†
    10 Absolutely Curtains†


    Total 40 mins 25 secs approx.


    DVD/Blu-ray:
    Recording Obscured by Clouds, Château d'HÉrouville, France, February 23-29, 1972

    1. Wot's...Uh The Deal: with recording session photos
    2. Pop Deux: Documentary recording Obscured By Clouds
    + David Gilmour and Roger Waters interview


    Brighton Dome, UK, 29 June 1972
    3. Set The Controls For The Heart Of The Sun
    4. Careful With That Axe, Eugene


    Roland Petit Pink Floyd Ballet, France, news reports 1972-73
    5. ActualitÉs MÉditerranÉe, Marseille, 22 November 1972
    6. JT Nuit - Les Pink Floyd, Marseille, 26 November 1972
    7. JT 20h - Pink Floyd, Paris, 12 January 1973
    8. Journal de Paris - Les Pink Floyd, Paris, 12 January 1973
    9. Poitiers - Autour Du Passage Des Pink Floyd
    Concert set up news report - France, 29 November 1972


    Live At Pompeii (with 2016 5.1 Audio Remix)
    10. Careful With That Axe, Eugene
    11. A Saucerful Of Secrets
    12. One Of These Days
    13. Set The Controls For The Heart Of The Sun
    14. Echoes


    Total: 107 mins 27 secs approx.


    BONUS CONTINU/ATION
    CD:
    BBC Radio Session, 25 September 1967:

    1. Flaming†
    2. The Scarecrow†
    3. The Gnome†
    4. Matilda Mother†
    5. Reaction in G†
    6. Set The Controls For The Heart Of The Sun†


    BBC Radio Session, 20 December 1967:
    7. Scream Thy Last Scream†
    8. Vegetable Man†
    9. Pow R. Toc H.†
    10. Jugband Blues†


    BBC Radio Session, 2 December 1968:
    11. Baby Blue Shuffle In D Major†
    12. Blues†


    13. US Radio ad
    14. Music from The Committee No. 1
    15. Music from The Committee No. 2


    16. Moonhead† - live on 1969 BBC TV moon landings broadcast


    17. Echoes† - live at Wembley 1974


    Total: 72 mins 35 secs approx


    DVD/Blu-ray 1:
    1. Arnold Layne (Alternative version)
    Hampstead Heath and St. Michael's Church, Highgate, London, UK, March 1967
    2. 'P1 - P wie Petersilie' - Stuggart, Germany, 22 July 1969
    Corporal Clegg
    Band interview
    A Saucerful of Secrets


    3. Atom Heart Mother
    'Bath Festival of Blues & Progressive Music', Shepton Mallet, UK, 27 June 1970


    4. 'Kralingen Music Festival' - Rotterdam, The Netherlands, 28 June 1970
    Set The Controls For The Heart Of The Sun
    A Saucerful Of Secrets


    5. 'The Amsterdam Rock Circus' - Amsterdam, The Netherlands, 22 May 1972
    Atom Heart Mother
    Careful With That Axe, Eugene
    A Saucerful Of Secrets


    The Committee - (Feature Film)
    Score by Pink Floyd


    Total: 124 mins 49 secs approx.


    DVD/Blu-ray 2:
    'More' feature film
    'La VallÉe' (Obscured By Clouds) feature film


    Total: 3 hours 41 mins approx.

    Pink Floyd
    $699.99
    7 Vinyl + 10 CDs + 9 DVDs + 8 Blu-ray Box Set - 5 Vinyl Singles Sealed Buy Now
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