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  • Then Play On Then Play On Quick View

    $22.99
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    Then Play On

    Reissue.


    Fleetwood Mac was already a popular blues band in 1969 when they released Then Play On, the group's stellar third studio album. It was the first with guitarist-songwriter Danny Kirwan and ultimately its last with founding member Peter Green. The album's powerful mix of blues and rock includes standout tracks like Rattlesnake Shake, Searching For Madge and Coming Your Way.

    1. Coming Your Way
    2. Closing My Eyes
    3. Fighting For Madge
    4. When You Say
    5. Show Biz Blues
    6. Underway
    7. One Sunny Day
    8. Although The Sun Is Shining
    9. Rattlesnake Shake
    10. Without You
    11. Searching For Madge
    12. My Dream
    13. Like Crying
    14. Before The Beginning
    Fleetwood Mac
    $22.99
    Vinyl LP - Sealed Buy Now
  • Fleetwood Mac 1969-1972 (Box Set) Fleetwood Mac 1969-1972 (Box Set) Quick View

    $79.99
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    Fleetwood Mac 1969-1972 (Box Set)

    Features Four Complete Albums: Then Play On, Kiln House, Future Games, And Bare Trees


    Contains An Exclusive Replica Of The Original 1969 7 Single: "Oh Well - Pt. 1" b/w "Oh Well - Pt. 2."


    FLEETWOOD MAC: 1969-1972 is a beautiful vinyl boxed set that collects four of the band's classic albums, each lovingly reproduced on 140-gram vinyl. As a bonus, the set comes with an exclusive replica of the original 1969 7-inch single of "Oh Well - Pt. 1" b/w "Oh Well - Pt. 2."


    FLEETWOOD MAC: 1969-1972 features four complete albums - Then Play On (1969), Kiln House (1970), Future Games (1971) and Bare Trees (1972) - housed in a striking black slipcase. To ensure superb sound quality, Chris Bellman at Bernie Grundman Mastering cut the lacquers for all four albums. The records look as good as they sound thanks to authentically reproduced packages, including gatefolds for Then Play On and Kiln House and single sleeves for Future Games and Bare Trees.


    The set follows the band through an early transitional period. With Kiln House, Fleetwood Mac began moving toward a more melodic pop sound on songs like "Mission Bell" and "One Together." At the time, the band included: Jeremy Spencer (guitar, vocals, piano), Kirwan (guitar, vocals), John McVie (bass) and Mick Fleetwood (drums). Christine McVie was at the recording sessions and contributed backing vocals and the album's cover art, but she did not join the band until shortly after the album was finished.


    The band's shift toward pop and folk styles continued on Future Games with songs like "Show Me A Smile" and "Morning Rain." This marks the first Fleetwood Mac album with Christine McVie as a full band member as well as the Mac debut of Bob Welch on guitar.


    The line-up stayed the same for Bare Trees, which boasts a consistently strong collection of songs like McVie's "Spare Me A Little Of Your Love," Kirwan's "Dust" and Welch's "Sentimental Lady." Although Kirwan was a dominant figure during the recording, penning half of the songs, this would ultimately be his last appearance on a Fleetwood Mac album.

    Then Play On (1969)
    1. Coming Your Way
    2. Closing My Eyes
    3. Fighting For Madge
    4. When You Say
    5. Show Biz Blues
    6. Underway
    7. One Sunny Day
    8. Although The Sun Is Shining
    9. Rattlesnake Shake
    10. Without You
    11. Searching For Madge
    12. My Dream
    13. Like Crying
    14. Before The Beginning


    Kiln House (1970)
    1. This Is The Rock
    2. Station Man
    3. Blood On The Floor
    4. Hi Ho Silver
    5. Jewel Eyed Judy
    6. Buddy's Song
    7. Earl Gray
    8. One Together
    9. Tell Me All The Things You Do
    10. Mission Bell


    Future Games (1971)
    1. Woman Of 1000 Years
    2. Morning Rain
    3. What A Shame
    4. Future Games
    5. Sands Of Time
    6. Sometimes
    7. Lay It All Down
    8. Show Me A Smile


    Bare Trees (1972)
    1. Child Of Mine
    2. The Ghost
    3. Homeward Bound
    4. Sunny Side Of Heaven
    5. Bare Trees
    6. Sentimental Lady
    7. Danny's Chant
    8. Spare Me A Little Of Your Love
    9. Dust
    10. Thoughts On A Grey Day


    Bonus 7" Single
    1.Oh Well - Pt. 1
    2.Oh Well - Pt. 2

    Fleetwood Mac
    $79.99
    Vinyl LP + 7 Vinyl Single - 4 LPs Sealed Buy Now
  • Plays Double Bass Plays Double Bass Quick View

    $39.99
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    Plays Double Bass

    Gary Karr became an audiophile favorite largely as a result of the King Super Analogue recording of Albinoni's Adagio in G minor played by Gary Karr on solo bass with organ accompaniment. In 1959, Gary Karr made his first record entitled "Gary Karr Plays Double Bass" a collection of pieces from Eccles, Ravel, Bloch and others for Golden Crest Records. A few years later a second recording of Alec Wilder compositions for Bass and Piano and Bass and Guitar was also released on Golden Crest. On this outstanding second effort Gary Karr is accompanied by Bernie Leighton on piano and Fredrick Hand on guitar. After auditioning the master tapes we decided that these two wonderful recordings by a stellar bass musician needed to be reissued which is what we have done here by combining the recordings into a two disc set as part of the "Classic Records Presents " Series. Both titles were mastered and transferred by Bernie Grundman in Hollywood California from the original analog master tapes and cut on Classic Records' "All Tube" cutting system. If you are a Gary Karr fan then this is a must have release, If you are unfamiliar with "Mr. Bass" then these recording are a great place to start.
    Gary Karr
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Coltrane Plays The Blues (MONO) Coltrane Plays The Blues (MONO) Quick View

    $35.99
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    Coltrane Plays The Blues (MONO)

    Mono version


    Recorded on 24 October 1960 in NYC, Coltrane Plays The Blues is perhaps a misleading title for this album as Coltrane is not so much playing the blues as bringing the feeling of blues into the idiom of jazz. This memorable album, featuring McCoy Tyner on piano, Elvin Jones on drums and Steve Davis on bass, hails from Coltranes first period as leader of his own quartet, and finds Coltrane playing then highly unusual soprano sax on two numbersBlues To Bechet, a pianoless tribute to the great Sydney Bechet, and Mr. Syms, where McCoy Tyner is given the opportunity to really show his stuff, which he does masterfully. Includes Exotica (also recorded during this session) as a bonus track + 4 more bonus alternate tracks on the CD.

    LP

    1. Blues To Elvin

    2. Blues To Bechet

    3. Blues To You
    4. Mr. Day
    5. Mr. Syms
    6. Mr. Knight
    7. Exotica (bonus track)


    CD (stereo)
    1. Blues To Elvin (Take One)
    2. Blues To Elvin (Take Two - bonus track)
    3. Blues To Elvin (Take Three bonus track)
    4. Blues To Bechet
    5. Blues To You (Take One)
    6. Blues To You (Take Two bonus track)
    7. Blues To Yo (Take Three bonus track)
    8. Mr. Day
    9. Mr. Syms
    10. Mr. Knight
    11. Exotica (bonus track)

    John Coltrane
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stitt Plays Bird (Speakers Corner) Stitt Plays Bird (Speakers Corner) Quick View

    $34.99
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    Stitt Plays Bird (Speakers Corner)

    It is widely known that Sonny Stitt didn't want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.
    For Stitt Plays Bird Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.


    One half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It's hard to recommend a special track, but Scrapple From The Apple is just awesome! All the numbers are based on standards - just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic's logo "Full Dynamic Frequency Spectrum" is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.


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

    Musicians:



    • Sonny Stitt (alto saxophone)
    • John Lewis (piano)
    • Jim Hall (guitar)
    • Richard Davis (bass)
    • Connie Kay (drums)



    Recording: January 1963 at Atlantic Studios, New York City, by Tom Dowd

    Production: Nesuhi Ertegun




    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. Ornithology
    2. Scrapple From The Apple
    3. My Little Suede Shoes
    4. Parker's Mood
    5. Au Privave
    6. Ko-Ko
    7. Confirmation
    8. Hootie Blues
    9. Constellation
    Sonny Stitt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On Stage On Stage Quick View

    $35.99
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    On Stage

    The album was recorded live over several German and Japanese dates in late 1976 during the Rising world tour. Many of the tracks were spliced together from different dates by producer Martin Birch, and the running order was changed to more easily fit four sides of vinyl. The recording features the customary introduction to a Rainbow show - the classic quote from the The Wizard of Oz, Toto: I've a feeling we're not in Kansas anymore. We must be over the rainbow! with the last word repeated as an echo, then the actual band plays a musical phrase from the song Somewhere Over the Rainbow before breaking into Kill the King.
    LP1
    1. Over The Rainbow (Intro) - Kill The King
    2. Medley : Man On The Silver Mountain
    3. Catch The Rainbow


    LP2
    4. Mistreated
    5. Sixteenth Century Greensleeves
    6. Still I'm Sad

    Rainbow
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Plays The Blues For You (Pure Pleasure) Plays The Blues For You (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Plays The Blues For You (Pure Pleasure)

    Guitarist Melvin Taylor's fluid, smartly constructed solos and understated yet winning vocals are surprises on this 1984 nine-track set recorded for Isabel. Taylor is not a fancy or arresting singer but succeeds through his simple, effective delivery of lyrics, slight inflections, and vocal nuances. His guitar work is impressive, with skittering riffs, shifting runs, and dashing solos. Organist/pianist Lucky Peterson is an excellent second soloist, adding cute background phrases at times, then stepping forward and challenging or buttressing Taylor's playing with his own dazzling lines.



    Musicians:



    • Melvin Taylor (vocals, guitar)

    • Lucky Peterson (organ, piano)

    • Titus Williams (bass, guitar)

    • Ray Allison (drums)



    Recording: March 1984 at Studio Davout, Paris

    Production: Didier Tricard



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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

    1. Talking To Anna-Mae (Part 1)
    2. T.V. Mama
    3. I'll Play The Blues For You
    4. Born To Lose
    5. Tribute To Wes
    6. Cadillac Assembly Line
    7. Voodoo Daddy
    8. Talking To Anna-Mae (Part 2)
    9. Groovin' In Paris
    Melvin Taylor
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Satch Plays Fats (Pure Pleasure) (Awaiting Repress) Satch Plays Fats (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
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    Satch Plays Fats (Pure Pleasure) (Awaiting Repress)

    Based upon the artistic and commercial success of "Louis Armstrong Plays W.C. Handy", George Avakian gathered the All Stars into the studio again for a second session to record tunes by Fats Waller. This is also a stunning album: the All Stars, at the top of their form, play great material by a single composer. All Stars vocalist Velma Middleton, (who was often underrated) is especially captivating.



    Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York revue Connie's Hot Chocolates. But Waller made an indelible enough impression for Satchmo to record the tribute album Satch Plays Fats: The Music of Fats Waller in 1955 when such ideas were new. If you love Louis Armstrong, buy it. If you love Fats Waller, buy it. If you just love jazz with a swing beat, then this collection is for you. Satchmo gives us an incomparable interpretation of Waller's music that would have made the corpulent keyboard king himself very proud indeed. It is soooo SWEET! You won't be disappointed.



    Armstrong infuses these pieces with a style very true to Fats' own, including the humour and wit that Satchmo weaves into the lyrics. The sound is smooth, and the rhythm is HOT! Recording quality is very good, and the selection is impeccable -- some of Waller's greatest hits.




    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Trummy Young (trombone)

    • Barney Bigard (clarinet)

    • Billy Kyle (piano)

    • Arvell Shaw (bass)

    • Barrett Deems (drums)

    • Velma Middleton (vocal)




    Recording: April & May 1955

    Production: George Avakian



    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. Honeysuckle Rose
    2. Blue Turning Grey Over You
    3. I'm Crazy Bout My Baby
    4. Squeeze Me
    5. Keepin' Out of Mischief
    6. All That Meat and No Patatoes
    7. I've got a feeling I'm Falling
    8. Black and Blue
    9. Ain't Misbehavin'
    10. (What Did I Do To Be So) Black and Blue
    11. I'm Crazy 'Bout my Baby
    12. Blue Turning Grey Over You
    13. I've Got a Feeling I'm Falling
    14. Squeeze Me
    15. (What Did I Do To Be So) Black and Blue
    16. Ain't Misbehavin'
    17. Blue Turning Grey Over You
    18. Keepin' Out of Mischief Now
    19. Sweet Savannah Sue
    20. That Rhythm Man
    Louis Armstrong
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Plays Bach No. 1 (Speakers Corner) Plays Bach No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Plays Bach No. 1 (Speakers Corner)

    As long as 40 years ago, at a time when Pop and Classical music were strictly separated from one another, Jacques Loussier's "Swinging Bach" thrilled both friends of Baroque music and jazz lovers alike. Other musicians have tried, and are still trying, to jump on this modern "Bach band wagon" - but not one of them has achieved anything like the international success of the French trio.



    "Play Bach" is to be taken at its word. If Prelude, Fugue or Toccata is on the label - then that's what one gets: the melodies and the harmonic structure of Johann Sebastian's original works are largely left untouched - you always know where counterpoint stops and groove sets in. Just as in Bach's day the keyboard is at the fore, but the double bass also has a good share of the polyphony, and the finely nuanced percussion swings along as though it has no cares in the world and adds its own sparks of fire to pearl-like scale passages.
    What better way to bring the Bach Year to an end than with the re-release of the first Loussier album? The first of Bach's 48 Preludes and Fugues shows how it began - just as they show how Jacques Loussier began.



    Musicians:



    • Jacques Loussier (arranger, piano)

    • Pierre Michelot (bass)

    • Christian Garros (drums, percussion)




    Recording: 1959




    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.



    Jacques Loussier
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On The Corner (On Sale) On The Corner (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    On The Corner (On Sale)

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


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


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


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


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


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


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


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


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


    This title is not eligible for further discount.

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

    $16.99
    Buy Now
    x

    Salt On Sea Glass

    Petra Haden and Yuka Honda first crossed paths in the '90s when they were members of That Dog and Cibo Matto respectively. Since then they've each had one foot in pop music and one foot in the avant garde.


    Petra Haden has released groundbreaking vocal projects Imaginaryland and Petra Haden Sings The Who Sell Out, performed and recorded with Beck, Foo Fighters and The Decemberists.


    Yuka Honda has released 3 experimental electronic albums on John Zorn's Tzadik label, while also producing Japanese pop artists, including Miu Sakamoto and Maki Nomiya.


    If By Yes' debut album Salt on Sea Glass is guaranteed to seduce you with utterly exquisite and playful sensibilities, futuristic rhythms, other-wordly sounds. Special guests include David Byrne (vocals/lyrics) on Eliza, guitarist Nels Cline and remixes by Keigo Cornelius Oyamada.

    1. You Feel Right
    2. Eliza
    3. Three As Four
    4. Imagino
    5. Still Breathing
    6. In My Dreams
    7. Shadow Blind
    8. You're Something Else
    9. Out Of View
    10. Lightning In Your Eyes
    11. Adrift
    If By Yes
    $16.99
    Vinyl LP - Sealed Buy Now
  • Last Night On Earth Last Night On Earth Quick View

    $22.99
    Buy Now
    x

    Last Night On Earth

    "At times sounding like Hendrix operating a theremin, and elsewhere resembling the mournful cries of lonesome satellites."

    - Filter


    "It's great to hear the third voice in Sonic Youth stretching out... a reminder of their irreplaceable magic."

    - Rolling Stone


    Inspired by time spent trapped in his apartment during Hurricane Sandy last fall, Lee Ranaldo's new album with his band The Dust tackles themes of despair, rage and societal shift. The songs on the new album are darker, longer and more intense than those of its predecessor. In particular, the intertwining guitar play between Ranaldo (Sonic Youth) and Alan Licht (Love Child, Run On, acclaimed solo work) enlivens these beautiful, scary songs.


    The Dust also features the incredible drumming of Steve Shelley (Sonic Youth) and bass work of Tim LÜntzel (who has worked with artists from Van Dyke Parks to Norah Jones). The rock-solid rhythm section grounds the exploratory, inviting music. "Every time I wait for the revolution to come," Ranaldo sings on "Home Chds." "Every night I think it's here and then it's gone."


    "A solo record works best when you feel like you're opening a window into somebody's life, experiencing the things they're going through or thinking about, places they're seeing, through their eyes. At its best, you find a universality in it." - Lee Ranaldo

    1. Lecce, Leaving
    2. Key / Hole
    3. Home Chds
    4. The Rising Tide
    5. Last Night On Earth
    6. By The Window
    7. Late Descent #2
    8. Ambulancer
    9. Blackt Out
    Lee Ranaldo And The Dust
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blonde On Blonde (Box Set) (Awaiting Repress) (On Sale) Blonde On Blonde (Box Set) (Awaiting Repress) (On Sale) On Sale Quick View

    $84.99 $76.49 Save $8.50 (10%)

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

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


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


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


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


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


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


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


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


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


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


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


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



    This title is not eligible for further discount.

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

    $34.99
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    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    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. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Chase Is On (Pure Pleasure) The Chase Is On (Pure Pleasure) Quick View

    $34.99
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    The Chase Is On (Pure Pleasure)

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


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


    Musicians:



    • Charlie Rouse, Paul Quinichette (tenor saxophone)

    • Wynton Kelly, Hank Jones (piano)

    • Freddie Green (guitar)

    • Wendell Marshall (bass)

    • Ed Thigpen (drums)



    Recording :August and September 1957 in New York




    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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

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

    $27.99
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    x

    On My Way and Shoutin' Again

    Import


    When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like Cute, Little Pony, Splanky, Li'l Darlin', and Repetition, the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head.


    This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-April in Paris. The band is atypically bold and brazen on the opener, I'm Shoutin' Again, with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of Jump for Johnny is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during Together Again, as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track The Long Night, a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of C Jam Blues/Duke's Place in the low-key then blasted-out Eee Dee, Shiny Stockings sprinkled about during the more typical laid-back Rose Bud, and Groove Merchant or Hallelujah, I Just Love Him So in the easy-swinging soul groove of Ain't That Right. Hefti's movie soundtrack experience comes to the fore on Shanghaied, definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: Skippin' with Skitch, led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting Ducky Bumps, featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett.


    A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.


    - Michael G. Nastos (All Music Guide)

    1. I'm Shoutin' Again
    2. Ducky Bumps
    3. The Long Night
    4. Jump For Johnny
    5. Ain't That Right
    6. Together Again
    7. Shanghaied
    8. Skippin' With Skitch
    9. Eee Dee
    10. Rose Bud
    11. Lester Leaps In
    Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Solitude On Guitar (Speakers Corner) (Awaiting Repress) Solitude On Guitar (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Solitude On Guitar (Speakers Corner) (Awaiting Repress)

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



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



    Musicians:



    • Baden Powell (arranger, guitar, vocal)

    • Joaquim Paes Henriques (drums)

    • Eberhard Weber (bass)




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

    Production: Joachim Ernst Berendt





    About Speakers Corner



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



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



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



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



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



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



    Baden Powell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Live at Royal Albert Hall in London on 13th August 1970 Live at Royal Albert Hall in London on 13th August 1970 Quick View

    $32.99
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    Live at Royal Albert Hall in London on 13th August 1970

    Green Colored Vinyl


    "We was invited by Tim Souster, who had an evening using the hall to do what we liked with. I believe he'd heard our second LP, asked us on the strength of that. He discovered us on the way to discovering Motown. Via the Who, I think. Anyway it was brave of him to invite us despite the withering contempt of the posh music establishment. Before our bit, I went out the back for a quick fag and then the doorman didn't want to let me back in. ''I've got to play in there'', I said. ''you must be kidding, son'', he said, '' they only have proper music in there''. Not that night they didn't". (Robert Wyatt)

    1. Out-Bloody Rageous
    2. Facelift
    3. Esther's Nose Job
    4. Pig/Orange Skin Food/A Door Opens And Closes/Pigling Bland/10:30 Returns To The Bedroom
    Soft Machine
    $32.99
    Colored Vinyl LP - Sealed Buy Now
  • The Beatles: On Air - Live At The BBC Volume 2 The Beatles: On Air - Live At The BBC Volume 2 Quick View

    $59.99
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    The Beatles: On Air - Live At The BBC Volume 2


    Features 63 Tracks Total With 37 Previously Unreleased Performances And 23 Tracks Of In-Studio Banter


    Includes a 48 Page Booklet With Rare Photos And An Introduction By Paul McCartney


    In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K., number three in the U.S. and selling more than five million copies within six weeks. A new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2, in 180-gram vinyl with a 48-page booklet. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.


    In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, "There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes."


    Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's "I'm Talking About You" and a rocking cover of the standard "Beautiful Dreamer." On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's "Lucille," Chuck Berry's "Memphis, Tennessee," Chan Romero's "The Hippy Hippy Shake," Ray Charles' "I Got A Woman," and two songs they learned from records by Carl Perkins, "Glad All Over" and "Sure To Fall."


    The Beatles' tribute to the BBC's most important pop show of the early '60s - "Happy Birthday, Dear Saturday Club" - is another surprise. As John Lennon recalled in 1980, "We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too." Paul remembers, "We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to."


    Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, "You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them." On their busiest BBC day, July 16, 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.


    The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. "Everything was done instantly," remembered George Harrison, "But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!"


    On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number on¬es and other favorites such as: "I Saw Her Standing There," "Twist And Shout," "Do You Want To Know A Secret," "Boys," "Please Mister Postman," "Money," "And I Love Her," and "If I Fell."


    Like its critically acclaimed predecessor, On Air - Live at the BBC Volume 2 includes audio of The Beatles talking to DJs Brian Matthew and Alan Freeman and Pop Go The Beatles hosts Lee Peters and Rodney Burke. When first broadcast, pop fans were amazed to hear such witty irreverence on the rather formal BBC and it is great fun to hear these extracts now. In addition, On Air releases, for the first time, the group's candid interviews for the Pop Profile series recorded in November 1965 and May 1966.


    Newly remastered for reissue on November 11, The Beatles' first Live at the BBC album sounds and looks better than ever. This collection of the group's BBC sessions mixed versions of their hits with a treasure trove of 30 songs The Beatles performed on air but never released on record in the 1960s. The compelling track list ranged from a rare performance of the little known Lennon-McCartney original "I'll Be On My Way" to covers of classic rock 'n' roll and contemporary rhythm and blues songs. At the time of its release, Live at the BBC was hailed by Rolling Stone as "an exhilarating portrait of a band in the process of shaping its own voice and vision." It earned a GRAMMY® Award nomination for Best Historical Album.


    Live at the BBC was assembled by George Martin in 1994 and On Air - Live at the BBC Volume Two was compiled and researched by producers Kevin Howlett and Mike Heatley. Both albums have been meticulously mastered by engineers Guy Massey and Alex Wharton at Abbey Road Studios. The booklets for both collections include Kevin Howlett's essays on the history of The Beatles' BBC radio sessions and his detailed commentaries on all of the tracks.

    1. And Here We Are Again
    2. Words of Love
    3. How About it, Gorgeous
    4. Do You Want To Know A Secret
    5. Lucille
    6. Hey, Paul..
    7. Anna (Go To Him)
    8. Hello!
    9. Please Please Me
    10. Misery
    11. I'm Talking About You
    12. A Real Treat
    13. Boys
    14. Absolutely Fab
    15. Chains
    16. Ask Me Why
    17. Till There Was You
    18. Lend Me Your Comb
    19. Lower 5E
    20. The Hippy Hippy Shake
    21. Roll Over Beethoven
    22. There's A Place
    23. Bumper Bundle
    24. P.S. I Love You
    25. Please Mister Postman
    26. Beautiful Dreamer
    27. Devil In Her Heart
    28. The 49 Weeks
    29. Sure To Fall (In Love With You)
    30. Never Mind, Eh?
    31. Twist and Shout
    32. Bye, Bye
    33. John - Pop
    34. George - Pop Profile
    35. I Saw Her Standing There
    36. Glad All Over
    37. Lift Lid Again
    38. I'll Get You
    39. She Loves You
    40. Memphis, Tennessee
    41. Happy Birthday Dear Saturday Club
    42. Now Hush, Hush
    43. From Me to You
    44. Money (That's What I Want)
    45. I Want To Hold Your Hand
    46. Brian Bathtubes
    47. This Boy
    48. If I Wasn't In America
    49. I Got A Woman
    50. Long Tall Sally
    51. If I Feel
    52. A Hard Job Writing Them
    53. And I Love Her
    54. Oh, Can't We? Yes We Can
    55. You Can't Do That
    56. Honey Don't
    57. I'll Follow The Sun
    58. Green With Black Shutters
    59. Kansas City/ Hey-Hey-Hey
    60. That's What We're Here For
    61. I Feel Fine
    62. Paul - Pop
    63. Ringo - Pop
    The Beatles
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Play.Rock.Music (Awaiting Repress) Play.Rock.Music (Awaiting Repress) Quick View

    $15.99
    Buy Now
    x

    Play.Rock.Music (Awaiting Repress)

    It's been 23 years since Toadies started playing rock music in Fort Worth, Texas. Through lineup changes, shelved albums, member departures, band break-ups, one-off reunions and full-on performances, Toadies are an act that has experienced nearly everything except, perhaps, the freedom to grow as they choose.


    But that mark is about to be checked, too. On July 31, Toadies will release their fifth proper full-length album a disc fittingly called 'Play.Rock.Music.', because, perhaps for the first time in their career, the band feels capable of unapologetically doing just that.


    After bursting onto the national scene with their breakthrough 'Rubberneck' album, which begat their signature single, 'Possum Kingdom', the successful follow-up single 'Away' and the immense fan favorite 'Tyler', Toadies returned to the studio in 1996 with the pressure of trying to match their first album's success. The result was a disc called 'Feeler', an album the band's then-label home, Interscope Records, was supposed to release in 1997 but decided to shelve despite the band's protests. So it was back to the drawing board for the 2001-released 'Hell Below/Stars Above', an awkwardly timed sophomore album that enjoyed moderate success and almost universal critical acclaim but was ultimately doomed because of the seven-year wait to arrive.


    But a reunion show in Dallas in 2006 reignited the band's spark. The following year, the band embarked on a surprise tour of Texas. A year later, they fully re-formed, recording and releasing 2008's 'No Deliverance'.


    This past spring, the band, joined by Grammy-nominated producer Chris Frenchie Smith entered an Austin recording studio with a clean slate. The songs on 'Play.Rock.Music.' are some of the best the Toadies have ever released. The trademarks of the band are all present Lewis howl, the chugging guitars, the unrepentant angst but they're also improved upon. Without question, it is: With the band's second successful stint now having lasted almost as long as the initial run, 'Play.Rock.Music.' shows off a band in full stride, an outfit with renewed vigor and, perhaps most important, a group with a clear and confident understanding of itself.

    No tracklist available
    Toadies
    $15.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Improvisation (On Sale) Improvisation (On Sale) On Sale Quick View

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    Improvisation (On Sale)

    The godfather of improvisational guitar, Derek Bailey's praises have been sung far and wide by everyone from Pat Metheny to Karlheinz Stockhausen for having revolutionized the way the instrument was played over the last half of the twentieth century. Although fans are often frustrated by the low-fidelity of his earlier recordings, this 1975 LP (originally released on the Italian avant-garde label, Cramps), stands out in that regard. Recorded in an actual studio (unlike most of his early work) in Milan, for this session Bailey was apparently asked by his Italian hosts to define "improvisation". He then proceeded to give his answer in the form of these fourteen tracks (eight performed with electric guitar, five with six-string acoustic guitar, and one with a 19-string acoustic guitar).
    1. M1
    2. M2
    3. M3
    4. M4
    5. M5
    6. M6
    7. M7
    8. M8
    9. M9
    10. M10
    11. M11
    12. M12
    13. M13
    14. M14
    Derek Bailey
    $37.99 $26.59 Save $11.40 (30%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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    Derry Legend (Discontinued) (On Sale)

    "An album simmering with background chaos worthy of prime-era Buttholes or Royal Trux. The real surprise is how Derry Legend clears room for pop chops, making it possible to see the Axemen's relation to bands like the Clean and the Gordons. A wonderful testament to the power and limits of form-bloat. Ahoy! - Byron Coley


    Long overdue re-issue of this cracked pop classic and Flying Nun rarity, Derry Legend was one of Kurt Cobain's top NZ platters and a staple of his mix-tapes.


    Once I saw this band play live and thought "Ugh! What is this crap?!" I tried to listen to their truly awful "Three Virgins" album, but just couldn't see (hear?) the point. So the other day when a flatmate bought this "new" album (it appears to have been recorded in 1987, actually), I just shook my head and thought "so some people still buy records just because they like the cover art."


    Then a strange thing happened: by accident I heard the last song first and thought "Hey that's quite good." I played the first side next - better still! - then the whole second side - FAR OUT! Since then I've been playing this over and over and it just cracks me up how good it is.


    The music is like childhood memories of the first time you ever heard rock 'n roll; the first time you ever heard slushy-pop; the first time you ever heard rap (!). Listen to He's Leaving Home and wonder what George Benson LP the band sat around and assimilated; hear "The Wharf With No Name" and wonder why the Beatles never thought of it first; hop on one leg to "That's Finland, Dear" and understand why Acid House was just a nine-day wonder while Chuck Berry's rhythms still cascade like thunder. - Bevandra's Ears

    1. Disc To Disk
    2. You Gave Me The Power Of The Gangbusters
    3. Hey Alice!
    4. Rocks In My Heart
    5. He's Leaving
    6. The Tragic Tale Of The Rock 'N Roll Legend
    7. Ferris Wheel
    8. Human Hot Dogs
    9. The Wharf With No Name
    10. Carmen On Ice
    11. That's Finland, Dear
    12. Mourning Of Youth
    Axemen
    $24.99 $17.49 Save $7.50 (30%)
    Vinyl LP - Sealed Buy Now
  • The Diver (On Sale) The Diver (On Sale) On Sale Quick View

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    The Diver (On Sale)

    Led Er Est emerged from a series of jam sessions that core members Shawn O'Sullivan and Sam De La Rosa started having in early 2007, using bass guitar, some cheap drum machines and synths. They were inspired to record music largely by '70s synth-prog, and '80s lo-fi electronic and industrial music.


    They recorded a number of songs at friend Will Burnett's studio that Fall. Their first officially released track was on the Wierd Records compilation, Analogue Electronic Music Vol II. Owen Hutchinson joined the band for their first live show at the Wierd party that December. In January of 2008, they released their first 7, a split with Excepter member Jon Porkchop aka SSPS.


    Throughout 2008 and 2009 they self-recorded their first album, Dust on Common, which Wierd Records released in Nov. of 2009. In the Spring of 2010, they toured Europe with Xeno and Oaklander, playing shows in the UK , Belgium, Germany, the Czech Republic, and Italy. Subsequently they released a 7 and then the May EP on Captured Tracks. Led Er Est did a brief west coast run with Soft Moon last fall and just played SXSW.


    On stage and in the studio Led Er Est create a thick wall of atmospheric soundscapes using vintage analog recording devices, samplers and synths while using sci-fi soundtracks and cold wave as reference points. Led Er Est's sophomore full-length album, The Diver, was mixed by Chris Coady and will be released courtesy of Sacred Bones Records.

    1. Animal Smear
    2. Housefire at Zumi's
    3. Kaiyo Maru
    4. The Diver
    5. Bladiator
    6. Agua Fuerte
    7. Arab Tide
    8. Divided Parallel
    9. Iron the Mandala
    10. La Lluvia y Memoria
    11. Sanetta
    Led Er Est
    $18.99 $13.29 Save $5.70 (30%)
    Vinyl LP - Sealed Buy Now
  • Neverland (On Sale) Neverland (On Sale) On Sale Quick View

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    Neverland (On Sale)

    Colored Vinyl


    Catchy hooks and sweet vocal harmonies backed by a wall of thick fuzzy guitars and hard hitting drums with an added sprinkling of analog synth sounds, combined they result in a truly unique sound. Stoner rock, psychedelia, space rock or maybe it's just best described as Mangoo.


    Hailing from Turku, Finland, Mangoo have been busting out the fuzz since 2005 when they released their untitled debut EP. Countless beers, shows and drummers later in 2009 the first full-length, Neolithic (7:45 Records), was released. Since then the line-up has remained unchanged with Pickles playing guitar and singing, Mattarn with some more guitar, Igor bringing the bass, Teemu pounding away at the drums and Nicke playing keys and just generating weird noises... oh, and everybody singing along and having a good time.


    2012 will see the release of the bands second album and Small Stone debut, entitled Neverland. Like the debut it was recorded and produced by the band itself and displays growth to a more dynamic and even more varied sound. Neverland delivers the heavy, the mellow, the jams and the hooks. If you believe Benny Grotto, who mixed the album, it's a really cool band from Finland [...] who sorta sound like a cross between QOTSA, Rush, Yes, and the Foo Fighters. It's like, weird, proggy stoner rock, but with keyboards and gigantic pop hooks.

    LP1
    1. Intro
    2. Neverland
    3. Deathmint
    4. Diamond in the rough
    5. You
    6. Lose yourself
    7. Interlude
    8. You, Robot


    LP2
    1. Moom
    2. Painted Black
    3. Hooks
    4. Home
    5. Datzun
    6. Humiliation Express

    Mangoo
    $25.99 $18.19 Save $7.80 (30%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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