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  • Three Cheers For Sweet Revenge Three Cheers For Sweet Revenge Quick View

    $20.99
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    Three Cheers For Sweet Revenge

    Three Cheers for Sweet Revenge is the second studio album by My Chemical Romance, originally released on June 8, 2004. This was the band's first album to be released through Reprise and is the band's final release to feature drummer Matt Pelissier, who would later be replaced by Bob Bryar. The album has sold over one million copies in the United States.


    Three successful singles were released from this album: I'm Not Okay (I Promise), Helena and The Ghost of You.

    1. Helena
    2. Give 'Em Hell, Kid
    3. To the End
    4. You Know What They Do to Guys Like Us in Prison
    5. I'm Not Okay (I Promise)
    6. The Ghost of You
    7. The Jetset Life Is Gonna Kill You
    8. Interlude
    9. Thank You for the Venom
    10. Hang 'Em High
    11. It's Not a Fashion Statement, It's a Fucking Deathwish
    12. Cemetery Drive
    13. I Never Told You What I Do for a Living
    My Chemical Romance
    $20.99
    Vinyl LP - Sealed Buy Now
  • Three Cheers For Sweet Revenge (Picture Disc) (Pre-Order) Three Cheers For Sweet Revenge (Picture Disc) (Pre-Order) Quick View

    $24.99
    Buy Now
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    Three Cheers For Sweet Revenge (Picture Disc) (Pre-Order)

    Picture Disc Edition


    Three Cheers for Sweet Revenge is the second studio album by My Chemical Romance, originally released on June 8, 2004. This was the band's first album to be released through Reprise and is the band's final release to feature drummer Matt Pelissier, who would later be replaced by Bob Bryar. The album has sold over one million copies in the United States.


    Three successful singles were released from this album: I'm Not Okay (I Promise), Helena and The Ghost of You.

    1. Helena
    2. Give 'Em Hell, Kid
    3. To the End
    4. You Know What They Do to Guys Like Us in Prison
    5. I'm Not Okay (I Promise)
    6. The Ghost of You
    7. The Jetset Life Is Gonna Kill You
    8. Interlude
    9. Thank You for the Venom
    10. Hang 'Em High
    11. It's Not a Fashion Statement, It's a Fucking Deathwish
    12. Cemetery Drive
    13. I Never Told You What I Do for a Living
    My Chemical Romance
    $24.99
    Vinyl LP Picture Disc - Sealed PRE-ORDER Buy Now
  • Cheers, It's Christmas (On Sale) Cheers, It's Christmas (On Sale) On Sale Quick View

    $19.99 $15.79 Save $4.20 (21%)

    Buy Now
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    Cheers, It's Christmas (On Sale)

    GRAMMY nominated country superstar, Blake Shelton, is CMA Awards' reigning "Male Vocalist of the Year"for the 4th consecutive year, the 2013 recipient of "Album of the Year" for his current platinum-selling album, Based On a True Story and a coach on NBC's Emmy Award-winning reality singing competition series,The Voice. Noted to be one of the most versatile of contemporary country singers, according to The New York Times, Shelton is currently celebrating making history with his 12th consecutive No. 1 and latest single, My Eyes, marking the most consecutive No. 1 records atop the country airplay charts by an artist. His fifth single off this album and 17th No. 1 overall, follows up his multi-week No. 1 smash hit, "Boys 'Round Here," Doin' What She Likes, "Mine Would Be You," which topped the charts for three weeks, making it one of the longest-charting country singles of 2013, along with the albums debut singleSure Be Cool If You Did. Also a member of the Grand Ole Opry since 2010, Shelton has earned a host of other awards and nominations, including three GRAMMY nominations this year: Country Album of the Year, Country Solo Performance and Country Song of the Year for "Mine Would Be You." Meanwhile, his earlier hit, the infectious multi-week No.1, "Honey Bee still holds the record for the fastest-selling digital platinum single for a male country solo artist. "To a purist Mr. Shelton is a savvy student of tradition. To a would-be outlaw he's forever adding a wink. He's a star who is only as explicit as you want him to be," explains The New York Times. Shelton's passion for country music and his commitment to mentoring his teammates on The Voice make him an incredible ambassador for country music.
    1. Jingle Bell Rock (feat. Miranda Lambert)
    2. White Christmas
    3. Oklahoma Christmas (feat. Reba)
    4. Let It Snow! Let It Snow! Let It Snow!
    5. There's A New Kid In Town (feat. Kelly Clarkson)
    6. Santa's Got A Choo Choo Train
    7. Home (feat. Michael BublÉ)
    8. Winter Wonderland
    9. The Christmas Song
    10. Blue Christmas (feat. Pistol Annies)
    11. I'll Be Home For Christmas
    12. Silver Bells (feat. Xenia)
    13.Time For Me To Come Home (feat. Dorothy Shackleford)
    14. The Very Best Time Of Year (feat. Trypta-Phunk)
    Blake Shelton
    $19.99 $15.79 Save $4.20 (21%)
    Vinyl LP - Sealed Buy Now
  • The Black Parade The Black Parade Quick View

    $25.99
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    The Black Parade


    2LP w/D-Side Etching


    The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three Cheers For Sweet Revenge, is way more dramatic, way more theatrical, completely over the top, borderline psychotic, says Gerard Way. It's the most pure, intense thing we've ever been involved in. Producer by Rob Cavallo (Green Day), the album is a celebration of lvoe and death and darkness. Join The Black Parade.

    1. The End
    2. Dead!
    3. This Is How I Disappear
    4. The Sharpest Lives
    5. Welcome To The Black Parade
    6. I Don't Love You
    7. House Of Wolves
    8. Cancer
    9. Mama
    10. Sleep
    11. Teenagers
    12. Disenchanted
    13. Famous Last Words
    My Chemical Romance
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Oh! Pleasant Hope (Awaiting Repress) Oh! Pleasant Hope (Awaiting Repress) Quick View

    $13.99
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    Oh! Pleasant Hope (Awaiting Repress)

    1. Hiway Man
    2. Believer
    3. Money Troubles
    4. Travelling Man
    5. Oh! Pleasant Hope
    6. I'm The Light
    7. Ecological Blues
    8. Lester The Molester
    9. Heart Full Of Soul
    Blue Cheer
    $13.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Borodin - Symphonies 2 & 3 (London) (Speakers Corner) Borodin - Symphonies 2 & 3 (London) (Speakers Corner) Quick View

    $34.99
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    Borodin - Symphonies 2 & 3 (London) (Speakers Corner)

    Anyone believing in the old adage that science and the fine arts do not mix must rethink his ideas when he becomes acquainted with Alexandr Borodin's biography and his music. The Russian professor of chemistry constantly stole time from his lectures in order to compose; it was musical elements and formulas rather than chemical ones that occupied him.



    Without a doubt, the Second Symphony in B minor best reflects Russian feeling and temperament. Its rather harsh and mechanical theme is contrasted first by a lively little song and later by a conciliatory second subject. Cheerful and soothing melodies are heard in ever new combinations until the main theme returns once again and the movement is brought to a powerful close. The Scherzo, with its throbbing horns, march rhythms and thrilling woodwinds, is equally electrifying. The contemplative Andante is followed by a highly explosive Finale based on two Russian dance melodies which are widely varied during the course of the music.



    Both old and new friends of Russian symphonic music are highly recommended to experiment in their own "sitting-room laboratories" with this musically and chemically pure vinyl pressing.



    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October / November 1954 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker





    About Speakers Corner



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



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



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



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



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



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



    London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lotus Lotus Quick View

    $56.99
    Buy Now
    x

    Lotus


    40th Anniversary Limited Edition


    First-Time North American Release on Vinyl


    Stunning 3 LP 180 Gram Audiophile Vinyl, Original Japanese Tri-Fold LP Cover


    First Time Psychedelic Artwork Insert Enclosed


    Pressed at R.T.I.


    On July 3rd and 4th, 1973, Carlos Santana and The Santana Band played two very incredible
    shows for thousands of their delighted fans in Osaka, Japan. Cleverly capturing this
    historic event for a soon to be released live album Lotus , the executives at Sony Music Japan,
    known for their masterful audiophile skills, ran tape and the rest is now classic rock history.


    Initially released in Japan , the monumental 3 LP set Lotus would become one of the most
    celebrated live albums of the band's career. With the extensive two hour performance of nonstop
    hits and deep album track masterpieces, Lotus was also known for its extensive tri-fold LP
    cover and beautifully detailed artwork elements all the way down to each personalized record
    label. This album would soon become one of the most expensive imported albums at the time,
    as collectors and Santana fans in the states would pay serious dollars to get this incredible
    concert extravaganza.


    Featuring a cross section of Santana hits like Black Magic Woman , Oye Como Va,
    Waiting, and Every Step Of The Way, plus the exotic rhythms and jams on workouts like
    Batuka , Mantra and the beautifully orchestrated instrumental Samba Pa Ti, Carlos Santana's
    guitar was explosive as ever as witnessed by the cheers and shouts from the jubilant audience.


    The original vinyl version of this masterpiece has been out of circulation for decades
    - that is until now ..Friday Music continues our exclusive Santana 180 Gram Audiophile
    Vinyl Series with the groundbreaking first time North American release of the deluxe 3 LP 180
    Gram LP 1974 smash Lotus. Mastered impeccably by Joe Reagoso at Friday Music Studios
    and pressed at R.T.I., this super limited first time North American 180 Gram masterwork is
    truly one of the finest live albums to ever be released, and we are very excited to offer you this
    authorized 180 Gram LP today.


    Along with the legendary Carlos Santana on guitar and vocal, he is joined with original
    Santana band mates Michel Shrieve on his dynamic drums, Doug Rauch on his prolific
    bass, Jose Areas on hard hitting percussion, plus the brilliant jazz and funk superstar Leon
    Thomas on vocals, the celebrated Latin percussionist Armando Perez, and the stellar keyboard
    work of long time Santana associate Tom Coster.


    As an added bonus, the original trifold cover art and the special psychedelic insert artwork
    are now restored to their full glory which will further enhance your listening experience
    with deep tracks from hit albums like Abraxas, Welcome, Caravanserai and Santana 1 and 3.


    Let's all celebrate the 40th Anniversary of the classic mega rocker Lotus by Santana.
    Authentic, Authorized, and Absolutely Live Santana as only you would expect from your
    friends at Friday Music!

    LP 1
    1. Going Home
    2. A -1 Funk
    3. E Very Step Of The Way
    4. Bla Ck Magic Woman
    5. Gypsy Queen
    6. Oye Como Va
    7. Your S Is The Light
    8. Batu Ka
    9. Xibaba (she-ba-ba)


    LP 2
    1. Stone Flower (Introduction)
    2. Waitin G
    3. A Stillos De Arena Part 1 (Sand Castle)
    4. Free Angela (Bayete)
    5. Samba De Sausalito
    6. Mantra
    7. Kyoto (Drum Solo)
    8. Castillos De Arena Part 2 (Sand Castle)
    9. Se A Cabo


    LP 3
    1. Samba Pa Ti
    2. Mr Udo
    3. Tou Ssaint L'Overture
    4. In Cident At Neshabur

    Santana
    $56.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs 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
  • The Tel-Star Sessions The Tel-Star Sessions Quick View

    $33.99
    Buy Now
    x

    The Tel-Star Sessions


    Limited-Edition White Vinyl With Special Art


    Newly Mixed & Mastered


    The Mule's previously unreleased original recordings from 1994 are coming!


    In early summer of 1994, while on break from Allman Brothers work, the original Mule line-up of Warren Haynes, Allen Woody, and Matt Abts assembled at Tel-Star Studios outside Sarasota, Florida, to lay down on tape their vision to exhume the rock power trio - their influences ranging from Cream and Jimi Hendrix Experience to Blue Cheer and ZZ Top.


    Says Warren, "Allen Woody had plenty of ideas in that department -- starting with simultaneously bringing back the 'rock bass' sound. Along with our discussions about the 'power trio' being missing from the current musical landscape were the discussions of how the sound of the bass guitar had gotten progressively 'cleaner' since the '80s (or late '70s), and how that affected the overall feeling of the music. So, when we went in to the studio to do our first recording sessions, part of our mission was to capture an old familiar sound as well."


    What resulted from those sessions was the key soundscape of the band's rawness and excitement that Mule fans will love: straight-ahead rock- and blues-based song structures, explorative but tight and tough as a clenched fist. And while their search for that old familiar sound bore great creative fruit, these recordings also reflect the times in which they were recorded: there are interesting Soundgarden- and Alice In Chains-like musical references to grunge and the alternative rock sound that emerged from the early and mid-'90s.

    1. Blind Man In The Dark
    2. Rocking Horse
    3. Monkey Hill
    4. Mr. Big
    5. The Same Thing
    6. Mother Earth
    7. Just Got Paid
    8. Left Coast Groovies
    9. World Of Difference
    10. BONUS TRACK: World Of Difference (Alternate Version/Original Mix)
    Gov't Mule
    $33.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Natural Elements (Speakers Corner) Natural Elements (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Natural Elements (Speakers Corner)

    In the western world, the word shakti is taken to mean creative intelligence, beauty and strength. Guitar marvel John McLaughlin, who collaborated with the unique Mahavishnu Orchestra to tell the world of his conversion to Hinduism, created music past comparison with Shakti. Despite the frenzy of mass oriental pilgrimages, it was still unusual that McLaughlin's ensemble was made up totally of musicians from India.


    As the title of the third and last album - Natural Elements - suggests, all the participants work with body and soul and make no use of electronic equipment that was so popular in the Seventies. The very real natural energy, which emanates from the flow of melodies and rhythms from both western and eastern musical sources, fires all the musicians. And it is completely intentional that a cheerful fiddle tune, which might well be heard in the Emerald Isle, is joined by plopping volleys of sound on the tabla, inviting one to dance, or that dampened mariachi jubilation appears to be enveloped in the meditative atmosphere of a temple.


    The short, light and cheerful pieces on this LP provide easy listening and offer an ideal insight into the world of Shakti. These natural sounds, far from time and space, are still enjoyed today - as is proved by the presence of a large audience at the concert Remember Shakti, in which John McLaughlin and Zakir Hussain celebrated their 40-year spiritual ties.



    Musicians:



    • John McLaughlin (guitar, vocals)

    • L. Shankar (violin, viola, vocals)

    • Zakir Hussain (percussion, vocals)

    • T.H. Vinayakram (percussion, harp, vocals)





    Recording: July 1977 at Aquarius Studios, Geneva (Switzerland), by Jean Ristori

    Production: John McLaughlin





    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. Mind Ecology
    2. Face To Face
    3. Come On Baby Dance With Me
    4. The Daffodil And The Eagle
    5. Happiness Is Being Together
    6. Bridge Of Sighs
    7. Get Down And Sruti
    8. Peace Of Mind
    Shakti / John McLaughlin
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Abandoned City Abandoned City Quick View

    $19.99
    Buy Now
    x

    Abandoned City

    "It's a joy to listen to, and one of the
    brightest, most invigorating records
    I've heard all year." - Pitchfork


    "It's as infectious and disarming as it
    is genre-defying." - Mojo


    Hauschka is a composer, songwriter and experimental musician who
    has brought an exciting new perspective to the prepared piano - a
    technique for getting new sounds from the acoustic keyboard by
    resting pieces of paper or drumsticks on the strings of the instrument.


    Abandoned City was recorded in Hauschka's home studio in a burst
    of creative energy following the birth of his first son. The songs were
    recorded using nine microphones. Six recorded the sounds coming
    from the piano strings through an analogue console feeding directly
    into a computer to preserve the instrument's full, warm sound. Three
    others passed the tones through a mixer full of effects - delay,
    distortion, echo - that can be triggered separately or used
    simultaneously. Hauschka creates the music and the arrangements
    as he goes, trusting the music to take him in the proper direction.
    "Most of the songs were played on one piano; I was mixing as I
    played. If I needed more piano, I overdubbed with another twiddling of
    effects. All the sounds - harp, balafon, Melodica, drums - are
    produced by the keyboard," Hauschka explains. The compositions on
    Abandoned City awaken the loneliness and unattainable romance of
    timeless, unfamiliar places, with cinematic melodies full of resonant
    overtones, bright cheerful keyboard patterns and dark percussive
    touches. The tracks all bear the names of actual vacant cities.


    Hauschka chose Abandoned City as the title of the album to convey
    the sense of hope and sadness that consumes him when he's sitting
    alone at the keyboard. "I was interested in finding a metaphor for the
    inner tension I feel when I'm composing music, a state of mind where
    I'm lonely and happy at the same time," Hauschka professes. "When I
    saw photos of abandoned cities, I felt it was perfect. People once lived
    there, but they left in a rush and now nature has taken over in a
    beautiful way, things are growing up from the sidewalk and the
    seasons are changing colors. The music is dark, but in a quiet,
    uplifting way. The piano is singing the melody but, because of the
    effects, you can't hear it directly. It's like the sound of a choir under the
    earth, something you feel without realizing it."

    1. Elizabeth Bay
    2. Pripyat
    3. Thames Town
    4. Who Lived Here?
    5. Agdam
    6. Sanzhi Pod City
    7. Craco
    8. Barkersville
    9. Stromness
    Hauschka
    $19.99
    Vinyl LP - Sealed Buy Now
  • Sticky Fingers (Super Deluxe) Sticky Fingers (Super Deluxe) Quick View

    $179.99
    Buy Now
    x

    Sticky Fingers (Super Deluxe)


    Remastered Album And Bonus CD Featuring Previously Unreleased Alternate Takes And Live Performances


    Plus 'Get Yer Leeds Lungs Out' CD, A DVD Featuring 2 Tracks From 'live At The Marquee' And 7" Vinyl With Brown Sugar And Wild Horses


    All Housed In A Presentation Box With Hardback Book Complete With Real Zip


    Plus Print, Poster, 4 Postcard Set And Mini Replica Of Band Cut Out


    The carefully put together 120 page limited edition book recounts the making of this classic Stones album with an extensive essay by Nick Kent, embellished with previously unpublished images of the band and lavishly illustrated with metallic gold ink throughout.


    Sticky Fingers, one of the most revered albums in the storied catalogue of the legendary Rolling Stones, is set to enthral a new generation of admirers. The 1971 classic - which captured the band at the absolute peak of their powers, on timeless tracks such as 'Brown Sugar,' 'Wild Horses,' 'Bitch,' 'Sister Morphine' and 'Dead Flowers'.


    Sticky Fingers was recorded in Muscle Shoals, Alabama, Stargroves, Mick's country home and Olympic Studios in London, and produced by regular confidant Jimmy Miller, Sticky Fingers was released shortly after the Stones became exiled in the south of France, leaving Britain after a sensational farewell tour. It also featured some of the most ground breaking artwork in rock history by Andy Warhol, with its famous working zip on the front cover.


    Sticky Fingers has been repeatedly hailed as one of the Stones' all-time great albums, capturing their trademark combination of swagger and tenderness in a superb collection. It continued the incredible outpouring of creative energy that had produced 1968's Beggars Banquet and Let It Bleed in 1969. After Sticky Fingers, the Stones' relocation to the south of France led to the double album masterpiece Exile On Main St. The highly acclaimed Sticky Fingers showcased the ever more inventive song writing of Mick Jagger and Keith Richards, and formidable guitar licks from Mick Taylor.


    The Super Deluxe edition will also house Get Yer Leeds Lungs Out!, the 13-track audio recording of the Stones' gig in Leeds in March 1971, shortly before their 'exile' in France began. The set included versions of the just-completed 'Brown Sugar,' 'Bitch' and 'Dead Flowers,' one of their many authentic forays into country music territory.


    The first sessions that led to Sticky Fingers took place as far back as December 1969, in the remote location of Muscle Shoals Sound Studios, Alabama. The band then reconvened, back home in the UK both at Olympic and with the Rolling Stones Mobile parked up at Mick Jagger's Stargroves home.


    On April 23, 1971, 504 days after that first session in Alabama, Sticky Fingers was released, cheered on by media and public alike. "It is the latest beautiful chapter in the continuing story of the greatest rock group in the world," wrote Rolling Stone.

    7" Vinyl
    1. Brown Sugar
    2. Wild Horses


    CD1
    1. Brown Sugar
    2. Sway
    3. Wild Horses
    4. Can't You Hear Me Knocking
    5. You Gotta Move
    6. Bitch
    7. I Got The Blues
    8. Sister Morphine
    9. Dead Flowers
    10. Moonlight Mile


    CD2
    1. Brown Sugar (Alternate Version with Eric Clapton)
    2. Wild Horses (Acoustic Version)
    3. Can't You Hear Me Knocking (Alternate Version)
    4. Bitch (Extended Version)
    5. Dead Flowers (Alternate Version)
    6. Live With Me (Live At The Roundhouse, 1971)
    7. Stray Cat Blues (Live At The Roundhouse, 1971)
    8. Love In Vain (Live At The Roundhouse, 1971)
    9. Midnight Rambler (Live At The Roundhouse, 1971)
    10. Honky Tonk Women (Live At The Roundhouse, 1971)


    CD3: Get Yer Leeds Lungs Out
    1. Jumpin Jack Flash (Live At Leeds University, 1971)
    2. Live With Me (Live At Leeds University, 1971)
    3. Dead Flowers (Live At Leeds University, 1971)
    4. Stray Cat Blues (Live At Leeds University, 1971)
    5. Love In Vain (Live At Leeds University, 1971)
    6. Midnight Rambler (Live At Leeds University, 1971)
    7. Bitch (Live At Leeds University, 1971)
    8. Honky Tonk Women (Live At Leeds University, 1971)
    9. (I Can't Get No) Satisfaction (Live At Leeds University, 1971)
    10. Little Queenie (Live At Leeds University, 1971)
    11. Brown Sugar (Live At Leeds University, 1971)
    12. Street Fighting Man (Live At Leeds University, 1971)
    13. Let It Rock (Live At Leeds University, 1971)


    DVD - Live at the Marquee, 1971
    1. Midnight Rambler
    2. Bitch

    The Rolling Stones
    $179.99
    7 Vinyl Single + 3 CDs + DVD Box Set - Sealed Buy Now
  • Trompe Le Monde (On Sale) Trompe Le Monde (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Trompe Le Monde (On Sale)


    The Pixies Trompe Le Monde On Numbered Limited Edition 180g LP From Mobile Fidelity


    Pixies Swan Song Sparks With Electrically Charged Hooks, Outer-Space Atmospherics, And Eminent Tunefulness



    Mastered From The Original Master Tapes: Restoration Turns 1991 Album Into A Sonic Blockbuster


    Frank Black-led Set Includes Contagious Cover Of The Jesus And Mary Chain's "Head On"


    The Pixies verged on commercial breakthrough when the now-iconic band released Trompe le Monde in September 1991. A sea change in popular music tastes that the band helped initiate began to sweep the world. And the Boston quartet seemed prepared to lead the way, with this, its eminently tuneful fourth record, jam-packed with crafty hooks, prickly tones, catchy elements, outer-space atmospherics, electrically charged energy, and delightfully quirky lyrics.


    As it stands, Trompe le Monde takes its place as one of the finest swan songs ever recorded. If the Pixies wouldn't have broken up right after its release, there's no telling what would've happened. All that you need to know is that the 15-track effort is as hard rocking and brilliantly innovative as any of the group's creations. That's no small feat.


    Mastered from the original analog tapes and pressed at RTI, Mobile Fidelity's numbered limited edition 180g LP presents the ensemble's abrasively melodic landmark in a fidelity it's never enjoyed in any prior version. Featuring lusher keyboards and moodier soundscapes than its predecessors, but also reclaiming the nasty guitar edginess and swooning distortion of the group's earliest efforts, Trompe de la Monde finally comes across as the Pixies intended: A sonic bridge between college-rock's influential cruder-textured albums and the polished professionalism that distinguished alt-rock classics.


    In other words, Mobile Fidelity's version presents it as the perfect-sounding album: Replete with grit, rawness, and character, but mixed in with radio-friendly smoothness and virtuosic professionalism. Awash with incredible timbres and tonalities, myriad new details rise to the surface. Listen to the counterpoint melodies and layered vocals on "Letter to Memphis"; the trash-compactor feedback and thumping bass during the whipsawing "Planet of Sound"; the "Spyhunter"-like pace and limitless depth now present on "Subbacultcha." Dynamics, contrasts, low-end frequencies, and imaging are all significantly enhanced. Compared to the original CD, Trompe le Monde emerges as a new album-a sonic wonderland that's not far removed from that of Nirvana's celebrated blockbuster Nevermind.


    Musically, the Pixies were never better. On par with the groundbreaking Surfer Rosa and Doolittle, Trompe le Monde explodes with hyper riffs, jerks to stop-start progressions, elates with cheerful emotions, and bangs on to giddy surf-fused arrangements. With Kim Deal absent from the songwriting process, vocalist/guitarist Frank Black takes the reigns and doesn't disappoint. Tales about sea monkeys ("Palace of the Brine"), aliens ("Planet of Sound"), and love ("The Sad Punk") bop alongside memorable jabs at hipster pretensions ("Subbacultcha") and inflated egos ("U-Mass"). A contagious cover of the Jesus and Mary Chain's "Head On" will have you hitting "repeat." Power pop, wanderlust punk, theatrical glam rock, reconfigured reverb-laden country-all here, all encouraging repeat listens.


    Nearly lost due amidst the alternative trend that it played such a key role in spawning, Trompe le Monde gets new life courtesy of this extremely punchy, greatly balanced Mobile Fidelity issue. If you missed it the first time, don't make that mistake again. Essential with a capital "E," and the perfect way to close Mobile Fidelity's Pixies catalog restoration series.


    This title is not eligible for further discount.

    1. Trompe le Monde
    2. Planet of Sound
    3. Alec Eiffel
    4. The Sad Punk
    5. Head On
    6. U-Mass
    7. Palace of the Brine
    8. Letter to Memphis
    9. Bird Dream of the Olympus Mons
    10. Space (I Believe In)
    11. Subbacultcha
    12. Distance Equals Rate Times Time
    13. Lovely Day
    14. Motorway to Roswell
    15. The Navajo Know
    Pixies
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Edgar Winter's White Trash (Speakers Corner) Edgar Winter's White Trash (Speakers Corner) Quick View

    $34.99
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    Edgar Winter's White Trash (Speakers Corner)

    Question: What is whiter than white? There's only one answer: Winter - Edgar Winter. While his equally pale-faced brother Johnny turned towards black music with a country-blues touch (Columbia KCS 9949 and CS 9826), Edgar was inspired by the traditional big-band sound. The brotherly link paid off, for it freed the talented Edgar from having to make strenuous appearances at night in clubs and gave him the chance to join his older brother in the recording studio.


    After his successful debut release Entrance, Winter gathered an all-star band around him and entered the studio to record White Trash, which landed a smash hit on the US charts. And no wonder - for these soul rockers give everything in a unique mixture of funk, blues and rock 'n' roll. Right from the first number Give It Everything You Got, a broadly striding rock title with brass, the whole album is bursting with energy and a great atmosphere. Wiry blues with meaty vocals enough to make your hair curl (I've Got News For You) is followed by the demand - in meaty, snapped phrases - for cheerful rock 'n' roll (Keep Playin' That Rock And Roll). And let's not forget the sometimes madly intertwined solo parts, where the musicians really let off steam. A true celebration of rock 'n' roll.

    Musicians:



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

    • Jerry laCroix (vocal, tenor saxophone, harp)

    • Floyd Radford (guitar)

    • Johnny Winter (guitar)

    • Rick Derringer (guitar)

    • Jon Smith (vocal, tenor saxophone)

    • Mike McLellan (vocal, trumpet)

    • George Sheck (bass)

    • Bobby Ramirez(drums)




    Recording: 1971 by Pete Weiss - Production: Rick Derringer

    Production: Bob Thiele




    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. Give It Everything You Got
    2. Fly Away
    3. Where Would I Be
    4. Let's Get It On
    5. I've Got News For You
    6. Save The Planet
    7. Dying To Live
    8. Keep Playin' That Rock 'N' Roll
    9. You Were My Light
    10. Good Morning Music
    Edgar Winter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bartok: The Six String Quartets (Speakers Corner) Bartok: The Six String Quartets (Speakers Corner) Quick View

    $95.99
    Buy Now
    x

    Bartok: The Six String Quartets (Speakers Corner)

    Throughout the ages, the string quartet with its usual forces has always been regarded as the crowning discipline among all forms of composition. Poetically described by Carl Maria von Weber as the »nude of musical art« and by Goethe as a cultured conversation among equals, the genre reflects the creative art of important composers from the Viennese Classicism right up to modern times.


    Bartók's six String Quartets, written over the span of roughly 30 years, demonstrate his development as a composer in the purest form. In the Quartets, stated Bartók, I condense to the extreme. In the very first quartet, which is orientated on traditional formal structures, Bartók travels down his own path by lending different weight to the various formal sections, rejecting repeats, and joining the movements together by means of bridging passages.


    The second quartet is exemplary for its intentional distance from the Romantic in favour of a composition based on simple folksongs, in which Bartók attempts to grasp the folk sound in his compositional structures, whereby he never quite disregards the tonal rules but certainly begins to free himself from them.


    The new richness in the third quartet with regard to counterpoint, melody and harmony as well as tone, is described by the sociologist and composer Theodor W. Adorno - with allusion to the musical creativity of the Hungarian peasants - as a »tent camp of improvisation«, which ventures here and there towards the avant-garde. As a contrast, the fourth quartet is almost relaxed in tone, the form and compositional technique is simple and uncomplicated in expression (Ludwig Finscher). For the first time, Bartók employs his idea of an 'arch' structure in which Hungarian folklore and the classical-romantic chamber-music forms are amalgamated. Like the fourth, the fifth quartet is also written in arch form, but in contrast to the fourth it is more cheerful and transparent. The sixth and final quartet was the last piece that Bartók wrote in Hungary before emigrating to the United States of America. All four movements have a mesto introduction, which induce a melancholy mood and seem to reflect the composer's personal circumstances.


    The Juilliard Quartet was the very first American ensemble to record the six quartets in roughly 1950, and they took up the challenge to record the works once again in the middle of the 60s, in order to give each of the unique works a conclusive performance. With firm bowing, and a dry and direct tone, the musicians dissect the substantial power of these works to reflect all the different aspects of the manuscripts.

    Musicians:



    • The Juilliard String Quartet


    Recording: between May and September 1963 at Columbia Recording Studios, New York City, by Fred Plaut

    Production: Paul Myers





    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.



    String Quartet No. 1
    I - Lento
    II - Allegretto
    III - Introduzione: Allegro; Allegro Vivace
    String Quartet No. 2
    I - Moderato
    II - Allegro Molto Capriccioso
    III - Lento
    String Quartet No. 3
    Prima Parte: Moderato
    Seconda Parte: Allegro
    Recapitulazione Della Prima Parte: Moderato
    Coda: Allegro Molto
    String Quartet No. 4
    I - Allegro
    II - Prestissimo, Con Sordino
    III - Non Troppo Lento
    IV - Allegretto Pizzicato
    V - Allegro Molto
    String Quartet No. 5
    I - Allegro
    II - Adagio Molto
    III - Scherzo: Alla Bulgarese
    IV - Andante
    V - Finale: Allegro Vivace
    String Quartet No. 6
    I - Mesto; Vivace
    II - Mesto; Marcia
    III - Mesto: Burletta: Moderato
    IV - Mesto
    Bela Bartok
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Far Canal Far Canal Quick View

    $37.99
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    Far Canal

    Pressed On 180 Gram Vinyl


    Jody Grind's second and final record Far Canal is a much sought after proto-prog album. The sound of the group, while still in the early British serious progressive rock bag, had somewhat changed compared to their debut. The jazzy inclinations of the debut are mostly gone, save the atypically tasteful instrumental Ballad for Bridget. On We've Had It and parts of Vegetable Oblivion, there was a classical melodic influence that is more accessible than anything on the first album. It is somewhat more in line with groups such as Yes, though Jody Grind were far less cheerful.


    On this record you can hear chops of heavy, somber organ-guitar interplay. While the presence of three consecutive tracks titled Plastic Shit, Vegetable Oblivion, and Red Worms and Lice might lead you to expect some Frank Zappaesque, progressive hard rock pieces.

    1. We've Had It
    2. Bath Sister
    3. Jump Bed Jed
    4. O Paradiso
    5. Plastic Shit
    6. Vegetable Onion
    7. Red Worms & Lice
    8. Ballad For Bridget
    Jody Grind
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • What A Way To Die What A Way To Die Quick View

    $24.99
    Buy Now
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    What A Way To Die

    The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.


    The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
    Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"


    The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.


    That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."


    The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."


    "The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."


    Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."


    A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."


    Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."


    After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."


    The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.


    The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."


    - Mike & Anja Stax (Ugly Things magazine)

    1. Intro By DJ The Lord
    2. Gotta Get Away
    3. Never Thought You'd Leave Me
    4. Light Of Love
    5. Good Kind Of Hurt
    6. What A Way To Die
    7. Elevator Express
    8. Locked In Your Love
    9. White Pig Blues
    10. Brain Confusion
    11. Where Have You Gone
    12. Mr. Power
    The Pleasure Seekers
    $24.99
    Vinyl LP - Sealed Buy Now
  • Die Screaming Die Screaming Quick View

    $32.99
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    Die Screaming

    Something sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.


    Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.


    With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.


    This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.


    Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.

    1. Thumper's Theme
    2. Instruments of Hellfire

    3. Curse of the Corpse
    4. Black Souls
    5. Show Me Your Skull
    6. One By One
    7. Lucifer Lives
    8. Die Screaming
    Satan's Satyrs
    $32.99
    Vinyl LP - Sealed Buy Now
  • Christmas Party Christmas Party Quick View

    $29.99
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    Christmas Party

    Christmas Party is the new holiday album from She & Him, the duo comprised of Zooey Deschanel and M. Ward. Christmas Party is the follow up to their wildly popular A Very She And Him Christmas, and this new collection features guest appearances by Jenny Lewis, The Chapin Sisters and Sonic Youth's Steve Shelley.


    Christmas Party is replete with holiday favorites - including classics like Darlene Love and Phil Spector's Marshmallow World, Bing Crosby's Mele Kalikimaka and Chuck Berry's Run Run Rudolph. But, Ward and Deschanel also may introduce listeners to the more obscure tracks such as folk-singer Vashti Bunyon's Coldest Night of the Year and the lesser know Sinatra track Christmas Memories. Pop favorites such as Mariah Carey's All I Want for Christmas Is You and The Chipmunks Christmas Don't Be Late round out the celebration. Throughout the album is She & Him's signature stripped down take on production.


    It was the positive experience they had recording their first Christmas record, A Very She & Him Christmas, in 2011 that brought M. Ward and Zooey Deschanel back for another round of holiday cheer. Much like their first Christmas record, She & Him bring an organic and minimalistic approach to their holiday covers. Highly produced classics get stripped down to their most fundamental elements, a style perfectly aligned with their vision. You won't find any accompanying orchestra or full-piece brass bands on Christmas Party. Instead, She & Him rely on friends and family to lend a simple and authentic holiday vibe to this album, one where the guest list speaks for itself.


    In the years between the two holiday records, She & Him released Vol. 3, an album of original songs, and kept their affection for covers alive with Classics, a compilation of covers of their favorite standards. Throughout these intervening years and albums, Zooey and Ward gradually culled a new collection of holiday songs to re-interpret, tucking them away like a stack of presents growing under a tree. As Christmas Party comes to a close, the listener can take solace in knowing the door on this gathering is never fully shut. The sing-alongs, the happy accidents, the quiet moments with loved ones - they're all waiting for you whenever you wish to immerse yourself in the splendor of the season. As Ward himself says, Music is one of the purest ways into Christmas.

    1. All I Want for Christmas Is You
    2. Let It Snow
    3. Must Be Santa
    4. Happy Holiday
    5. Mele Kalikimaka
    6. Christmas Memories
    7. Run Run Rudolph
    8. Winter Wonderland
    9. The Coldest Night of the Year
    10. A Marshmallow World
    11. The Man with the Bag
    12. Christmas Don't Be Late
    She & Him
    $29.99
    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
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    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
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