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  • Pro-Ject Xtension 12 Evolution Turntable 6 OPTIONS AVAILABLE Pro-Ject Xtension 12 Evolution Turntable Quick View

    $4,499.00
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    Pro-Ject Xtension 12 Evolution Turntable


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Manual turntable with build in Pro-Ject Speed Box SE


    Pro-Ject's Xtension 12 incorporates over 20 years of experience in turntable design and manufacture. The Xtension 12 represents their latest technological efforts to address mass-decoupling and resonance reduction. Beginning with the mass-loaded magnetically floated sub-chassis and the precision balanced sandwich alloy platter (recycled vinyl/alloy), the foundation of this system weighs in at a super-heavy 55lbs. Additionally, Pro-Ject employs magnetic decoupling feet to thwart airborne or mechanical vibration from disturbing playback. This mass and isolation creates an environment of extremely low resonance allowing music to emerge from an ultra-silent black background. An AC motor with a two-step pulley drive with Electronic Speed Control maintains perfect pitch and rhythm resulting in inaudible wow, flutter and noise. There's even a built-in spirit level to assist setting the height-adjustable magnetic footers.


    Further reducing noise and vibration is the isolated Sorbothane mounting board for the 12 carbon-fiber tonearm. The conical arm and unified headshell are fabricated from a single piece of carbon fiber to avoid problems associated with standing wave reflections. Single screw fixing of the armtube allows for easy rotation for adjustment of needle azimuth. Additionally the arm is fully adjustable for VTA. A high-performance 123cm phono interconnect cable is included.


    Optional SuperPack includes Sumiko Blackbird Cartridge at a significantly reduced price.


    Pro-Ject
    $4,499.00
    Xtension 12 Evolution Turntable - 3 Colors Available - SuperPack Option
    Buy Now
  • Thorens TD 295 MKIV Turntable - Mahogany Thorens TD 295 MKIV Turntable - Mahogany Quick View

    $1,199.00
    Buy Now
    x

    Thorens TD 295 MKIV Turntable - Mahogany


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    An Elegant Classic


    In the TD 295 MK IV, technical finesse and first-rate sound go hand in hand with elegant appearance. It is based on tried and tested components, which are complemented by the new TP 41 tonearm. The warm wooden colours of the plinth may be freely combined with either classic or contemporary furniture styles in order to have this record player stand out in any room. Indeed an elegant classic at its best.


    Thorens Turntables
    $1,199.00
    Thorens TD 295 MKIV Turntable Buy Now
  • Mad Dogs & Englishmen Mad Dogs & Englishmen Quick View

    $42.99
    Buy Now
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    Mad Dogs & Englishmen

    Mad Dogs and Englishmen is Joe Cocker's legendary live album, recorded in 1970 at the Fillmore East.


    For this record Joe Cocker created a unique sound: a veritable definition of big-band rock with three dozen players working behind the singer.
    Mad Dogs and Englishmen consists mostly of covers, drawing equally from rock (The Rolling Stones, Traffic, Bob Dylan, The Beatles) and soul (Ray Charles, Sam and Dave, Otis Redding), and is as much a showcase for arranger & bandleader Leon Russell as it is for Joe Cocker.


    As we now know the tour from which this album was drawn took a heavy toll on Joe Cocker and especially his vocal chords because the music was presented on such a grand scale.


    Nevertheless, the music still stands to this date and beyond.

    LP 1
    1. Introduction
    2. Honky Tonk Women
    3. Introduction
    4. Sticks And Stones
    5. Cry Me A River
    6. Bird On The Wire 6:15
    7. Feelin' Alright
    8. Superstar
    9. Introduction
    10. Let's Go Get Stoned


    LP 2
    Blue Medley:
    1a I'll Drown In My Own Tears
    1b When Something Is Wrong With My Baby
    1c I've Been Loving You Too Long
    2. Introduction
    3. Girl From The North Country
    4. Give Peace A Chance
    5. Introduction
    6. She Came In Thru The Bathroom Window
    7. Space Captain
    8. The Letter
    9. Delta Lady

    Joe Cocker
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • VPI Player Turntable VPI Player Turntable Quick View

    $1,500.00
    Buy Now
    x

    VPI Player Turntable



    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Comes Pre-Mounted With An Ortofon 2m Red Cartridge, Phonostage And Headphone Amplifier


    The VPI Player is an all in one high-end entry level turntable. It comes complete with a phonostage, and pre-mounted Ortofon 2M Red cartridge, and a headphone amplifier. It is the perfect solution to enjoying your records! It also has standard RCA connections providing the ability to connect to a standard amplifier and desktop/floor standing speakers. The Player turntable is a precision instrument that has been thoroughly tested to create the musical experience you're looking for! It is also now available in two finished Hard Rock Maple and Mocha Walnut.


    VPI Turntables
    $1,500.00
    Player Turntable
    Buy Now
  • Pro-Ject VT-E Turntable 3 COLORS AVAILABLE Pro-Ject VT-E Turntable Quick View

    $349.00
    Buy Now
    x

    Pro-Ject VT-E Turntable



    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Plug & play audiophile turntable with space-saving vertical design and wall-mount option


    Our VT-E turntable proves that turntable setup doesn't have to be rocket science. This great sounding belt-driven deck even comes in two separate versions for both left- and right-handed users*. The VT-E can be positioned either free-standing on a table or wall-mounted using the included low-profile metal bracket. Installation is a breeze since everything is pre-adjusted out of the box - tracking and anti-skating force are carefully set so no further set-up needed! The VT-E turntable is available in matte black, red, or white.


    *for the left-handed option, please contact our audio advisor.


    Pro-Ject
    $349.00
    VT-E Turntable - 3 Colors Available
    Buy Now
  • Pro-Ject 2Xperience Primary Acryl Turntable 4 COLORS AVAILABLE Pro-Ject 2Xperience Primary Acryl Turntable Quick View

    $999.00
    Buy Now
    x

    Pro-Ject 2Xperience Primary Acryl Turntable



    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Limited edition audiophile turntable with acrylic chassis and class-leading sound!


    2Xperience Primary Acryl is an ultra-stylish record player that uses advanced technology for great sound. A quiet running AC motor with a two-step pulley drives the platter's outside edge via a belt. The resonance-optimised MDF platter with screwdown record clamp runs on a low-tolerance stainless-steel axle with Teflon bearing plate in a sintered bronze bearing housing. The transparent acrylic plinth stands on three height-adjustable TPE-damped aluminium cones.


    An external power supply avoids potential electro-mechanical interference. The sophisticated 9 tonearm uses an one-piece aluminium headshell & armtube and an inverted bearing design with four hardened ABEC7 spec ballraces. The solid armbase permits accurate height adjustment of armtube and VTA (vertical tracing angle) if needed. The internal wiring consists of flexible high-purity copper from the headshell right through to the gold-plated phono sockets.


    Pro-Ject
    $999.00
    2Xperience Primary Acryl Turntable - 4 Colors Available
    Buy Now
  • Couldn't Stand The Weather (Pure Pleasure) Couldn't Stand The Weather (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Couldn't Stand The Weather (Pure Pleasure)

    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80's. Vaughan drew equally from bluesmen like Albert King, Otis Rush, and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For the next seven years, Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.

    Musicians:



    • Stevie Ray Vaughan (vocal, guitar)

    • Jimmie Vaughan (guitar)

    • Stan Harrison (tenor saxophone)

    • Tommy Shannon (bass)

    • Chris "Whipper" Layton, Fran Christina (drums)



    Format: 2LPs 33rpm / standard sleeve



    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.


    Side 1
    1. Scuttlebuttin'
    2. Couldn't Stand The Weather
    3. Things That I Used To Do


    Side 2
    4. Voodoo Chile (Slight Return)
    5. Cold Shot


    Side 3
    6. Tin Pan Alley
    7. Honey Bee
    8. Stang's Swang


    Side 4
    9. SRV Speaks
    10. Hide Away
    11. Look at Little Sister
    12. Give Me Back My Wig
    13. Come On (Pt.3)

    Stevie Ray Vaughan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Crosley CR6233A-RE Dansette Bermuda Portable Turntable (On Sale) Crosley CR6233A-RE Dansette Bermuda Portable Turntable (On Sale) On Sale Quick View

    $249.99 $219.99 Save $30.00 (12%)

    Buy Now
    x

    Crosley CR6233A-RE Dansette Bermuda Portable Turntable (On Sale)


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Send music on a fun tropical vacation in the beautifully stylish Crosley Bermuda turntable. Based on vintage Dansette sets, this iconic two-speed turntable can stand on its slender, mod legs or chill out on a tabletop. Anywhere sweet music belongs, built in speakers make this Bermuda ready to party.



    Crosley
    $249.99 $219.99 Save $30.00 (12%)
    CR6233A-RE Dansette Bermuda Portable Turntable Buy Now
  • Thorens TD 295 MKIV Turntable - Black Piano Thorens TD 295 MKIV Turntable - Black Piano Quick View

    $1,199.00
    Buy Now
    x

    Thorens TD 295 MKIV Turntable - Black Piano


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    An Elegant Classic


    In the TD 295 MK IV, technical finesse and first-rate sound go hand in hand with elegant appearance. It is based on tried and tested components, which are complemented by the new TP 41 tonearm. The warm colour of the plinth may be freely combined with either classic or contemporary furniture styles in order to have this record player stand out in any room. Indeed an elegant classic at its best.


    Thorens Turntables
    $1,199.00
    Thorens TD 295 MKIV Turntable Buy Now
  • Crosley C20A-ZE Two Speed Manual Turntable (On Sale) Crosley C20A-ZE Two Speed Manual Turntable (On Sale) On Sale Quick View

    $559.99 $499.99 Save $60.00 (11%)

    Buy Now
    x

    Crosley C20A-ZE Two Speed Manual Turntable (On Sale)


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    From the Crosley C-series, the C20 turntable has been designed and engineered with style and sound in mind. Crafted from audio-quality MDF and wrapped in genuine zebrano wood veneer, the minimalist plinth supports a solid semi-opaque acrylic platter and stands on three feet to keep vibrations at bay. The powerful belt-driven motor turns two speeds, 33rpm and 45rpm, to play both LPs and singles.


    The C20 is installed with a built-in phono-stage with USB output, useful for capturing favorite albums for the future. The S-shaped aluminum tonearm with sapphire bearings is equipped with an Ortofon OM10 Cartridge pre-mounted and adjusted. Tuning to taste has never been easier with adjustable tonearm counterweights and anti-skate adjustment. High-end features and timeless style meet in one classic turntable.


    Crosley
    $559.99 $499.99 Save $60.00 (11%)
    C20A-ZE Two Speed Manual Turntable Buy Now
  • 21st Century Vinyl: Michael Fremer's Practical Guide to Turntable Set-Up 21st Century Vinyl: Michael Fremer's Practical Guide to Turntable Set-Up Quick View

    $29.99
    Buy Now
    x

    21st Century Vinyl: Michael Fremer's Practical Guide to Turntable Set-Up

    Stereophile magazine senior contributing editor and analog expert Michael Fremer presents his almost three hour long Practical Guide to Turntable Set-Up. Fremer sets up three popular turntables from Pro-Ject, Rega and VPI. Using the hands-on phono cartridge installation techniques, tips and basic principles demonstrated with close-ups and flash animation, any turntable from the popular Technics SL-1200 to the most esoteric can be set up to perfection. Also included: an interview with famed Sterling Sound mastering engineer George Marino, and a 20 page PDF file embedded in the disc's DVD-ROM section that includes even more detailed technical descriptions and an article on record cleaning no vinyl fan should be without. Despite the seemingly dry subject matter, the disc is entertaining. There are even some laughs as Fremer once did stand up comedy (he played legendary Max's Kansas City and even opened for bands like Television and The Jam).


    Michael Fremer
    $29.99
    DVD-Sealed Buy Now
  • HR-X Mini Feet HR-X Mini Feet Quick View

    $500.00
    Buy Now
    x

    HR-X Mini Feet



    A Huge Upgrade for Scout and Aries Series Tables!


    Upgrade the original coned feet on any Scout, Scoutmaster, Super Scoutmaster and Aries Series turntables ever made with the new VPI Mini HR-X Replacement Feet! These heavier and more stable composite HR-X Style Feet provide greater stability, vibration control and better sound.


    This is one of the best, most affordable and easiest to install upgrades VPI has ever made. Just unscrew your existing coned feet and screw in your new VPI Mini HR-X Feet to take your turntable one step closer in sound to VPI's flagship model the VPI HR-X!


    The VPI Mini HR-X Feet fit almost exactly inside the dimensions of your Scout, Scoutmaster, Super Scoutmaster or Aries Plinths which means no incompatibility with dustcovers and the like!


    The VPI Mini HR-X Feet are quite heavy (almost 1 pound per foot), well isolated and have a very stable 2 1/2' diameter footprint! They are made of a composite of Delrin and Stainless Steel similar the plinth of the highly acclaimed VPI HR-X. They also have a damping mechanism integrated into the design as well. The bottom of the feet have 3 steel ball bearings that are the contact point with your stand to further minimize vibration. The result of all these design features is a lower noise floor, tighter bass and improved overall clarity and soundstage for your VPI turntable.


    Easy to use and install! Just unscrew the existing coned feet beneath your plinth and replace them with the VPI Mini HR-X Feet!


    VPI Accessories
    $500.00
    HR-X Mini Feet Buy Now
  • Ventures In Space Ventures In Space Quick View

    $24.99
    Buy Now
    x

    Ventures In Space

    Colored Vinyl


    Sundazed is proud to rightfully address the magnificent Ventures catalog, each title has been sourced from the original Dolton and Liberty Records reels and has been painstakingly mastered to sound and feel like they were originally intended. Along with precise artwork restoration on each title, these new Sundazed editions stand as the definitive re-releases of these monumentally important albums.


    Originally released on Dolton Records in 1963, the Ventures In Space features 12 trademark guitar-driven space age pop instrumentals primarily produced by the premier session player Red Rhodes.

    1. Out Of Limits
    2. He Never Came Back
    3. Moon Child
    4. Fear (Main Title From One Step Beyond)
    5. Exploration In Terror
    6. War of the Satellites
    7. The Bat
    8. Penetration
    9. Love Goddess of Venus
    10. Solar Race
    11. The Fourth Dimension
    12. The Twilight Zone
    Ventures, The
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • JMW-12.7 Arm JMW-12.7 Arm Quick View

    $2,999.99
    Buy Now
    x

    JMW-12.7 Arm



    Many audio companies are introducing 12" tonearms. They are 14 years too late! VPI has over a decade of experience designing and building 12" arms and knows what makes them work and what doesn't. The time has come for VPI to incorporate all its knowledge of tonearm construction and produce a state of the art design.

     

    The 12.7 is the end result of a search for a tonearm that meets the following criteria:

     

    A machined tapered arm tube for minimum standing waves in the arm wand and maximum rigidity with low mass.

    Fully adjustable in all parameters to optimize results from any cartridge.

    Totally rigid mounting system that literally becomes part of the turntable chassis.

    Universal cartridge compatibility with stylus resonances in the 9 to 11 HZ range.

    The choice of either XLR or RCA outputs.

    Adjustable fluid damping for optimal cartridge compatibility.

     

    Once these criteria were met, VPI Industries voiced the arm to be as neutral as possible with vanishingly low tracking distortion and the speed and agility expected in a tonearm of this caliber. Made from the finest materials, finished in a beautiful satin aluminum finish, and hand built for quality and consistency, the JMW-12.7 will be your last tonearm.

     

    As all VPI product, the JMW-12.7 is made in the USA.


    This product is not eligible for discount. Portion of proceeds donated to Jonathan Weisfeld Memorial Fund.


    VPI Accessories
    $2,999.99
    JMW - 12.7 Tonearm Buy Now
  • Lee-Way Lee-Way Quick View

    $49.99
    Buy Now
    x

    Lee-Way

    Blue Note Reissue


    How do these new deluxe re-issues stack up to the alternatives? Not surprisingly, the big difference comes from the 45-RPM cutting. The faster cutting speed creates greater dynamic range and the sense of more air around the instruments, which stand out in better relief and give that you-are-there feel. The tradeoff requires you to flip the record twice as often, a small price to pay for this level of enhanced realism. These new issues maintain that timbral accuracy and at the same time bring out the piano sound like never before, for the first time Blue Note re-issues sound right. Dennis D. Davis, Hi-Fi+, Issue 57


    As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands. Back home a month later, I unpack some test pressings Chad Kassem has sent me. I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008


    ...these first five Acoustic Sounds Blue Note re-issues are pure bop genius...The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good! Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Amazing! Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana. - Dan Babineau, Tone Audio, No. 14 2008, www.tonepublications.com


    This album is unique within Lee Morgan's vast and rich Blue Note discography. With then current employer Art Blakey, band mate Bobby Timmons on piano, Paul Chambers on bass and Jackie McLean on alto saxophone, the trumpeter abandons time constraints and stretches out on four, soulful, hard-bop compositions (the first and the last are by Cal Massey). These hard bop masters are constantly inspired by Blakey's explosive grooves.

    These Are Soulful Days
    The Lion and the Wolf
    Midtown Blues
    Nakatini Suite
    Lee Morgan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Iron Gates At Throop And Newport The Iron Gates At Throop And Newport Quick View

    $16.99
    Buy Now
    x

    The Iron Gates At Throop And Newport

    In the year since Luke Roberts recorded his debut Big Bells and Dime Songs, a lot has changed. Luke now owns a guitar (a Collings 000 2H model) that his sophomore album was written on, he has moved from Brooklyn to Montana to Nashville, his childhood home, and the songs were written over a long period of time in his Brooklyn apartment (as opposed to largely on the bus down to the studio on the debut). The combination of changes made a significant and noticeable impact on the songwriting and arrangements found on The Iron Gates at Throop and Newport.


    The album was recorded in Nashville by Marky Nevers, revised and tweaked at a few studios in Brooklyn, and finally mixed at RonnieJone$ound by Kyle Spence (of Harvey Milk). The Iron Gates at Throop and Newport is a big leap forward in Luke's songwriting. The songs were recorded and reworked or rearranged and in some cases re-recorded. While Luke's plain spoken lyrics are still present, they are now embedded in far more complex and dynamic arrangements. Where the debut was a raw country blues style recording with minimal editing and accompaniment, The Iron Gates at Throop and Newport features many additional players from drums to harmonica, and notably the fiddle and mandolin of country player Billy Contraraz, and the backing vocals of Emily Sunblad.


    The lyrics are again deeply personal and in many cases the songs speak of struggle, redemption and again, struggle. Luke explains in his own words, The first record I made has a very homeless or wild-west feel to it and this new one is filled with addresses and luxuries. It's a rags to riches story about family and love and faith, where the first one was about not having that stuff. This album is about how hard that stuff is. Luke has the uncanny ability to take deeply personal emotions such as the ones in I Don't Want You Anymore and make them resonate with the listener as a shared experience. He is in the moment and you are in it with him: love, desire, loss, the search for a sense of belonging, and a sense of place, all of which are core human emotions. He is very much a person, who while no longer the freewheeling train hopper of his youth, is still traveling. Now his travels are philosophical searches for answers to life's biggest questions. A potent example is His Song, a spiritual quest to find the why, the what, the who, and the how of it all.


    The ability to to lay bare not only the toughest of emotions but the search for answers in such a deceptively simple and relatable voice, makes Luke Roberts an utterly unique and compelling artist. The lovely instrumentation and arrangements of The Iron Gates and Throop and Newport make for a beautiful sounding album and Luke's ability to capture many of life's pivotal moments with such a simple and emotionally resonate voice makes him stand out as a songwriter and as a performer.

    1. I Dont Want You Anymore
    2. Cartier Timepiece
    3. His Song
    4. Every Time
    5. Will You Be Mine
    6. Spree Wheels
    7. Old Fashioned Woman
    8. Lost on Leaving
    9. Second Place Blues
    Luke Roberts
    $16.99
    Vinyl LP - Sealed Buy Now
  • Western Suite (Pure Pleasure) Western Suite (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Western Suite (Pure Pleasure)

    In late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album Trav'lin' Light, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer.


    For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York. They became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement Western Suite with the trio's strengths in mind, as a way of documenting how they had come together as a band during that year.


    The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording Free Fall for Columbia three years later. The roots of that thinking lie in this set. Jim Hall's playing was dark, funky, ambiguous, sounding like drums and voices all at the same time -- particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones.


    ithout a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most restrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland's Billy The Kid. The record is filled out with two other tunes, one of Eddie Durham's, Topsy, and the final moment of mastery this band ever recorded, the already classic Blue Monk. The easy stroll of the front line with Brookmeyer's trombone strutting New Orleans' style is in sharp contrast to Giuffre's clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike Monk, there are no edges here -- everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above Trav'lin' Light in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio.


    Musicians:



    • Jimmy Giuffre (clarinet, tenor saxophone, bassoon)

    • Jim Hall (guitar)

    • Bob Brookmeyer (trombone)




    Recording: 1958 by Heinz Kubicka, Herb Kaplan, and Tom Dowd
    Production: Nesuhi Ertegun




    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. Pony Express
    2. Apaches
    3. Saturday Night Dance
    4. Big Pow Wow
    5. Topsy
    6. Blue Monk
    Jimmy Giuffre
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Texas Hurricane Texas Hurricane Quick View

    $279.99
    Buy Now
    x

    Texas Hurricane

    Mastered from the Original Analog Tapes by Sterling Sound


    What if. What if everything that you have come to know and worship about the sonic superiority of Quality Record Pressings LPs could be brought to bear on one of the rockingest powerhouses of blues guitar who ever lived?


    Then your wish is granted. We're about to rock your world with the greatest Stevie Ray Vaughan tribute ever reissued: Six of Vaughan's most classic album titles combined in the ultimate box set for ultimate blues and guitar fanatics!


    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For about seven years, Stevie Ray Vaughan was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.


    This is classic Stevie Ray Vaughan, meticulously remastered from the analog tapes by New York's Sterling Sound. In each set you'll receive Texas Flood, Couldn't Stand the Weather, Soul to Soul, In Step, plus the posthumous classics Family Style and The Sky Is Crying.


    Those of you familiar with our previous LP box sets - Miles Davis and Thelonious Monk, Creedence Clearwater Revival - and soon to come, The Doors - know how deluxe these sets are. From the detailed liner notes to the rarest photographs, these sets will truly be gems.


    For those with an audiophile passion and a pocketbook on a budget, the 331/3 LP set satisfies like no other. The box set will be pressed on 200 gram vinyl at QRP, lauded for its vinyl manufacturing excellence.


    Each LP set will come housed in deluxe gatefold jackets that include rarely published, intimate photos - a look inside the career of a legend whose death at age 35 shocked the music world. A few statistics showcase Vaughan's success and musical influence: His debut album Texas Flood, reached No. 38 on the charts, crossing over to rock radio stations. The album's succesor, Couldn't Stand the Weather, released in May 1984, reached No. 31 on the charts; by the end of 1985 it went gold. Vaughan and his band, Double Trouble, recorded their third album, Soul to Soul, released in August 1985, and it reached No. 34 on the charts.

    Texas Flood:


    1. Love Struck Baby
    2. Pride And Joy
    3. Texas Flood
    4. Tell Me
    5. Testify
    6. Rude Mood
    7. Mary Had A Little Lamb
    8. Dirty Pool
    9. I'm Cryin'
    10. Lenny


    Couldn't Stand The Weather:


    1. Scuttle Buttin'
    2. Couldn't Stand the Weather
    3. The Things (That) I Used to Do
    4. Voodoo Chile (Slight Return)
    5. Cold Shot
    6. Tin Pan Alley
    7. Honey Bee
    8. Stang's Swang


    Soul To Soul:


    1. Say What!
    2. Lookin' Out The Window
    3. Look At Little Sister
    4. Ain't Gone 'n' Give Up On Love
    5. Gone Home
    6. Change It
    7. You'll Be Mine
    8. Empty Arms
    9. Come On (Part III)
    10. Life Without You


    In Step:


    1. The House Is Rockin'
    2. Crossfire
    3. Tightrope
    4. Let Me Love You Baby
    5. Leave My Girl Alone
    6. Travis Walk
    7. Wall of Denial
    8. Scratch-N-Sniff
    9. Love Me Darlin'
    10. Riviera Paradise


    The Sky Is Crying:


    1. Boot Hill
    2. The Sky Is Crying
    3. Empty Arms
    4. Little Wing
    5. Wham
    6. May I Have a Talk With You
    7. Close to You
    8. Chitlins con Carne
    9. So Excited
    10. Life By the Drop


    Family Style:


    1. Hard To Be
    2. White Boots
    3. DFW
    4. Good Texan
    5. Hillbillies From Outerspace
    6. Long Way From Home
    7. Tick Tock
    8. Telephone Song
    9. Baboom/Mama Said
    10. Brothers

    Stevie Ray Vaughan
    $279.99
    200 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • Magnolia Electric Co Magnolia Electric Co Quick View

    $24.99
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    Magnolia Electric Co


    10th Anniversay Deluxe Edition


    Expanded Reissue Of Songs: Ohia's Classic Record Gathering Together One Unreleased Song, Demos And Full-band Song Only
    Previously Available In Japan.


    Includes Rare Photos From The Era In Which It Was Recorded


    The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the
    sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the
    moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now- here at the end of that
    decade - with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of
    Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan
    favorite Whip Poor Will is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s
    final album Josephine (2009). Also included is the studio version of The Big Game Is Every Night. Previously only available
    on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th
    Century, through art and sporting culture - ultimately questioning what it means to be an American in the autumn of the
    American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each
    begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate,
    it's hard to look them right in the eyes. But you should.


    With the wailing lap steel of the album opener Farewell Transmission, Jason Molina & Company usher in a new day,
    playing the sort of rock that your cool uncle rolled to back in the '70s. Landing somewhere on the radar sonically between
    Bob Dylan's Desire and Bob Seger's Beautiful Loser, though thematically in-line with Lynyrd Skynyrd's Simple Man, The
    Magnolia Electric Co lies at the crossroads of working class rock, white soul, swamp rock and outlaw country


    While Songs: Ohia's last record Didn't It Rain was a meditation on roots and stability, Magnolia Electric Co. finds itself
    toiling with the wages of change, which is well illustrated in I've Been Riding with the Ghost, a real rig rocker that could
    have easily fit on Time Fades Away, on which Molina sings: See I ain't getting better, I am only getting behind. Standing on
    the crossroad trying to make up my mind. Trying to remember how it got so late. Why every night pain comes from a
    different place. Now something's got to change.


    This thematic preoccupation with change also manifests itself in the rotating cast of lead vocalists. While the entire album
    boasts a doo wop-like line-up with five vocalists on the floor, six of the eight songs have Molina in the tall stool with the
    ever-enchanting Jennie Benford (of Jim & Jennie & the Pinetops, who was also a key player on Didn't It Rain) as primary
    back-up vocalist. But on two songs, new Songs: Ohia players step up to take on lead vocal duties, singing Molina-penned
    songs. Lawrence Peters takes the lead on The Old Black Hen with his fantastic Merle Haggard-esque country croon, while
    Miss Scout Niblett appears from the nether world of the Ohia wardrobe with feathers in her hair and casts her spell on the
    Ohia rig barreling through Peoria Lunch Box Blues.


    Recorded live, in its entirety, at the hands of Steve Albini at his Electrical Audio Studio in Chicago, Illinois, with the same
    core back-up band that played on the Mi Sei Apparaso Come Un Fantasma Italian live album, this is the record where the
    Songs: Ohia fan demographics make a radical shift from the dominant bedroom universe of the world's lonely, sensitive,
    overqualified young white dudes, and finds refuge in the masses by being embraced by the world's truck drivers, sorority
    chicks, and hockey players, alike. Indeed, this is the first Songs: Ohia record with more than one song that could be played
    at a strip joint or monster truck show. Amid the mid-tempo slow jams, there lie some of the most upbeat material that
    Songs: Ohia has recorded to date.

    LP 1
    1. Farewell Transmission
    2. I've Been Riding With The Ghost
    3. Just Be Simple
    4. Almost Was Good Enough
    5. The Old Black Hen
    6. Peoria Lunch Box Blues
    7. John Henry Split My Heart
    8. Hold On Magnolia
    9. The Big Game Is Every Night (Bonus Track)
    10. Whip Poor Will (Bonus Track)


    LP 2
    1. Farewell Transmission (Demo)
    2. I've Been Riding With The Ghost (Demo)
    3. Just Be Simple (Demo)
    4. The Old Black Hen (Demo)
    5. Peoria Lunch Box Blues (Demo)
    6. John Henry Split My Heart (Demo)
    7. Hold On Magnolia (Demo)
    8. The Big Game Is Every Night (Demo)
    9. Whip Poor Will (Demo)

    Songs: Ohia
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Black Beauty Black Beauty Quick View

    $26.99
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    Black Beauty

    28-page, full-color book (11" x 11")


    Extensive essay by Ben Edmonds (Creem, Rolling Stone, Mojo) featuring all-new interviews


    Abundant, never-before-seen photographs by Herbert Worthington (Fleetwood Mac's Rumours)


    Brilliantly mastered by multi-GRAMMY® nominee Dan Hersch (Paul Simon, Kinks, Cars,The Band)


    Mastered for vinyl by multi-GRAMMY® winner Doug Sax (The Who, Rolling Stones, Pink Floyd)


    Black Beauty, the never-before-released masterpiece by Arthur Lee's legendary psychedelic rock band Love, is available on 180-gram vinyl LP. Recorded in 1973 for the ambitious new label Buffalo Records,
    the album remained unreleased when the company folded. Finally, after 39 years High Moon Records is honored to fulfill Arthur Lee's wish that Black Beauty be heard by music fans worldwide. Black Beauty is making its first-ever official release
    in any format, anywhere! With unparalelled sound and state-of-the-art packaging, critics are hailing Black Beauty as an instant classic. Black Beauty is that rarest of rock artifacts: an unreleased,
    full-length studio album, from an undisputed musical
    genius. Black Beauty is the missing link in a catalog that includes Forever Changes, the classic 1967 Love album the New York Times called "one of the most affecting and beguiling albums of all time. With Black Beauty, Arthur Lee manages to combine searing 70's-rock with gorgeous melodies and stellar songwriting - topped off by his most distinctive, snarling, soulful vocals ever. With its wonderfully eclectic collection of songs, the
    album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee's fabled career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love.



    It's tempting to play what-if with Love's lost labor, Black Beauty, which was recorded in 1973 but shelved for nearly four decades. What if Buffalo Records hadn't gone out of business just prior to the album's release? What if Black Beauty had actually hit stores? What if it hadn't languished in limbo until years after Arthur Lee's death? Would it have stopped Love's slide into obscurity? Would it have signaled a comeback for the man who masterminded Forever Changes, still one of the most complex and compelling artifacts of 1960s Los Angeles? Would his life and career have played out any differently? Would we think of him today as something other than a cult artist, inspired as well as damned by his era?


    It's difficult to imagine any answers to those questions, but it says a lot about Lee that the album even raises these what-ifs and coulda-beens. The very qualities that made him such a fascinating voice-- restlessness, excitability, paranoia, perfectionism, single-mindedness-- may have doomed any commercial prospects more than his notorious fear of travel ever did. After recording Forever Changes, he fired the band and hired new musicians to take their places. Every subsequent album featured a different line-up, although the changes seem based more on personality than on musical direction or ability. Never stagnant, Love was in constant flux, always in a state of development but never quite arriving. So the operative question becomes: Was this the version of Love that Lee had been working toward?


    For Black Beauty-- which is finally seeing release via High Moon Records, although the reissue has been delayed for two years-- Lee assembled guitarist Melvan Whittington, bass player Robert Rozelle, and drummer Joe Blocker. This may be the hardiest and most muscular of Love's post-Changes rosters, with remarkable force and range. With crisp production by Paul Rothchild, best known for his work with the Doors, Love build from a potent blues rock foundation not dissimilar to that of Jimi Hendrix, but without the distracting shamanistic persona and guitar pyrotechnics. "Walk Right In" struts into country rock territory, rewriting Cannon's Jug Stompers 1929 hit into a plea for empathy, and "Beep Beep" attempts a sort of pop reggae, albeit not entirely convincingly.


    On the whole, this particular line-up sounds perfectly rough and unrehearsed, generating a tense energy on "Skid" and "Stay Away" even as they suggest a band still figuring out exactly what they can do together. It's a strong album, but it's not another Forever Changes, whose accomplishments in retrospect were unrepeatable, or even another Four Sail. On the other hand, Lee wasn't aiming to craft something in that vein. Still, especially considering the professional setbacks he had faced in the years leading up to Black Beauty-- which includes being dropped by Elektra and shuffling through a series of independent labels-- Lee sounds engaged and invigorated, forgoing the bitterness that had rankled the band for a slightly more hopeful outlook. On stand-out "Can't Find It", he sings, "Every time I cry my heart out, and every time I play the fool, but there's gotta be something in this lonely world for me." The confession is all the more bittersweet for being capped with the line, "but I can't find it without you." It's ostensibly a love song, but could just as easily be addressed to his audience. His creative satisfaction relies on having a listener to complete the circuit, which makes this album's long shelf life all the sadder.

    -Stephen M. Deusner (Pitchfork, May 15, 2013)

    1. Young & Able
    2. Midnight Sun
    3. Can't Find It
    4. Walk Right In
    5. Skid
    6. Beep Beep
    7. Stay Away
    8. Lonely Pigs
    9. See Myself In You
    10. Product Of The Times
    Love
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nostalgia Suite Nostalgia Suite Quick View

    $49.99
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    Nostalgia Suite

    The Roger Kellaway Cello Quartet made two albums for the A & M label in 1971 and 1973, The group's name presented a puzzle to some people. It seemed to connote four celli. In fact it was a chamber group built around the sound of one cello, that of the brilliant Edgar Lustgarten, and featuring the virtuosic piano of Kellaway, the powerful and sensitive bass of Chuck Domanico, and the rich, coloristic percussion of Emil Richards. Roger wrote all the group's music.


    ''The idea,'' Roger says, ''was for it to be a marriage of wood - cello, marimba, bass, and piano. Also, I wanted to prove that a band of that instrumentation had the flexibility to do anything. And I was afraid the drums would fill up the spaces between the instruments, which is why we didn't have a drummer.''


    But throughout the life of the Cello Quartet, Roger maintained a second group, a trio, whose purpose was (among other things) hard swinging. Roger was actually somewhat afraid of putting the two concepts together, but in time he began to feel a need to do so. And at this point, drummer and percussionist Joe Porcaro became a member of the group, thereby transforming it into the Cello Quintet. Joe is, in addition to being a fine jazz drummer, a symphony percussionist. He and Emil Richards are both natives of Hartford, Conn., and in fact went to high school together. Joe played with the Hartford Symphony. It is this background Roger feels, that makes him so sensitive to the purposes and textures of the Cello Quartet - pardon, Quintet. ''If the drummer can't hear the cello'', Roger said, ''then he's playing too loud. And Joe is simply perfect for this group.''


    Porcaro, in fact, does one of the most difficult things a drummer can be called on to do: he swings quietly. It is a natural physiological tendency of a drummer (or any instrumentalist, for that matter) to push when he is involved in the high energy of swinging. Any musician knows that it is harder to play softly than loud. But I think it is particularly difficult for a jazz drummer to put out an excited and exciting pulse softly. Certainly few drummers can do it. Joe is one who can. ''Another thing,'' Roger says. ''Joe works beautifully with Emil, and this gives Emil more freedom to play melodic instruments, such as chimes. And Joe's abilities as a percussionist mean that at times we can have two percussion players.''


    ''The album represents only one aspect of why the drums were added. I've been interested in a maximum of versatility, and in a way the Nostalgia Suite was written to show the possibilities of swinging with the cello.''


    ''At this point in my life, when I?ve had 25 years or so of involvement with the pop market as well as with jazz and classical music, seeing so many of my colleagues beating their brains out trying to get a hit single, it almost seems novel that I've been able to hold onto my roots. I've dealt with the AM singles market too, but I've never forgotten where I came from, and that?s what the Nostalgia Suite is about.''


    ''There is no other piece in our repertoire like it, It is an entity unto itself. It is essentially a bebop piece, and it may come as a surprise to people who are familiar with the other albums. But it should not be considered the new sound of the group. I just wanted to hear bebop by the Cello Quartet.''


    ''As a matter of fact, we first did it with the Quartet, without drums, at Shelly's Manne Hole. Shelly couldn?t stand it. He'd grab a stick and start playing on Emil's cymbals. He kept saying, 'Man, this piece needs drums.' I began to think that perhaps he was right. Joe Porcaro was the logical choice, because he could, as an excellent percussionist, enable us to continue doing the mellow sounds of the group.''


    ''This album could be thought of, then, as an extension of the previous albums, a broadening out. The way I think about the group and the people in it is that we can do any kid of music from Jelly Roll Morton to Ravi Shankar to Luciano Berio.''


    ''I have never thought of the Cello Quartet and now the Quintet as a jazz or a classical band. It is its own band.''

    1. Ungh!
    2. Won't You Come and Feed Me
    3. The Escalator As Applied To Anti-War
    4. He Bluezd While She, In All Her Blessed Blather...Blushed
    5. May I Interest You In A Little Recreation While You Sleep? They Whispered
    6. Let's Cook It Right
    Roger Kellaway Cello Quintet
    $49.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Axis: Bold As Love (Awaiting Repress) Axis: Bold As Love (Awaiting Repress) Quick View

    $24.99
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    Axis: Bold As Love (Awaiting Repress)

    Ranked 82/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Very few albums radically change the musical and cultural landscape, altering our perceptions by way of a mad combination of forward-looking performance, liberating lyrical narratives, spiritual overtones, and unimaginable sounds. Jimi Hendrix's sophomore Axis: Bold As Love is one of those records, a timeless and prophetic set that still seems as if it comes to us from the future. Unrelentingly ambitious, deeply mythical, and profoundly virtuosic, the stupendous 1967 collection dives into a pool of lustful psychedelia, earthy blues, cosmic soul, and unhinged rock. Along with jazz-schooled drummer Mitch Mitchell and melodic bassist Noel Redding, Hendrix establishes a new musical language, a foundation on which fellow guitar giants such as Eric Clapton, Jeff Beck, Pete Townshend, and Prince would build. Ranked by Rolling Stone as the 82nd greatest album ever released, and leagues ahead of its time, Axis: Bold As Love is an absolute must-have for every music lover. Particularly now that it's finally been afforded the sonic treatment it's always deserved.


    Mastered from the original two-track mix-down analog master tapes, cut by legendary engineer George Marino on upgraded equipment at Sterling Sound, and pressed on 180-gram virgin vinyl at RTI, this LP is a sonic knockout on par with the very best audiophile recordings. With all apologies to previous editions from Classic and Universal, this pressing blows away any competition. It's no wonder that this release spearheads Legacy Recordings' unprecented 2010 Jimi Hendrix Catalog Project of reissues and new releases from the greatest guitar player in history.


    Featuring seminal classics such as Spanish Castle Magic, Little Wing, and Castles Made Of Sand, Axis: Bold As Love stands as one of the Jimi Hendrix Experience's monumental moments, a tapestry scorched with color, sewn together with erotic threads, and varnished with rich personality. Do not miss this seminal pressing of a most seminal recording.

    1. EXP
    2. Up From The Skies
    3. Spanish Castle Magic
    4. Wait Until Tomorrow
    5. Ain't No Telling
    6. Little Wing
    7. If 6 Was 9
    8. You Got Me Floatin'
    9. Castles Made Of Sand
    10. She's So Fine
    11. One Rainy Wish
    12. Little Miss Lover
    13. Bold As Love
    Jimi Hendrix
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Cast The First Stone Cast The First Stone Quick View

    $21.99
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    Cast The First Stone

    Pressed On Camo Green Vinyl


    Death metal is more than just music. It transcends such a limited mortal state of mind. Death metal is the aural expression of humanity's darkest side, of devastation, sorrow and the harbingers of mankind's own inhumanity and ultimate destruction. Death metal is not a trend, a fashion parade or a means to an end. It is much more than that. It is a way of life. A life in death.


    This is the doctrine Italy's HOUR OF PENANCE, spewn forth with unrelenting musical ferocity through their sickening, mind-obliterating auditory assault on the senses.


    Forged in the dark shadows of "The Holy Capital," this most unholy of quartets have steadily been making a name for themselves as one of the most intense, talented and impressive modern death metal bands both in-studio and onstage.


    Like clockworks Hour of Penance is ready to release "Cast the First Stone" as the follow-up of his last successful album Regicide. Releasing an album every 2 years, the band has been described by the fans and worldwide press as one of the most "productive" band in the genre, "Cast the First Stone" will mark album number 7 in the band's career .


    Singer Paolo Pieri describes the concept of the new album : "Cast the First stone" revolves around the idea that the injustices suffered during the Crusades and Colonialism cannot justify indefinitely a chain of hate that propagandize the destruction of the West. I believe that the political situation in recent years has brought to light again a millennial conflict between West and East, and events like the terrorist attack at the Bataclan, where we only played a few months before the massacre, have influenced the lyrics on this record very much.


    It does not matter who has thrown the first stone, but who first evolved his ideology to seek peace and coexistence instead of war to the bitter end. In Europe, people have massacred each other for millennia but in the last 60 years, we were able to overcome differences and secular hatred that divided us, while the blind hatred of Islamic extremism is bringing entire geographic areas back to the darkest middle ages.


    We find ourselves once again in front of a war between reason and religion, and unless we take a strong stand in defense of our Western values, we risk falling into chaos because of a weak and coward enemy stubbornly convinced of his senseless laws."


    Lead guitarist and songwriter, Giulio Moschini, adds : "Sonically speaking , this is the best sounding album we've ever recorded , we really worked hard on this, listening to the album countless times before finally delivering the masters to Prosthetic Records.. it was definitely worth the wait and we're 100% satisfied by the great work our bass player Marco Mastrobuono has done behind the mixing desk. We've literally spent weeks trying different micing techniques, hardware, preamps- trying to avoid plugins technologies as much as we could. We wanted our album to sound more dynamic and I think that we've achieved that 100%. "


    Since releasing 2012's acclaimed "Sedition", which Decibel lauded as a "hyper-blasting, inhuman, machine-like attack," HOUR OF PENANCE has annihilated fans worldwide with its fiery exuberance, playing well over 200 gigs alongside such acts as BEHEMOTH, SKELETONWITCH, CANNIBAL CORPSE, THE BLACK DAHLIA MURDER, DEVILDRIVER, PSYCROPTIC, MISERY INDEX, DEICIDE, BELPHEGOR, NILE and KRISIUN.

    1. XXI Century Imperial Crusade
    2. Cast the First Stone
    3. Burning Bright
    4. Iron Fist
    5. The Chains of Misdeed
    6. Horn of Flies
    7. Shroud of Ashes
    8. Wall of Cohorts
    9. Damnatio Memoriae
    Hour Of Penance
    $21.99
    Colored Vinyl LP - Sealed Buy Now
  • VPI 3D Tonearm - 10 (With VTA Base) VPI 3D Tonearm - 10 (With VTA Base) Quick View

    $3,000.00
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    VPI 3D Tonearm - 10 (With VTA Base)



    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    10 3D Printed Tonearm with stand


    The arm looks like a traditional VPI Unipivot arm, except it's made in a 3D printer. The material is basically epoxy, which forms a rigid, lightweight, structure with good insulation properties. Epoxy is non-crystalline which impedes the transfer of vibration, so it's the perfect material for tone arms. The shape of the tone arm shaft also adds rigidity to the structure and further prevents the transmission of surface vibrations. The result is a low resonance lightweight tone arm.


    This tonearm is backwards compatible and will fit on all past and current VPI Turntables.


    JMW 3D compatibility as of 5/16/13:

    Classic 1

    Classic 2

    Classic 3

    Classic 4 (secondary arm only)


    VPI Accessories
    $3,000.00
    3D Complete Tonearm - 10 (With VTA Base) Buy Now
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