Vinyl Records & Newly Released Vinyl LP Records

Backed by an incredibly tight band, Jamiroquai delivered a Stevie Wonder-esque brand of highly infectious and addictive Funk with a capital F. So infectious in fact, it became a Pop staple almost overnight. Having amassed a huge fanbase in the UK, the popularity of this horde of planet savers spread worldwide over their subsequent two albums.

Music On Vinyl is proud to release these first three albums simultaneously, including follow-ups The Return Of The Space Cowboy and Travelling Without Moving. All three with remastered audio for maximum aural pleasure!

Track Listing:
LP1
1. When You Gonna Learn?
2. Too Young To Die
3. Hooked Up
4. If I Like It, I Do It
5. Music Of The Mind

LP2
1. Emergency On Planet Earth
2. Whatever It Is, I Just Can't Stop
3. Blow Your Mind
4. Revolution 1993
5. Didgin' Out

Drawn from the Original Monoaural Mixes Created by Chas Chandler, Jimi Hendrix, and Eddie Kramer in 1967

All Analog Mastering by Bernie Grundman

Original Artwork and Sequencing

Highly Sought After Mixes Previously Unavailable for Decades

200 Gram Pressing by Quality Record Manufacturing

Faithful to the Original Edition Released in 1967 - US and International Edition Features Different Songs and Sequencing

The debut release from the Jimi Hendrix Experience is widely regarded as the greatest, most influential debut release from any artist. Are You Experienced has long been acknowledged as one of the most influential rock albums of all time.

The classic US edition of the album was only available in mono for a brief period after its original August 1967 release. This version features the classic fish-eye cover and includes such hits as “Purple Haze” and “Hey Joe”.

This original monophonic mix has been transferred from the original master tapes by noted mastering engineer Bernie Grundman. Grundman’s all analog mono mastering process helps to present the vitality of the original recording as accurately as possible.

Track Listing:
1. Purple Haze
2. Manic Depression
3. Hey Joe
4. Love Or Confusion
5. May This Be Love
6. I Don't Live Today
7. The Wind Cries Mary
8. Fire
9. Third Stone from the Sun
10. Foxey Lady
11. Are You Experienced

Vol 3 is a 4 LP box set.

The Grateful Dead released an official live concert series called Dick's Picks. These shows have come to be known as some of the best Grateful Dead shows of all time. The Dick's Picks series, which started in 1993, was named for Grateful Dead tape vault archivist Dick Latvala, who selected his favorite shows with the band's approval and oversaw production of the albums. After Latvala's death in 1999, David Lemieux became the Dead's tape archivist and took over responsibility for the Dick's Picks releases. Today this series is being released on vinyl for the first time by Brookvale Records.

Vol 3 & Vol 4 have been remastered expressly for vinyl from the ORIGINAL TAPES by renowned Jeffrey Norman of Mockingbird Mastering. Mr. Norman has been in charge of all the crucial Grateful Dead releases. All albums are on 180 gram for the highest fidelity possible. LP sleeves will include original hand notes and images from the original recording tapes!

Track Listing:
Dicks Picks Vol. 3 - Pembroke Pines 5/22/77

LP1
1. Funiculi Funicula
2. Music Never Stopped
3. Sugaree
4. LazyLightning
5. Supplication
6. Dancin In The Streets

LP2
1. Help On The Way
2. Slipknot
3. Franklins Tower

LP3
1. Samson and Delilah
2. Sunrise
3. Estimated Prophet
4. Eyes Of The World
5. Wharf Rat

LP4
1. Terrapin Station
2. Morning Dew
(Side 2 of the 4th LP will be blank)

180 Gram Vinyl in a Gatefold Jacket with a Printed Inner Sleeve

After two albums of tastefully orchestrated folk-pop, albeit some of the least demonstrative and most affecting around, Drake chose a radical change for what turned out to be his final album. Not even half-an-hour long, with 11 short songs and no more -- he famously remarked at the time that he simply had no more to record -- Pink Moon more than anything else is the record that made Drake the cult figure he remains. Specifically, Pink Moon is the bleakest of them all; that the likes of Belle and Sebastian are fans of Drake may be clear enough, but it's doubtful they could ever achieve the calm, focused anguish of this album, as harrowing as it is attractive. No side musicians or outside performers help this time around -- it's simply Drake and Drake alone on vocals, acoustic guitar, and a bit of piano, recorded by regular producer Joe Boyd but otherwise untouched by anyone else.
-All Music

Track Listing:
1. Pink Moon
2. Place To Be
3. Road
4. Which Will
5. Horn
6. Things Behind The Sun
7. Know
8. Parasite
9. Free Ride
10. Harvest Breed
11. From The Morning

Special Edition Clear Spin Clean Washer MkII Record Cleaner Value Package! Limited Production Worldwide!

The Most Talked About Record Washer in the Industry is now even better. Introducing the Spin-Clean Record Washer MKII, now featuring the following improvements:

1. New improved UV grade resin for a more rigid and fade resistant washer basin.
2. Re-designed rollers for a smoother and quieter "ride".
3. New foam and brush material to improve the deep cleaning of your records.
4. Improved formula of the washer fluid to further enhance the cleaning process.
5. New graphics for the general aesthetics of the unit.
6. New improved Drying Cloths.

The Spin-Clean System Complete Kit comes with:

Record Washer and Lid
4 ounce bottle of Record Cleaning Concentrate
32 ounce bottle of Record Cleaning Concentrate
2 pair of Washer Brushes MKII
1 pair of Washer Rollers MKII
7 washable Drying Cloths
Instructions (in the lid)

The Spin Clean® Record Washer System has been one of the best value record washers since 1975. It is an extremely cost effective alternative, to all of the higher priced, automatic vacuum cleaner type machines. It uses a proprietary cleaning fluid that does not leave any build up or film on your records. It is also one of the few systems on the market that will clean albums, 45's and 78's. With the Spin-Clean system you mix the concentrated record cleaning solution with water in the clear reservoir base (small tank), The record stands vertically in the tray (as pictured), resting on adjustable rollers, as you rotate the record manually it passes through a set of two brushes that simultaneously deep cleans it on both sides. After you wash your records, you dry them off with a lint free cotton cloth.

Includes Limited Edition Poster

In the past decade, there have been plenty of bands hawked as the one to save rock music and radio from the doldrums it’s sat in for far too long. But few were agreed upon quite like Kings of Leon, whose Southern and blues influences, coupled with some alternative sensibilities and an arena-worthy sound, made them one of the hottest bands in the world of late. And this December, RCA is set to celebrate their path to “hottest band” status with The Early Vinyl, a lavish, seven-LP box set chronicling the first four years of their career.

Features remastered, double-vinyl editions of the band’s first three albums, Youth and Young Manhood (2003), Aha Shake Heartbreak (2004) and Because of the Times (2007), as well as Rarely, a bonus LP of studio and live rarities, including four live performances making their debut on any format.

Housed in a beautiful, numbered lift-off box, the set also includes a 20-page book featuring liner notes by Austin Scaggs along with rare art and photos from the band’s early years.

Track Listing:
LP 1
1. Slow Night, So Long
2. King Of The Rodeo
3. Taper Jean Girl
4. Pistol Of Fire
5. Milk
6. The Bucket

LP 2
1. Soft
2. Razz
3. Day Old Blues
4. Four Kicks
5. Velvet Snow
6. Rememo
7. Where Nobody Knows

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 with an EXACT cartridge - factory fitted!

The RP6 has been designed and engineered to achieve outstanding performance way beyond the expectations of a product at this price point. Excellent build quality, reliability and ease of use combine to make a product which, if used correctly, will offer you a lifetime of musical enjoyment. Omitting unnecessary gimmicks allows us to concentrate the manufacturing costs on the high quality parts necessary to reproduce music accurately. The RP6 is fitted with a hand assembled RB303 tonearm, precision main bearing and a low vibration low noise 24v motor assembly which is individually hand tuned to its circuit to further reduce vibration. The minimalist design of the Rega RP6 and the use of extremely high quality components ensure that your turntable should last for many years.

RB303 Tonearm

Designed using the latest 3D CAD technology the new RB303 is the culmination of more than 30 years of tonearm design experience. Due to advances in technology we have been able to fine tune the iconic RB300 tonearm design. Featuring a brand new tube which has increased rigidity to the bearing housing, arm carrier and headshell coupled with intelligent redistribution of mass, ensure this arm will exhibit fewer points of possible resonance. Extreme stability with almost friction free movement from the high precision bearing assemblies guarantee to gather more information from your vinyl than ever before.

TTPSU power supply

The compact TT-PSU uses a high stability crystal locked low distortion sine wave generator. This, along with an efficient drive amplifier fed from a stabilised DC power supply, generates a 24V AC balanced signal of less than 0.05% distortion, which is completely un-affected by any changes in the mains/line voltage and conditions. This then drives the improved Rega anti-vibration circuit built into the RP6 motor PCB.

Platter adaptor

The aluminium top hub adaptor is manufactured to the highest tolerance and uses a six point mounting system to ensure the platter and vinyl is presented as flat as possible to the stylus.

NEW DB Technology (Double BraceTechnology)

“Mass absorbs energy - lost energy equals lost music”! Rega has pioneered the use of lightweight rigid plinths. Clever use of lightweight particulate core with a highly rigid phenolic resin skin became the foundations of the high level of performance achieved by the now iconic Planar turntable range. The latest generation of Rega turntables takes this design philosophy to the next level. A super lightweight plinth combined with a phenolic resin double brace mounted specifically where the increased rigidity is required (between the tonearm mounting and the main hub bearing) forms a structurally sound “stressed beam” assembly. This rigid plinth design prevents energy absorption and unwanted resonances which will add unnatural distortions to the music. Equally, heavier mass can transfer more unwanted energy such as motor or bearing noise directly into the rotating record. The use of braces instead of the complete skin allows double thickness phenolic resin in these key areas while providing further weight reduction to the plinth which directly addresses the issue of mass absorption and unwanted energy transmission.

16MM Glass flywheel platter

The RP6 features an innovative two piece platter design constructed from float glass. Manufactured using a complex and labour intensive invisible UV curing bond technique the secondary ring platter is permanently bonded to the underside of the main platter. The extra ring adds mass to the outer circumference which increase the natural flywheel effect of the platter improving speed stability, accuracy and consistency.

24V Low noise motor

The motor is a high specification, 24V twin phase synchronous unit which has the anti vibration circuit hand tuned to each motor and is controlled by Rega's unique and innovative TTPSU power supply. The motor drives the CNC machined pulley and sub platter/hub-bearing assembly via the belt drive.

EXACT Cartridge

The Exact shares the same body moulding as the rest of the Rega cartridge range. This is a one piece body and has no energy sapping joints between the stylus mounting and headshell contact face. The headshell face is machined perfectly flat to ensure maximum contact between cartridge and headshell.

Click here to read more about the EXACT cartridge: EXACT Cartridge

Those that like the earlier 1968-1972 era of The Mothers will love this.
It's mostly live from that era.

This particular period of the Mothers had two drummers working in parallel;

Jimmy Carl Black (The Indian Of The Group)
Arthur Dyre Tripp III (aka "Artie With the Green Mustache").

Also in the mix was:
Ian Underwood on keyboard and sax
Don Preston (aka "Dom De Wilde") on keyboards
Roy Astrada ("Roy Ralph Moleman Guacamole Guadalupe Hidalgo Estrada") on bass and falsetto
Lowell George on Rhythm Guitar (for a brief time)
Euclid James "Motorhead" Sherwood on Baritone Sax
Bunk Gardiner: Tenor sax (he usually plays clarinet)
Buzz Gardiner: trumpet

And later on (after 1971)
Bob Harris: Keyboards
Jim Pons: Bass
Ansley Dunbar: Drums

The recording sound quality is Pristine!

Track Listing:
1. Intro
2. Sleazette
3. Mozart Piano Sonata in Bb
4. The Walking Zombie Music
5. The Old Curiosity Shoppe
6. Music From The Big Squeeze
7. Enigmas 1 Thru 5
8. Pumped And Waxed
9. There Is No Heaven From Where Slogans Go To Die
10. Squeeze It, Squeeze It, Squeeze It
11. You Never Know Who Your Friends Are
12. Uncle Rhebus
13. The Subcutaneous Peril

Rolling Stone said of Kiss Each Other Clean that “pop music hadn’t seen anything like it since the heyday of Cat Stevens,” while Pitchfork said it “more closely resembles the lush, gold-toned singer songwriter records of the late 60s and early 70s—Astral Weeks, Goodbye Yellow Brick Road.”

For Ghost on Ghost, Beam sought to move from what he called the “anxious tension” of his two previous records. “This record felt like a reward to myself after the way I went about making the last few,” he says.

Helping achieve Beam’s vision was a group of stellar musicians including Rob Burger, Steve Bernstein, Brian Blade, Curtis Fowlkes, Tony Garnier, Marika Hughes, Briggan Kraus, Maxim Moston, Tony Scherr, Doug Wieselman, Kenny Wolleson, and Anja Wood. Burger (Tin Hat Trio) has worked with Beam intermittently through the years and handled arrangements for strings and horns on Ghost on Ghost. For the album’s cover, Beam, who is also a visual artist, chose an image from the series “Private Views” by noted photographer Barbara Crane.

This LP also includes a bonus CD.

Track Listing:
1. Caught in the Briars
2. The Desert Babbler
3. Joy
4. Low Light Buddy of Mine
5. Graces for Saints and Ramblers
6. Grass Windows
7. Singers and the Endless Song
8. Sundown (Back in the Briars)
9. Winter Prayers
10. New Mexico’s No Breeze
11. Lovers’ Revolution
12. Baby Center Stage

“Duke Garwood is one of my all time favorite artists. Working with him has been one of the best experiences of my recording life.”

Track Listing:
1. Black Pudding
2. Pentacostal
3. War Memorial
4. Mescalito
5. Sphinx
6. Last Rung
7. Driver
8. Death Rides a White Horse
9. Thank You
10. Cold Molly
11. Shade of the Sun
12. Manchester Special

The HW-16.5 is the standard in affordable record cleaning machines but neither its build quality nor its cleaning power has been compromised. Its high-torque, 18 RPM turntable motor is more than capable of withstanding the pressure of heavy scrubbing during extended cleaning sessions, and its 35-second cleaning cycle per side makes quick work of even the dirtiest records. Now with self aligning vacuum suction tubes for even more accurate cleaning, the HW-16.5's high-powered vacuum ensures quick, deep cleaning.

The newly designed vacuum pickup tube automatically adjusts to accommodate records of any thickness. The internal fluid collection system is made of stainless steel to prevent corrosion, and the fully enclosed design prevents splashing. In the VPI tradition, all components are extra heavy-duty and professional grade.

"I have found the HW-16.5 to be an outstanding performer. The record surfaces are microscopically clean and are so pristine they look new!" -- Bert Whyte, Audio Magazine

****STEROPHILE PRODUCT OF THE YEAR AWARD WINNER****

Clean your records with the HW-16.5 and hear what you've been missing.

Includes:
Built in dust cover 8oz bottle of VPI cleaning fluid & cleaning brush

The Zerodust is Our Best-Selling, Non-Fluid Based Stylus Cleaner! No More Hard Bristled Brushes!

This fresh approach to stylus cleaning has saved all of us from the fear of hard bristled brushes and over applying dangerous fluids. Clean your stylus simply and effectively with the Zerodust from Japan. This space-age polymer bubble allows you to simply lower your stylus onto its surface, then quickly lift the arm lever and youre done! Watch as the stylus tip slowly sinks into the baby soft surface, leaving behind an impression with the stylus debris left behind! This unique device will last a lifetime, can be cleaned with tap water, and can extend the life of your cartridge! Comes complete with a magnifier to inspect your stylus! Our highest recommendation!

This is the first of three James Bond films with a theme song sung by Shirley Bassey, whose forceful, dramatic style became a series trademark (she would go on to sing Diamonds Are Forever and Moonraker). "Goldfinger" was composed by John Barry, with lyrics by Anthony Newley and Leslie Bricusse, and is widely acknowledged as a classic of its genre. Famously, co-producer Harry Saltzman hated the song and only agreed to use it when persuaded by Albert Broccoli.

Originally, Newley recorded a version of the theme song, but it was later re-recorded with Bassey's voice for the film and soundtrack album. In 1992, Newley's version was released for the 30th Anniversary of James Bond on film, in the compilation collectors edition The Best of Bond...James Bond.

The score was composed by Barry, making this his second, credited Bond score. The score makes regular use of instrumental arrangements of the title theme, as well as the Bond theme from Dr. No used in the gun barrel sequence . The score makes heavy use of brass. The distinctive music for Goldfinger's henchman, Oddjob, makes use of repeated strokes on a metallic anvil. Metallic chimes are also heard in many scenes associated with Oddjob or gold, notably that in which the dead golden girl is discovered. The very effective use of music and various sound effects in the film won it an Academy Award for Best Sound Editing. The album reached No. 1 on the Billboard 200, and spent 70 total weeks on the chart.

Track Listing:
1. Main Title - Into Miami - Goldfinger
2. Alpine Drive - Auric's Factory
3. Oddjob's Pressing Engagement
4. Bond Back In Action Again
5. Teasing the Korean
6. Gassing the Gangsters
7. Goldfinger (instrumental)
8. Dawn Raid on Fort Knox
9. The Arrival of the Bomb and Count Down

Gruv-Glide is a dry record treatment that actually enhances the fidelity of the record. Prior to its development, even the highest quality cartridge could not produce the maximum available reproduction from the phono record. Now for the first time, Gruv-Glide will allow you to hear more micro-detail while bringing out the best possible sound.

Gruv-Glide not only increases fidelity, but also reduces surface noise, removes static, and cleans the record. The treated record and cartridge stylus will last longer due to the increased tracking ability and reduced friction. One application lasts for an indefinite period of time. The kit will treat at least 200 records when used as directed, making it a very economical record care system.

On 2 LP with CD and Bonus Tracks

The Next Day was produced by long-term collaborator Tony Visconti and was recorded in New York. In the early morning hours of Tuesday, January 8, David’s birthday, Iso/Columbia Records released his new single titled ‘Where Are We Now?’ In recent years, radio silence has been broken only by endless speculation, rumor and wishful thinking. A new record—who would have ever thought it? Who’d have ever dreamed it? After all, David is the kind of artist who writes and performs what he wants when he wants…when he has something to say as opposed to something to sell. Today, he definitely has something to say. Now we all know, David Bowie has been in the recording studio—just when we least expected it.

Throwing shadows and avoiding the industry treadmill is very David Bowie despite his extraordinary track record that includes album sales in excess of 130 million; not to mention his massive contributions in the area of art, fashion, style, sexual exploration, and social commentary. It goes without saying that he has sold out stadiums and broken ticket records throughout the world during this most influential of careers.

Track Listing:
LP 1
1. The Next Day
2. Dirty Boys
3. The Stars (Are Out Tonight)
4. Love Is Lost
5. Where Are We Now?
6. Valentine's Day
7. If You Can See Me
8. I'd Rather Be High

LP 2
1. Boss Of Me
2. Dancing Out In Space
3. How Does The Grass Grow?
4. (You Will) Set The World On Fire
1. You Feel So Lonely You Could Die
2. Heat
3. So She (Bonus Track)
4. Plan (Bonus Track)
5. I'll Take You There (Bonus Track)

Cleaning Time: 5 minutes
Size: 13w x 8 d x 10.7 h (33cm w x 20cm d x 27cm h)
Weight: 12lbs (5.5kg)
Cleaning Solution: 4.5 liters (1.2 gal) of distilled water added to 20ml of cleaning concentrate.

Manufacturer's Description:

Records are precious. Not only are they arguably the best-sounding medium for reproduced music, but they often constitute irreplaceable collections. Even with careful handling contamination cannot be avoided in the long term. It is also well known that residual compounds from the LP pressing process obscure inner detail unless removed by cleaning even new records.

Reiner Glass of Audiodesksysteme has developed a professional quality, easy to use record washing machine he call the Vinyl Cleaner. The Vinyl Cleaner is fully automatic. The record is placed perpendicularly from above into the equipment opening and the red activation button is pressed. When the green LED shines, the clean LP can be removed. During the cleaning process rotary cleaning barrels made from a microfiber material move in opposite directions while a unique ultrasonic system carefully and thoroughly removes even the finest contaminants from the grooves. In use the cleaning solution is thoroughly filtered to avoid recontamination of the LP. Two high performance fans guarantee effective drying with quiet operation.

Technical: How can sound clean?

Ultrasonic is sound generated above the human audible level.

A physical effect called cavitation results from the generation of ultrasonic frequencies in a liquid. In this cavitation process ultrasonic compression waves are created by an ultrasonic transducer. When the amplitude of this soundwave increases to a level where the surface tension of the liquid is broken, the fluid will tear apart leaving behind millions of microscopic vacuum bubbles. These vacuum bubbles then rapidly compress or implode creating millions of tiny liquid jets small enough to clean inside the smallest grooves of an LP. This process, also called microagitation, displaces any contaminants on the surface of the LP.

This product is not eligible for discount.

Right from the very first hearing, absolutely every single jazzcritic shared the same opinion – whether trained musicians or not, true or would-be jazz expert: “A Love Supreme” is John Coltrane’s most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane’s deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

The first section, entitled “Acknowledgement”, has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane’s meditative singing creating immense tension.

In “Resolution” Coltrane’s powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo. “Pursuance”, with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane’s later ‘free’ phase. “Psalm” is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane. “A Love Supreme” has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today.

Musicians:
John Coltrane (tenor saxophone)
McCoy Tyner (piano)
Jimmy Garrison (bass)
Elvin Jones (drums)

Recording: December 1964 in New York City by Rudy Van Gelder
Production: Bob Thiele

Unless you're from a different planet, you know Snoop Dogg and you should know his outstanding 1993 debut, which revolutionized hip-hop and stands as one of the most celebrated party records ever released. Dig the Dogg's languid rhymes and enviable flow as well as Dr. Dre's formidable production. A must.

Track Listing:
Bathtub
G Funk Intro
Gin and Juice
Tha Shiznit
Lodi Dodi
Murder Was The Case
Serial Killa
Who Am I (What's My Name)?
For All My Niggaz & Bitches
Ain't No Fun (If The Homies Can't Have None)
Doggy Dogg World
Gz And Hustlas
Pump Pump

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.

Maximize the potential of your digital audio!

The Rega DAC is a 16/20/24-bit at 32kHz to 192kHz digital to analogue converter incorporating an enhanced version of the Rega designed circuit. Developed to be simple to set up and use, the Rega DAC is designed to optimise performance from any two channel PCM digital audio source such as a CD player PC or streaming device.

With the PC/Laptop and MAC now widely accepted as creditable mediums for storing and streaming music. The use of high quality lossless files such as WAV, FLAC and ALAC offer performance through the DAC equal to and in some cases better than red book CD.

Housed in a custom aluminium and steel case and boasting a pair of Wolfson DAC IC's, 5 user selectable digital filters, two isolated Co-axial inputs, two Toslink SPDIF inputs and an isolated USB input. The Rega DAC is designed and engineered to perform way above its class.

Technology

The input stage comprises a Wolfson digital receiver with a high stability low jitter clock. The receiver and PLL have their own dedicated power supplies. The DAC stage comprises of a pair of parallel-connected Wolfson WM8742 DAC's, which are driven via a buffer stage, which ensures the integrity of the data being fed to the DAC IC's similar to the arrangement used in the Isis (Rega's refrerence CD player). Great care has been taken to remove noise generated by the PC and other input sources. During development this was identified as a major drawback with many DAC's on the market today.

The output amplifier employs a discrete differential multiple feedback filter and output amplifier, with a high cut-off frequency for use with higher sample rates. We decided not to use a sample rate converter and process the data at the incoming sample rate which keeps the signal processing to a minimum. Jitter was minimised by synchronously clocking the digital data with our receiver PLL (removing any jitter from the input signal).

All the capacitors associated with the analogue signal path are Nichicon FG bypassed with MMK polyester capacitors, and low impedance conductive polymer capacitors are used for DAC decoupling. The power supply utilizes a toroidal transformer, fast rectifier diodes and again Nichicon FG capacitors. There is a power supply for the control microcontroller, separate from the digital & analogue audio stages. Special attention being paid to the inter IC control signals ensuring the control data noise is kept to a minimum.

In comparison with Dvorák’s cyclical Ninth Symphony, the Eighth always seems to fade into the background somewhat, although it is actually far more venturesome as regards its formal structure than its later sister-work. The wealth of poetic mood paintings, heartfelt melodies and seemingly improvisational episodes were described by the composer as unique ideas upon which he elaborated in a completely new way, and which were intentionally far removed from his other symphonies.

In spite of the highly individual movements, the whole composition is full of airy, lyrical contrasts. The transitional passages are gentle and flowing, as for example in the chorale-like opening which leads into the disciplined, spirited main theme of the first movement. This is followed by a rhapsodic slow movement and a waltz-like Allegretto, and finally a strangely interwoven amalgamation of sonata form and set of variations.

During the course of his short career, István Kertész championed Dvorák’s Symphonies in that he was the very first to record the complete works for the DECCA label. For this reason alone, the recording constitutes an excellent performance by the London Symphony Orchestra led by its Hungarian principal conductor.

Recording: February 1963 at Kingsway Hall, London, by Arthur Lilley
Production: Ray Minshull

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.

Regarded by many as their most creative period, the late seventies resulted in some great sounding, well balanced and interesting albums of which Takin' It To The Streets was arguably one of the best. Highlights of the album are modern Pop classic "Takin' It To The Streets", the funky "Rio" and the energetic Soul rocker "Turn It Loose".

Track Listing:
1. Wheels Of Fortune
2. Takin' It To The Streets
3. 8th Avenue Shuffle
4. Losin' End
5. Rio
6. For Someone Special
7. It Keeps You Runnin'
8. Turn It Loose
9. Carry Me Away

After seeing KISS play a showcase concert at New York City’s Le Tang’s ballet studio, Casablanca founder Neil Bogart offered the band a record contract on the spot. From 1974 to 1982, Casablanca Records released 29 KISS singles on 45 RPM records. These singles were released for sale to the public, used for commercial radio airplay and to promote album sales. In many cases, as a bonus to the fans who already owned the record albums, many of these singles featured entirely different mixes, edits, and material that did not appear on any album.

These musical snapshots of KISS’ formative years have never been released in a commemorative singles edition until now.

Out of the 29 singles featured in the box sets, there are 26 highly collectible picture sleeves from original single releases around the world including Japan, Germany, Holland, Spain and the U.K., plus a 36-page booklet with unreleased photos and track annotations.

The sets also feature reissues of the 4 singles from all four solo albums from 1978 – the vinyl collection with special purple, blue, red and green vinyl – complete with a mask picture sleeve representing each individual member as originally released in the U.K.

Track Listing:
1. Nothin’ To Lose / Love Theme From KISS
2. KIssin’ Time / Nothin’ To Lose
3. Strutter / 100,000 Years
4. Let Me Go, Rock ‘N’ Roll / Hotter Than Hell (GERMANY SLEEVE)
5. Rock And Roll All Nite / Getaway (HOLLAND SLEEVE)
6. C’mon And Love Me / Getaway (JAPAN SLEEVE)
7. Rock And Roll All Nite (live) / Rock And Roll All Nite (GERMANY SLEEVE)
8. Shout It Out Loud / Sweet Pain (JAPAN SLEEVE)
9. Flaming Youth / God Of Thunder (U.S. SLEEVE)
10. Detroit Rock City / Beth (JAPAN SLEEVE)
11. Beth / Detroit Rock City (GERMANY SLEEVE)
12. Hard Luck Woman / Mr. Speed (GERMANY SLEEVE)
13. Calling Dr. Love / Take Me (GERMANY SLEEVE)
14. Christeen Sixteen / Shock Me (FRANCE SLEEVE)
15. Love Gun / Hooligan (SWEDEN SLEEVE)
16. Shout It Out Loud (live) / Nothin’ To Lose (live) (GERMANY SLEEVE)
17. Rocket Ride / Tomorrow And Tonight (live) (GERMANY SLEEVE)
18. Strutter ’78 / Shock Me (GERMANY SLEEVE)
19. Hold Me, Touch Me / Goodbye – Paul Stanley (U.K. MASK SLEEVE / PURPLE VINYL)
20. New York Groove / Snow Blind – Ace Frehley (U.K. MASK SLEEVE / BLUE VINYL)
21. Radioactive / See You In Your Dreams – Gene Simmons (U.K. MASK SLEEVE / RED VINYL)
22. Don’t You Let Me Down / Hooked On Rock ‘N’ Roll – Peter Criss (GERMANY SLEEVE)
23. You Matter To Me / Hooked On Rock ‘N’ Roll – Peter Criss (U.K. MASK SLEEVE / GREEN VINYL)
24. I Was Made For Lovin’ You / Hard Times (GERMANY SLEEVE)
25. Sure Know Something / Dirty Livin’ (GERMANY SLEEVE)
26. Shandi / She’s So European (HOLLAND SLEEVE)
27. Tomorrow / Naked City (JAPAN SLEEVE)
28. A World Without Heroes / Dark Light (SPAIN SLEEVE)
29. I Love It Loud / Danger (U.S. SLEEVE)

Musicians:

• Johnny Winter (guitar, mandolin, vocal)
• Edgar Winter (piano, alto saxophone, organ, harpsichord)
• Tommy Shannon, Dennis Collins (bass)
• 'Uncle' John Turner (percussion)

Recording: 1969 by Ed Kollins
Production: Johnny and Edgar Winter

About Speakers Corner

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

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

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

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

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

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

7" Vinyl Single
Evil Woman
Wicked World (non-album B-side)

Cut at Sterling Sound directly from the original master tape. This was a straight transfer, bypassing the console altogether. There was no EQ of any kind. A true direct transfer, using a VMS 80, the most sophisticated lathe. You're hearing the master tape!

In the late 1950s and the '60s, country music was essentially a singles medium. This album, first released in 1967, collects a dozen of Patsy Cline's biggest hits — all of them from the country singles market — including "Walkin' After Midnight," "Sweet Dreams (Of You)," "Crazy," and "I Fall to Pieces." Producer Owen Bradley surrounds Cline's full-throated, emotionally charged vocals with lush, sophisticated arrangements that set the standard for Nashville's "countrypolitan" sound. Before Shania Twain found a new (though not necessarily improved) way to combine country and pop in the 1990s, this was the top-selling country album of all time by a female artist.

This title is not eligible for discount.

Track Listing:
1. Crazy
2. Back in Baby’s Arms
3. Faded Love
4. You’re Stronger Than Me
5. Sweet Dreams
6. Walking After Midnight
7. Strange
8. I Fall to Pieces
9. So Wrong
10. Leavin’ on Your Mind
11. She’s Got You
12. Why Can’t He Be You

The Brio–R embodies all the necessary ingredients. Substantial toroidal transformer, generous power supply components, rugged output stage, the use of film capacitors in the signal path and at all critical positions within the phono amplifier.

New output amplifier

Developed by our engineers a newly designed output amplifier using a low source impedance emitter follower Class A driver stage. Based around a complementary pair of 150w Sanken Darlington output transistors, this combination forms a complementary emitter follower emulating Class A conditions with good thermal stability and lower standing currents in the driver stage.

Remote Control

Remote control has been added to the Brio-R without compromising the sonic design of the amplifier. This was achieved by keeping the remote circuit separate to the audio circuit and having its own dedicated power supply.

There is no direct contact between the micro-controller and the signal path, the micro-controller controls the relays whilst the volume control motor uses DC control voltages.

High quality components

The Brio-R utilises the highest quality components and our engineers' experience to achieve the best sonic performance, ensuring it is the most advanced and feature packed Brio to date.

Improved power supplies

During the Brio-R design process Rega reviewed the circuit and improved the low and high current power supplies, coupling and bypass capacitors. The phono stage has been improved to reflect the current improvements in the Rega Planar turntables, where the input sensitivity has been increased along with a revision of the sub 100Hz part of the phono frequency response.

Custom Case & Design

Housed in a brand new custom case the Brio-R draws on the pedigree of the previous three incarnations of this model. The sonic recipe for the Brio-R embodies the best in traditional audio circuits with excellent engineering practice.

It’s been 10 years since the little project that could from Seattelite Ben Gibbard (aka Death Cab For Cutie’s frontman) and Angeleno Jimmy Tamborello (Dntel, Figurine) emerged from seemingly nowhere and began to burrow into the ears of anyone who came into contact with the band’s infectious electro-pop. To celebrate, Sub Pop is reissuing The Postal Service’s sole album, and including in the multi-LP set 15 bonus tracks, including two brand new songs, “A Tattered Line of String” and “Turn Around.” On top of that, the band is back together: The Postal Service will hit the road for a long-overdue victory lap, giving most fans their first (and last—seriously, don’t ask) chance to see the group in person.

Of course, the band’s music was more than just electro-pop, and the force with which Jimmy and Ben captured the indie-rock zeitgeist of the early aughts made them more of a phenomenon than just a regular old band. That such artists as Ben Folds, Amanda Palmer, Streetlight Manifesto, and Confide have covered “Such Great Heights” is a testament to both the song’s magical spark and its melodic inclusivity. The band’s sound is such a touchstone that “Postal Service-esque” has become a generally accepted musical adjective. And it goes way beyond Owl City.

While it was impossible to anticipate how massive Give Up would become, it was obvious in 2003 that these guys had made something special. Ten years on it’s amazing to know that so many people have come to agree.

Track Listing:
1. The District Sleeps Alone Tonight
2. Such Great Heights
3. Sleeping In
4. Nothing Better
5. Recycled Air
6. Clark Gable
7. We Will Become Silhouettes
8. This Place Is a Prison
9. Brand New Colony
10. Natural Anthem
11. Turn Around
12. A Tattered Line of String
13. Be Still My Heart
14. There's Never Enough Time
15. Suddenly Everything Has Changed
16. Against All Odds (Take a Look At Me Now)
17. Grow Old With Me
18. Such Great Heights (John Tejada Remix)
19. The District Sleeps Alone Tonight (DJ Downfall Persistent Beat Mix)
20. Be Still My Heart (Nobody Remix)
21. We Will Become Silhouettes (Matthew Dear Remix)
22. Nothing Better (Styrofoam Remix)
23. Recycled Air (Live on KEXP)
24. We Will Become Silhouettes (Performed by The Shins)
25. Such Great Heights (Performed by Iron & Wine)

Due to its complex ATL™ the twenty™•21 has significantly more dynamic grip and depth of bass than any other speaker of this size.

It is a very effective musical communicator, with fine warmth through the mid range and a sweet and extended treble. It all adds up to a dynamite design, capable of dominating the compact loudspeaker market by reproducing all genres of music with ease.

Twenty.61 Speaker Stand sold separately

Tracks composed for the film are "100 Black Coffins" by Rick Ross and produced by and featuring Jamie Foxx, "Who Did That To You?" by John Legend, "Freedom" by Anthony Hamilton and Elayna Boynton, "Ancora Qui" by Ennio Morricone and Elisa. These four songs were all contenders for an Academy Award nomination in the Best Original Song category, but none of them were eventually nominated.

The soundtrack also includes seven tracks that are dialogue excerpts from the film.

Track Listing:
Side A
1. Winged
2. Django (main Theme) – Luis Bacalov, Rocky Roberts
3. The Braying Mule – Ennio Morricone
4. In That Case, Django, After You…
5. Lo Chiamavano King (his Name Is King) – Luis Bacalov, Edda Dell’orso
6. Freedom – Anthony Hamilton & Elayna Boynton

Side B
7. Five-thousand-dollar Nigga’s And Gummy Mouth Bitches
8. La Corsa (2nd Version) – Luis Bacalov
9. Sneaky Schultz And The Demise Of Sharp
10. I Got A Name – Jim Croce
11. I Giorni Dell’ira – Riz Ortolani
12. 100 Black Coffins – Rick Ross

Side C
13. Nicaragua – Jerry Goldsmith Featuring Pat Metheny
14. Hildi’s Hot Box
15. Sister Sara’s Theme – Ennio Morricone
16. Ancora Qui – Ennio Morricone And Elisa
17. Unchained (the Payback/untouchable) – James Brown And 2pac
18. Who Did That To You? – John Legend

Side D
19. Too Old To Die Young – Brother Dege
20. Stephen The Poker Player
21. Un Monumento – Ennio Morricone
22. Six Shots Two Guns
23. Trinity (titoli) – Annibale E I Cantori Moderni

Sourced from the original master tapes, cut by noted engineer Doug Sax, and overseen by resident Pink Floyd producer James Guthrie, this pressing bests anything you've heard. Teeming with stunning dynamics, an immense front-to-back soundstage, newly uncovered details, balanced transients, and tube-amplifier warmth, this dead-quiet pressing will have you truly hearing this all-time classic with fresh ears. Whether you already have The Wall on an older analog pressing or on one of myriad CD versions, YOU NEED TO HEAR THIS PRESSING

One of the most acclaimed concept albums of all time, The Wall is renowned as Roger Waters rock opera dealing with the abandonment and personal isolation of a rock star. Replete with smooth production, complex vignettes, and lacerating self-pity, the album yielded the U.S. and U.K. #1 hit "Another Brick In The Wall Pt. 2," and was subsequently adapted for cinema by Alan Parker featuring Bob Geldof in the lead role.

No matter your generation, you've heard of and will relate to The Wall. Treat yourself and experience it like never before with this pressing, sourced from the original master tapes and finally back on LP after being out of print for many years. Having taken one year to make, Rolling Stone nailed the record's genius when the magazine called it "Rock's ultimate self-pity opera, The Wall is also hypnotic in its indulgence: the totalitarian thunder of "In the Flesh?" the suicidal languor of "Comfortably Numb," the Brechtian drama of "The Trial.""

The vinyl remastering is sourced from the original analog master tapes for these amazing transfers. Cut by expert cutting engineer, Doug Sax and overseen by James Guthrie for the best sound quality possible.

Track Listing:
LP1
1. In The Flesh?
2. The Thin Ice
3. Another Brick In The Wall Part 1
4. The Happiest Days of Our Lives
5. Another Brick In The Wall Part 2
6. Mother
7. Goodbye Blue Sky
8. Empty Spaces
9. Young Lust
10. One of My Turns
11. Don't Leave Me Now
12. Another Brick In The Wall Part 3
13. Goodbye Cruel World

LP2
1. Hey You
2. Is There Anybody Out There
3. Nobody Home
4. Vera
5. Bring The Boys Back Home
6. Comfortable Numb
7. The Show Must Go On
8. In The Flesh
9. Run Like Hell
10. Waiting For The Worms
11. Stop
12. The Trial
13. Outside The Wall

Musicians:

• Otis Rush (vocal, guitar)
• Doug Killmer, John Kahn (bass)
• Hart McNee (alto saxophone)
• John Wilmeth (trumpet)
• Ron Stallings (tenor saxophone)
• Fred Burton (guitar)
• Mark Naftalin (piano)
• Ira Kamin (organ)
• Bob Jones (drums)

Recording: February 1971 at Wally Heider's Studio, San Francisco
Production: Nick Gravenites and Otis Rush

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.

Includes Original Version of "Whipping Post," Cover of Muddy Waters' "Trouble No More"

They hailed from Macon, Georgia. They looked liked any number of young, hopeful bands straddling the violent fade of the 1960s with the advent of the 1970s. They missed the British Invasion-triggered blues revival by several years. Yet they sounded like no other group, their youthfulness belied by virtuosic abilities and interlocking interplay Miles Davis would've envied. It all starts here, on a smoldering self-titled debut that has few peers.

Mastered from the original master tapes, Mobile Fidelity's 180 gram LP of The Allman Brothers Band joins the unparalleled reissue imprint’s other Allman titles in presenting the inimitable group's music in the most lifelike, uncompromising fidelity anyone has ever heard. Opening up the dynamic contrasts, clearing direct paths for the frequency ranges, and ensuring optimal balances and neutrality, this edition takes listeners to the producer’s chair at New York’s Atlantic Studios as the sessions went down. The Allman Brothers Band has never sounded so crisp, clear, or defined.

Having already cut its collective teeth via live shows throughout the South, the Allman Brothers Band was properly vetted for its initial major-label foray. In particular, Gregg and Duane Allman had done stints in several other collectives that recorded a handful of long-forgotten records. Duane, too, established himself as a go-to whiz-kid slide and lead guitarist, becoming a session instrumentalist for Muscle Shoals’ FAME Studios and playing with the likes of Aretha Franklin, Percy Sledge, Wilson Pickett, and others.

He and organist/vocalist Gregg’s deft touch and innate knack for soulful tonalities help define his namesake group’s eponymous debut, notched with raw-boned R&B and purifying gospel motifs that seeped into the duo’s consciousness while growing up in Jacksonville. Complemented by likeminded lead guitarist Dickey Betts and a trio of similarly minded masters, the siblings quickly changed history on this 1969 set famous for stunningly resonant blues, spirit-moving soul, and polyrhythmic rock.

Entering with a memorable one-two punch in which fluid jazz lines mutate into an anguished 12-bar blues exchange between Gregg and Duane, continuing with an edgy and worthy take of Muddy Waters’ “Trouble No More,” and closing with the landscape-shifting workout "Whipping Post," a preview of things to come, The Allman Brothers Band contains no flaws. Then there’s the aching of "Dreams," a melodic 12/8-time piece showcasing slide-guitar voodoo and psychedelic aftertastes. Don’t miss this stellar work.

Track Listing:
1. Don’t Want You No More
2. It's Not My Cross to Bear
3. Black Hearted Woman
4. Trouble No More
5. Every Hungry Woman
6. Dreams
7. Whipping Post

Musicians:

• Jorma Kaukonen (guitar, vocal)
• Jack Casady (bass, vocal)
• Papa John Creach (violin, vocal)
• Sammy Piazza (drums, percussion, vocal)
• Nikki Buck (organ, piano)
• Richmond Talbott (vocal, guitar)
• David Crosby (vocal)

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

About Speakers Corner

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

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

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

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

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

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

Recording: throughout 2011 at various locations by Andreas Spreer
Production: Andreas Spreer

This title is not eligible for discount.

Track Listing:
1. Fritz Kreisler
Dance Espanish

2. Ludwig van Beethoven
Quartet in G Major op. 18 no. 2, Mov. 1 Allegro

3. Joseph Haydn
String Quartet in G mino op. 74 No. 3 Hob. III:74
Mov. 4 Finale. Allegro con brio

4. Enreque Granados
12 Danzas Espanolas, no. 5, Andaluza
Transcribed for guitar duo

5. Henri Vieuxtemps
Capriccio for Viola Solo

6. Franz Schubert
Ave Maria op. 52

7. Isaac Alveniz
Granada. Serenata op. 47 No. 1
Allegretto, aus Suite espagnole
Transcription for guitar duo: Duo Favori

8. Johann Sebastian Bach
Sonata 1 BWV 1001 Mov. 1 Adagio

9. Vocalise (transcription for viola and piano)
Hartmut Lindenmann, viola

10. Felix Mendelssohn Bartholdy
Octet in E flat major op. 20, Mov. 4 Presto

The band plays standards, many of Monk's famous tunes, a few lesser known items like Gallop's Gallop and Blues Five Spot and the recent compositions Teo and Bright Mississippi. Propelled by Gales and Riley, Monk and Rouse deliver amazing 10-minute excursions on such Monk classics as Nutty, Rhythm-a-ning and Blue Monk.

Rouse in his sixth year with Monk had hit his stride, truly becoming Monk's musical alter ego. Remarkably, drummer Ben Riley had joined the quartet at the beginning of 1964 and bassist Larry Gales had only logged in a month at the time of this taping; yet they already show the first signs of collective greatness on these evenings.

Mosaic has returned to the original three-track tapes and mixed them down to beautiful sounding analog stereo masters, presenting the six sets they played that night as they happened.

This title not eligible for discount

Track Listing:
1. Blue Monk
2. Well, You Neednt
3. Round Midnight
4. Rhythm-a-ning
5. Epistrophy (theme- Saturday set one)
6. Blues Five Spot
7. Bemsha Swing
8. Straight No Chaser
9. Epistrophy (theme Saturday set two)
10. Evidence
11. Sweet And Lovely
12. Nutty
13. Epistrophy (theme Saturday set three)
14. Teo
15. Im Getting Sentimental Over You
16. Epistrophy (theme Sunday set one)
17. Misterioso
18. Gallops Gallop
19. Ba-lue Bolivar Ba-lues-are
20. Epistrophy (theme Sunday set two)
21. Bright Mississippi
22. Just You, Just Me
23. All The Things You Are
24. Epistrophy (theme Sunday set three)

"Reservoir Dogs is the pulp novel I always wanted to write. Although the story is very much present day, it has a '50s feel but I used music from the '70s. In one scene, the audience learns that a local radio station is hosting a Super 70s weekend and that's why I am using and referencing the bubblegum music that was popular during that period. I found that the music was a terrific counterpoint to the action on the screen." -Quentin Tarantino

Track Listing:
1. And Now Little Green Bag... - Dialogue By Steven Wright
2. Little Green Bag - George Baker
3. Rock Flock Of Five - Dialogue By Steven Wright
4. Hooked On A Feeling - Blue Swede
5. Bohemiath - Dialogue By Steven Wright
6. I Gotcha - Joe Tex
7. Magic Carpet Ride - Bedlam
8. Madonna Speech - Dialogue By Quentin Tarantino
9. Fool For Love - Sandy Rogers
10. Super Sounds - Dialogue By Steven Wright
11. Stuck In The Middle With You - Stealers Wheel
12. Harvest Moon - Bedlam
13. Let's Get A Taco - Dialogue by Harvey Keitel and Tim Roth
14. Keep on Truckin' - Dialogue by Steven Wright
15. Coconut - Harry Nilsson
16. Home of Rock - Dialogue by Steven Wright

Chronicle, Vol. 1, also known as Chronicle: The 20 Greatest Hits, is a compilation album by American swamp rock band Creedence Clearwater Revival, released in January 1976 by Fantasy Records, it was released the same time as the single release of "I Heard It Through the Grapevine". Compared to the two previously released Creedence Gold compilations, Chronicle Vol. 1 features all of the group's charted hits. It is the best-selling album in the Creedence catalog, making 8x Multi-Platinum by the Recording Industry Association of America. Chronicle, Vol. 1 is a singles collection with 13 A-sides and 7 B-sides.

Musicians:
John Fogerty – vocals, lead guitar
Stu Cook – bass
Doug Clifford – drums
Tom Fogerty – rhythm guitar (except on tracks 19 and 20)


Track Listing:
1. Suzie Q
2. I Put A Spell On You
3. Proud Mary
4. Bad Moon Rising
5. Lodi
6. Green River
7. Commotion
8. Down On The Corner
9. Fortunate Son
10. Travelin' Band
11. Who'll Stop The Rain
12. Up Around The Bend
13. Run Through The Jungle
14. Lookin' Out My Back Door
15. Long As I Can See The Light
16. I Heard It Through The Grapevine
17. Have You Ever Seen The Rain?
18. Hey Tonight
19. Sweet Hitch-Hiker
20. Someday Never Comes

Each LP pressed on a different color of vinyl - blue, red, orange and lime green

One of the most important and invigorating experimental albums in contemporary pop music. Four LPs, designed to be played on cue and simultaneously, producing nothing short of a live performance effect

Remastered by the band at Bernie Grundman mastering for this exclusive edition

Unique art and packing specific to this release for record store day 2013

Track Listing:
1. Okay I'll Admit That I Really Don't Understand
2. Riding to Work in the Year 2025 (Your Invisible Now)
3. Thirty-Five Thousand Feet of Despair
4. A Machine in India
5. The Train Runs Over the Camel But Is Derailed by the Gnat
6. How Will We Know? (Futuristic Crashendos)
7. March of the Rotten Vegetables
8. The Big Ol' Bug Is the New Baby Now

Never Before Released Recordings

People, Hell & Angels is a new album of twelve never before released Jimi Hendrix studio recordings. This special album showcases the legendary guitarist working outside of the original Jimi Hendrix Experience trio. Beginning in 1968, Jimi Hendrix grew restless, eager to develop new material with old friends and new ensembles. Outside the view of a massive audience that had established the Experience as rock’s largest grossing concert act and simultaneously placed two of his albums together in the US Top 10 sales chart, Jimi was busy working behind the scenes to craft his next musical statement.

Track Listing:
LP1
1. Earth Blues
2. Somewhere
3. Hear My Train A Comin'
4. Bleeding Heart
5. Let Me Move You
6. Izabella

LP2
1. Easy Blues
2. Crash Landing
3. Inside Out
4. Hey Gypsy Boy
5. Mojo Man
6. Villanova Junction Blues

180 Gram Audiophile Vinyl with original pasteboard, gatefold sleeve, original U.S. shop poster, album history

Track Listing:
1. 'Cello Song
2. Poor Boy
3. At the Chime of a City Clock
4. Northern Sky
5. River Man
6. Three Hours
7. One of These Things First
8. Fly

Drawn from the Original Monoaural Mixes Created by Chas Chandler, Jimi Hendrix, and Eddie Kramer in 1967.

All Analog Mastering by Bernie Grundman

Orginial Artwork and Sequencing

Individually Numbered

Highly Sought After Mixes Previously Unavailable for Decades

200 Gram pressing by Quality Record Manufacturing

Faithful to the Original Edition Released in 1967 - US and International Edition Features Different Songs and Sequencing

The sensational sophomore release of The Jimi Hendrix Experience highlights Hendrix’s own evolving musical experimentalism and acknowledges his early musical influences of soul and R&B. Remastered from the original two-track mixdown master tapes, Axis: Bold As Love’s 13-songs show the evolving trio as they neared the height of their career. Features the seminal classics “Spanish Castle Magic,” “Little Wing,” “Castles Made Of Sand,” and the classic Easy Rider anthem, “If 6 Was 9.”

The original monophonic mixes have been transferred from the original master tapes using Grundman’s all analog mono mastering process.

Track Listing:
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

This is the first live album from the Kings of the Dutch Blues scene, who also purportedly played a stint as Van Morrison's backing band, a recording of their concert at The Rheinhalle in Dusseldorf, Germany in 1968. This recording hasn't seen a vinyl re-issue since 1973.

Track Listing:
1. Sugar Mama
2. Sweet Little Angel
3. No Way Out
4. Don't Love You Twice
5. Five Long Years
6. Dust My Blues

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.

Limited Edition

Comes with an Elys 2 cartridge - factory fitted!

The RP3 has been designed and engineered to achieve outstanding performance way beyond the expectations of a product at this price point. Excellent build quality, reliability and ease of use combine to make a product which, if used correctly, will offer a lifetime of musical enjoyment. Omitting unnecessary gimmicks allows us to concentrate the manufacturing costs on the high quality parts necessary to reproduce records accurately. The RP3 is fitted with a brand new hand assembled RB303 tonearm, precision main bearing and a low vibration low noise 24v motor assembly which is individually hand tuned to its circuit to further reduce vibration.

DB Technology (Double Brace Technology)

"Mass absorbs energy - lost energy equals lost music"! Rega has pioneered the use of lightweight rigid plinths. Clever use of lightweight particulate core with a highly rigid phenolic resin skin became the foundations of the high level of performance achieved by the now iconic Planar turntable range. The RP3 takes this design philosophy to the next level. A super lightweight plinth combined with a phenolic resin double brace mounted specifically where the increased rigidity is required (between the tonearm mounting and the main hub bearing) forms a structurally sound "stressed beam" assembly. This rigid plinth design prevents energy absorption and unwanted resonances which will add unnatural distortions to the music. Equally, heavier mass can transfer more unwanted energy such as motor or bearing noise directly into the rotating record. The use of braces instead of the complete skin allows double thickness phenolic resin in these key areas while providing further weight reduction to the plinth which directly addresses the issue of mass absorption and unwanted energy transmission.

RB303 Tonearm - Making the best better

Designed using the latest 3D CAD & CAM technology the new RB303 is the culmination of more than 30 years of tonearm design experience. Due to advances in technology we have been able to fine tune the iconic RB300 tonearm design. Featuring a brand new tube with increased rigidity to the bearing housing, arm carrier and headshell coupled with intelligent redistribution of mass ensure this arm will exhibit fewer points of possible resonance. Extreme stability with almost friction free movement from the high precision bearing assemblies guarantee to gather more information from your vinyl than ever before.

Elys 2 Cartridge

The Rega Elys 2 is a Moving Magnet cartridge that uses uses an elliptical diamond stylus. Offering outstanding sound quality, this cartridge is highly recommended for any turntable, but is the perfect choice for your Rega turntable!

Recent developments in coil winding techniques have allowed Rega to use their innovative parallel wound coil in the Elys 2. This technique uses approximately one third less wire than previous models, thus producing a more efficient and reduced mass cartridge.

Click here to read more about the Elys 2 cartridge: Elys 2 Cartridge

For record cleaning and effective static control.

Dissipate static and wipe away harmful dust, lint and dirt with one simple stroke of this handle-held large brush. Unlike some record brushes, this model fits across the entire radius of a 12-inch LP. Its bristles are made of a unique blend of soft natural hairs and conductive synthetic fibers that result in effective static dissipation. Packaged in a re-sealable pouch. For use on LPs, film, glass, plastics and negatives.

"This large-handled brush has soft bristles of both natural hairs and conductive synthetic fibers, and makes dusting LPs nearly foolproof."
- Stereophile Recommended Components – Stereophile, October 2008

For record cleaning and effective static control.

Dissipate static and wipe away harmful dust, lint and dirt with one simple stroke of this handle-held large brush. Unlike some record brushes, this model fits across the entire radius of a 12-inch LP. Its bristles are made of a unique blend of soft natural hairs and conductive synthetic fibers that result in effective static dissipation. Packaged in a re-sealable pouch. For use on LPs, film, glass, plastics and negatives.

"This large-handled brush has soft bristles of both natural hairs and conductive synthetic fibers, and makes dusting LPs nearly foolproof."
- Stereophile Recommended Components – Stereophile, October 2008

The Deluxe AcousTech gauge is set apart from the standard version by a full metal casing, AAA battery support, and a deluxe storage case. Includes mini screwdriver and calibration weight.

The AcousTech gauge will accurately read your tracking force within 0.002 grams, the finest reading available. Many imitators only read accuracy of 0.01 grams.

Accurate and simple to use – that's the essence of a great stylus force gauge, and that's what you get with this AcousTech model. We all know, or certainly we all should know, that dialing in your correct tracking force is absolutely essential for optimal record playback. If you miss on the heavy side, your sound becomes thick and sluggish. Miss on the light side, and your cartridge is more likely to mistrack and the sound will be light and anemic. So stop messing with those mechanical stylus balances that aren't even accurate. This is one case where digital makes more sense when it comes to fine-tuning your analog.

Heavyweight Vinyl Cut From Original Album Master Tapes

Iron Maiden's seventh studio album was released in 1988. The album was their first to feature keyboards and debuted at No. 1 in the UK Albums Chart. Another first the album delivers from the group is the appearance of progressive rock elements with the odd-time signatures of the lengthy title track.

This release is one of a series of special limited edition Iron Maiden vinyl picture disc albums released by Universal Music Enterprises (UMe). Comprised of the first eight albums of Maiden's career, all released in the 1980s, each picture disc will be packaged in a gatefold cover, full color printed inner sleeves, with the heavyweight vinyl cut from the original album master tapes.

Track Listing:
1. Moonchild
2. Infinite Dreams
3. Can I Play With Madness
4. The Evil that Men Do
5. Seventh Son of a Seventh Son
6. The Prophecy
7. The Clairvoyant
8. Only The Good Die Young

This Limited Anniversary Edition mastered impeccably from the original mono RCA tapes by Joe Reagoso & pressed at RTI, includes 1960 calendar gatefold cover.

Featuring newly recorded 1958 tracks along with a few Sun Sessions and rare EP burners, "A Date With Elvis" went on to become one of Elvis' most memorable titles in his huge arsenal of albums. Thanks to his smash hits "Baby, Let's Play House" & "(You're So Square) Baby I Don't Care," this southern rockabilly sounding Elvis Presley was just what the fans were screaming for.

Musicians Include:
Elvis Presley (vocals, guitar, piano)
Scotty Moore (guitar)
Bill Black (bass)
D.J. Fontana (drums)


Track Listing:
1. Blue Moon Of Kentucky
2. Young And Beautiful
3. (You’re So Square) Baby I Don’t Care
4. Milk Cow Boogie
5. Baby Let’s Play House
6. Good Rockin’ Tonight
7. Is It So Strange
8. We’re Gonna Move
9. I Want To Be Free
10. I Forgot To Remember To Forget

Pressed at RTI!

For many classical music lovers, Beethoven’s eighth violin sonata lives in the long, fiery shadow of the ninth, better known as the “Kreutzer”. This is easy to understand, as the Kreutzer is a prime example of the stormy side of Beethoven — the one many listeners see as his most exciting and revealing trait. However, just as his eighth symphony is the kinder, gentler companion to his towering, formidable ninth, the eighth violin sonata, shorter and less aggressive than the ninth, shows a more lyrical side of Beethoven.

For this release, RCA coupled the eighth sonata with the tenth, also in G Major. One of the loveliest of Beethoven’s compositions for violin, the mood of the tenth sonata is the perfect complement to the eighth.

Although RCA would often place Heifetz alongside great pianists like Rubinstein, it was with Emanuel Bay that he found the greatest chemistry. This new Impex LP is the long-overdue 180-gram debut of the famous Heifetz/Bay team. The two sonatas were recorded on October 16 and 17, 1952 using a single microphone. These monaural masterpieces come closer to capturing the true Heifetz tone than many concerto recordings of the stereo era and Impex’s all-analog production, featuring mastering by Kevin “Dr. Groove” Gray & Robert “Mr. Record” Pincus and pressing at Record Technology Inc., preserves the incredible dynamic range of this historic session, without the unnatural EQ of the original LP. Strictly limited to 2,000 pressings, this will surely become the next great collectable reissue from Impex Records.

Track Listing:
1. Sonata No. 8 in G Major
2. Sonata No. 10 in G Major

Fiddler Katie Weed says of the album, "The songs on “Down Side Up” are the result of a wonderful confluence of things: of touring for years and waking up together in cities across the world, of discovering new worlds while still missing home, of stories that we’ve wanted to tell for ages, of melodies that permeated our minds and then soundchecks, and of songs that took shape and life truly as a collaboration between band members. Fat Mike and Johnny worked closely with the band to produce what we think is the best album we’ve ever been a part of. And it happened to be recorded in the same room where we used to burn stove-top popcorn and drink beer and dream about how amazing it would be if we could turn this passion into a life, or even career. We lived, breathed, ate, and slept these songs. Several members literally lived in the studio that we built. Recording in our own studio provided almost unbridled freedom: unlimited opportunity to tweak the songs, and the luxury of being able to take creative risks. Harmonies conceived and recorded at 3 AM or solos re-recorded during lunch became the norm, and allowed us myriad options and creative control. Where else but in the OMM home studio could we lay down a ripping distorted autoharp track and then pop outside to the backyard to record the crickets of Van Nuys?"

Track Listing:
1. Blood on My Hands
2. Rehearsal
3. America’s Dreaming
4. Come Around Here
5. Blindfold
6. So Much More
7. Hard to Understand
8. Beyond the Moon
9. Hand Me Down
10. Up Side Down
11. Fastbreak
12. Train of Thought
13. Too Soon for Goodnight

Features performances by John Wetton (Asia), Tony Levin (King Crimson), Jerry Goodman (Mahavishnu Orchestra), Richard Page (Mr. Mister), Geoff Downes (Yes/Asia), Alan Parsons (Alan Parsons Project), Chris Squire (Yes), Rick Wakeman (Yes), Gary Green (Gentle Giant), Annie Haslam (Renaissance), Steve Hillage (Gong), John Wesley (Porcupine Tree), Tony Kaye (Yes), Colin Moulding (xTC) and more!

Track Listing:
LP1
1. The Laws of Nature
2. Over Again
3. The Technical Divide
4. Social Circles
5. Buried Beneath
6. Follow the Signs

LP 2
1. Check Point Karma
2. The Laws of Nature (Instrumental)
3. The Technical Divide (Instrumental)
4. Social Circles (Instrumental)
5. Check Point Karma (Instrumental)
6. Over Again (Single Edit)
7. BONUS TRACK: Let the World Revolve

Includes:
Colored Vinyl (Red, White & Blue)
3-LP Box Set
Limited to 500 copies


Track Listing:
LP 1
1. Hollywood - Junkyard
2. Nothin' But a Good Time - Bret Michaels of Poison
3. Someone Like You - Bang Tango
4. Heartbreak Hotel - Axl, Slash, Izzy, Duff & Steven
5. Turn Up the Radio - Autograph
6. Come On Feel the Noize - Quiet Riot
7. Tell the World - Ratt
8. Smooth Up in Ya - Bullet Boys
9. Blackout In the Red Room - Love/Hate
10. Feel the Shake - Jetboy

LP 2
1. Set the Night On Fire - Pretty Boy Floyd
2. Misty Mountain Hop - Taime Downe of Faster Pussycat
3. Cherry Pie - Warrant
4. Electric Gypsy - L.A. Guns
5. Anything Goes - Hollywood Rose
6. Inside Out - XYZ
7. Hush Child - Rock City Angels
8. When the Good Die Young - Dokken
9. 12 O'Clock High - Odin
10. Take Me to the Mountain - Hardly Dangerous

LP 3
1. Rock Me - Great White
2. Sinner Street - Tuff
3. Chicago - Blackboard Jungle
4. Cold Ethyl - Vince Neil & Mick Mars of Motley Crue
5. Action - D'Molls
6. The Right to Rock - Keel
7. Paris Is Burning - Exciter feat. George Lynch
8. The End of Marylou - Spiders & Snakes
9. Hold On - Rough Cutt
10. Commercial Suicide - Kill for Thrills

Seminal 1972 Americana Album's First-Ever Vinyl Reissue Overseen by the Band with New Liner Notes by John McEuen and Exclusive Poster

The Nitty Gritty Dirt Band’s seminal 1972 Americana album, Will the Circle be Unbroken, has been remastered from the original analog tapes for a deluxe 40th Anniversary 3LP vinyl edition. Overseen by the band and including a new liner notes essay by the Dirt Band’s John McEuen, the commemorative edition features the original, Platinum-certified triple album on 180-gram vinyl, presented in faithfully restored gatefold packaging with an exclusive poster. The new release, remastered by Chris Bellman at Bernie Grundman Mastering, marks the first-ever vinyl reissue of one of Americana’s most influential recordings.

Met by international critical acclaim as a modern classic upon its release, the Nitty Gritty Dirt Band’s Will the Circle be Unbroken features a who’s-who of bluegrass, folk, and blues luminaries as primary and guest artists, including Mother Maybelle Carter, Roy Acuff, Doc Watson, Earl Scruggs, Merle Travis, Jimmy Martin, and others, as well as compositions by Acuff, Scruggs, Travis, Martin, Hank Williams, and Joni Mitchell, among others. The album crossed genre lines, uniting fans of country and rock music in widespread appreciation, peaking at #4 on Billboard’s Country chart and at #68 on the Billboard 200 Albums chart.

“We were all students of records coming from the bluegrass/folk/blues world, even prior to the Nitty Gritty Dirt Band’s birth in 1966,” writes McEuen in his essay for the album’s 40th Anniversary Edition. “This mysterious mix of music, culture and generations is what made ‘The Circle’ a possibility.”

Recorded live over six consecutive days at Woodland Sound Studios in Nashville, Will the Circle be Unbroken is a timeless feat of studio collaboration, bringing together accomplished country songwriters and musicians from two generations for a cohesive album that is both steeped in tradition and pioneering in its form, ushering in the new Americana style and remaining a font of musical influence to this day. In 2005, the album was selected for the National Recording Registry by the Library of Congress, joining an esteemed group of essential American recordings which “are culturally, historically, or aesthetically important, and/or inform or reflect life in the United States."

“We’re so grateful for the time we got to spend in the recording studio in Nashville making music with our heroes in 1971. 40 years later it stands among the proudest moments we’ve ever had as a band,” says the Dirt Band’s Jeff Hanna.

“We recorded live to two-track,” explains McEuen, “There could be no mixing or overdubs. ‘Get it right the first time, an’ t’hell with the rest of them’ was Roy Acuff’s policy in the studio. With Will the Circle be Unbroken, we are told we all got it right.”

Track Listing:
LP 1
1. Grand Ole Opry Song
2. Keep On The Sunny Side
3. Nashville Blues
4. You Are My Flower
5. The Precious Jewel
6. Dark As A Dungeon
7. Tennessee Stud
8. Black Mountain Rag
9. Wreck On The Highway
10. The End Of The World
11. I Saw The Light

LP 2
1. Sunny Side Of The Mountain
2. Nine Pound Hammer
3. Losin' You (Might Be The Best Thing Yet)
4. Honky Tonkin'
5. You Don't Know My Mind
6. My Walkin' Shoes
7. Lonesome Fiddle Blues
8. Cannonball Rag
9. Avalanche
10. Flint Hill Special
11. Togary Mountain
12. Earl's Breakdown
13. Orange Blossom Special
14. Wabash Cannonball

LP 3
1. Lost Highway
1a. Doc Watson & Merle Travis: First Meeting (Dialogue)
2. Way Downtown
3. Down Yonder
4. Pins And Needles (In My Heart)
5. Honky Tonk Blues
6. Sailin' On To Hawaii
7. I'm Thinking Tonight Of My Blue Eyes
8. I Am A Pilgrim
9. Wildwood Flower
10. Soldier's Joy
11. Will the Circle be Unbroken
12. Both Sides Now

Yes, Uncle Acid & the Deadbeats have, in recent times, become one of the most talked about rock bands currently in existence. Poison Apple comes from their third full-length album, Mind Control, and is a monstrously catchy glimpse into their exciting dark melodic realm and fuzzorama-enhanced tales of terror and horror. Mind Control is a concept album with a theme that makes the acts and intentions of the likes of Charles Manson and Jim Jones seem like petty crimes. What makes Mind Control scarier than most albums is that it doesn’t seem as sinister on the surface as it really is deep down within the core of its black acid-drenched world of pain and torture. It's very easy to get carried away and lost in the magnificent heavy groovy sounds and psychedelic jams but don’t forget this: Uncle Acid has come to kill!

Track Listing:
1. Poison Apple
2. Under the Spell

Yes, Uncle Acid & the Deadbeats have, in recent times, become one of the most talked about rock bands currently in existence. Poison Apple comes from their third full-length album, Mind Control, and is a monstrously catchy glimpse into their exciting dark melodic realm and fuzzorama-enhanced tales of terror and horror. Mind Control is a concept album with a theme that makes the acts and intentions of the likes of Charles Manson and Jim Jones seem like petty crimes. What makes Mind Control scarier than most albums is that it doesn’t seem as sinister on the surface as it really is deep down within the core of its black acid-drenched world of pain and torture. It's very easy to get carried away and lost in the magnificent heavy groovy sounds and psychedelic jams but don’t forget this: Uncle Acid has come to kill!

Track Listing:
1. Poison Apple
2. Under the Spell

Packaged in a Slick Gatefold Cover

1978 was a banner year for Yes & their smash platinum LP "Tormato." Reuniting the dream team of Jon Anderson, Chris Squire, Steve Howe, Alan White & Rick Wakeman, "Tormato" is often considered of the finest recordings in their amazing career. Yes fans continue to praise "Tormato" as a truly inspiring masterwork. This important piece of music consists of nine amazing Yes workouts such as the definitive opener "Future Times," the art rock driven "On The Silent Wings Of Freedom," & the international smash "Don't Kill The Whale."

Track Listing:
1. Future Times
2. Rejoice
3. Don’t Kill the Whale
4. Madrigal
5. Release, Release
6. Arriving UFO
7. Circus of Heaven
8. Onward
9. On the Silent Wings of Freedom

LP2
1. Boston (inst.)
2. You Showed Me (inst.)
3. The Times They Are A Changin’ (inst.)
4. The Only Girl I Adore
5. Tomorrow Is A Long Ways Away (acoustic)
6. You Showed Me (acoustic)
7. I Knew I’d Want You (acoustic)
8. You Won’t Have To Cry (acoustic)
9. Mr. Tambourine Man (acoustic)
10. Willie Jean (David Crosby)
11. Come Back Baby (David Crosby)
12. Jack Of Diamonds (David Crosby)
13. Get Together (David Crosby)
14. She Has A Way (I)
15. Here Without You (I)
16. For Me Again (I)

LP3
1. It’s No Use (I)
2. You Movin’ (I)
3. Boston (I)
4. She Has A Way (II)
5. You Movin’ (II)
6. The Reason Why (II)
7. It’s No Use (III)
Columbia Demo Reel:
8.Tomorrow is A Long Ways Away
9.You Won't Have To Cry
10. You Showed Me
11. I Knew I'd Want You (acoustic)
12. Mr. Tambourine Man
13. She's The Kind of Girl (Gene Clark)
14. I'm Just A Young Man (David Crosby)
15. Everybody's Been Burned (David Crosby)

After the shaky start of "Green Is Blues", Al Green and producer Willie Mitchell established their classic sound with Green's second album, "Gets Next to You". The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke's croon and Otis Redding's shout, Green develops his own distinctive style, and "Gets Next To You" only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell's reinterpretation of the Temptations' "I Can't Get Next to You", which turns the original inside out.

Musicians:

• Al Green (vocal)
• Wayne Jackson (trumpet)
• Ed Logan (tenor saxophone)
• James Mitchell (bassoon)
• Jack Hale (trombone)
• Charles Hodges (keyboards)
• Mabon "Teenie" Hodges (guitar)
• Leroy Hodges (bass)
• Al Jackson (drums)

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.

"OK, so it’s disco sound, but it’s really good." Whoever says that today must have been pretty lively on their feet in the 70s and 80s and in the days of their youth they will definitely have noticed that the commercial fusion music they listened to on a Saturday night was buzzing with energy and excitement. Earth, Wind & Fire considered their amazing mix of Latin, Gospel, Soul, Funk and dynamic horn section as being of existential importance. This was the album that would either make or break the band: either they would establish themselves or they would sink into oblivion like so many other rhythm and blues acts.

The basic recipe – finely chiselled Latin beat, meaty bass grooves and sizzling funky improvisations, spiced with the sound of exotic instruments – works perfectly. Furthermore, crowned with a beautifully airy falsetto and relaxed harmonious singing, the band created a big-band sound that the magazine Rolling Stone described as »innovative yet popular, precise yet sensual, calculated yet galvanizing«. Almost two decades later, and with more than three million albums sold in the USA alone, the editorial team voted the LP into their list of the ‘500 Greatest Albums of All Time’. And about time too! At last today’s ravers and rappers also get the opportunity to experience the great rhythms to which their daddies danced.

Musicians:

• Maurice White (vocal, percussion, drums)
• Verdine White (vocal, bass, percussion)
• Philip Bailey (vocal, conga, percussion)
• Larry Dunn (piano, organ, synthesizer)
• Al McKay (guitar, percussion)
• Ralph Johnson (drums, percussion)
• Johnny Graham (guitar)
• Fred White (drums, percussion)

Recording: 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Wittig
Production: Maurice White

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.

LP2
1. Gimme Three Steps
2. Call Me The Breeze
3. T For Texas
4. The Needle And The Spoon
5. Crossroads
6. Free Bird

For their follow-up to 2007's Emotionalism and 2008's The Second Gleam EP, The Avett Brothers have enlisted the one and only Rick Rubin to handle production duties. Despite the bands earthy sound, Scott Avett elaborates I and Love and You was inspired by an unlikely classic Rubin production: the Red Hot Chili Peppers Blood Sugar Sex Magik. But without the heroin addiction.

Track Listing:
1. I and Love and You
2. January Wedding
3. Head Full of Doubt, Road Full of Promise
4. And it Spread
5. The Perfect Space
6. Ten Thousand Words
7. Kick Drum Heart
8. Laundry Room
9. Ill with Want
10. Tin Man
11. Slight Figure of Speech
12. It Goes On and On
13. Incomplete and Insecure

Youth & Young Manhood is the debut album from American rock band Kings of Leon, released in August 2003. The title was taken from a drawing of the family tree of Moses, found on the inside of one of their Pentecostal preaching father's Bibles. Each branch contained a line that the band was quoted as saying could easily have passed for an album title. Youth and Young Manhood, however, seemed fitting and was quickly agreed upon by all members.

The album was recorded between Sound City Studios, California (where Nirvana's Nevermind and Fleetwood Mac's Rumours were made) and Shangri-La Studio in Malibu. "Molly's Chambers," "Wasted Time" and "California Waiting" were all released as singles. "Spiral Staircase" featured on the PS3 game Motorstorm. "Red Morning Light" was also featured on a Ford Focus commercial, and as the opening song in FIFA 2004 by EA Sports. "Holy Roller Novocaine" was featured in the movie Talladega Nights: The Ballad of Ricky Bobby as well as on the soundtrack.

The album peaked at number 3 in the United Kingdom, but fared worse in the band's homeland, peaking outside the top hundred. The band's popularity exploded in Australia during the weeks of the 22nd and 29 September 2008, when all four of the band's studio albums reached the top 50.Youth and Young Manhood making its first top 50 chart appearance since its release in 2003, peaking at number 46. The album sold more than 940,000 copies worldwide, and was ranked at #80 in Rolling Stone's Top 100 Albums of the Decade.

Track Listing:
LP 1
1. Red Morning Light
2. Happy Alone
3. Wasted Time
4. Joe's Head
5. Trani
6. California Waiting

LP 2
1.Spiral Staircase
2. Molly's Chambers
3. Genius
4. Dusty
5. Holy Roller Novocaine
6. Talihina Sky

The recipient of over 30 awards and accolades, Guy was recently selected to receive this year's Kennedy Center Honors alongside Dustin Hoffman, David Letterman, Natalia Makarova and Led Zeppelin. The 35th annual ceremony will be televised on December 26th at 9:00 PM on CBS.

In a career that spans nearly 50 years with over 50 albums released, the illustrious Buddy Guy has received 28 Blues Music Awards (formerly W. C. Handy Awards), 6 Grammy Awards, Rock and Roll Hall of Fame induction, the first annual Great Performer of Illinois Award, a Billboard Music Awards Century Award for distinguished artistic achievement and the Presidential National Medal of Arts.

Track Listing:
1. Intro
2. Best Damn Fool
3. Mannish Boy
4. I Just Want To Make Love To You
5. Skin Deep
6. Damn Right I Got The Blues
7. Boom Boom/Strange Brew
8. Voodoo Chile/Sunshine Of Your Love
9. Polka Dot Love
10. Coming For You
11. Country Boy

Gatefold jacket

The discovery of these 2-track masters comprising Stereo ‘57 - The Essential Elvis Volume 2, is nothing short of a miracle, and this 200-gram pressing cut at 45 RPM from Quality Record Pressings sounds so astonishing, your jaw will hit the floor!

From the moment Elvis began working with a new song, sound engineer Thorne Norgar had the 15 ips mono tape machine rolling simultaneously with a 2-track protection copy. The machines weren't switched to pause until Elvis was satisfied with the take.

A couple of years before the advent of the stereo LP in mid-1958, major record companies were experimenting with stereophonic recordings, often refered to then as binaural. Studios were using the new Ampex 2-track tape recorders for other purposes, such as for recording session back-ups. But few Elvis fans know how close history came to permanently losing these precious audio glimpses of a young Elvis engrossed in the creative process.

Founded in 1933, Radio Recorders of Los Angeles was the preeminent recording studio of its day, and its director of recording, long-time engineer Thorne Nogar, engineered all of the Elvis sessions from 1955 to 1961. Some of popular music's greatest hits: "Jailhouse Rock," "All Shook Up," "Loving You," and "Teddy Bear," are just a few of the blockbusters that Nogar oversaw Elvis record at the studios, located at 7000 Santa Monica Blvd.

Elvis would be right in the center of everything, at every recording session, Nogar would later recall. "Like with the Jordanaires when he sang, we would set it up with a unidirectional mike, so he would be standing right in front of them, facing them, and they would have their own directional microphone and they would be singing to one another."

The 2-tracks from which this record was pressed could not have sounded better, and there was no one more careful, more experienced and technically skilled to record these historic sessions than Nogar, says Acoustic Sounds' founder and CEO Chad Kassem.

Yet one day years later when Thorne was "cleaning out" his tapes closet, remarkably, he set these 2-track backup tapes aside, intending to dispose of them. Noted producer Bones Howe had worked for Nogar as a tape operator at Radio Recorders, and thanks to him the tapes were saved from a final resting place in the trash can. Bones took the tapes home with him. He'd put them safely away in a bank vault.

These 2-tracks have "erase" clearly written on the master log sheets. They're from a January 1957 session at which Presley produced material for two EPs and the film "Loving You" soundtrack. They're the only known ones surviving from the pre-stereo era.

RCA's Essential Elvis series was a vehicle for the release of Presley's alternate takes. On this double LP set, listeners hear Presley at work, refining band arrangements and working through the nuances of his vocal performance. The LP reveals the Jordanaires voices' sparkling with a natural lifelike sound that's both sonically rich and detailed.

The Jordanaires, a vocal quartet originally formed as a gospel group in 1948, gained fame largely for being Elvis' background singers, both in live appearances and recordings, from 1956 to 1972. If discovering these rare, almost lost recorded treasures weren't enough, the sound reproduction puts this release over the top! When the Jordanaires sing "Peace in the Valley," you'll swear you're hearing a melody sent from heaven. An audiophile's prayer come true!

There are a number of first and second takes, during which Presley and his backing musicians make tentative passes at the material. As the record progresses, arrangements take shape and Presley, growing more confident that a keeper take is imminent, sings with more enthusiasm. Throughout, Presley is heard directing the proceedings and demonstrating a lot of "aw shucks" charm in the process, goofing with band members and laughing through his and others', flubs.

Like other reissues pressed by QRP, this magnificent 200-gram LP is notable for its absolutely silent background. The vocal harmonies are tingle-inducing, life-sized and utterly natural.

For serious Elvis fans and anyone else interested in the creative process, Volume 2 meets the first definition of "essential" as well as the second: it's indispensable stuff.

This title is not eligible for discount.

Track Listing:
1. I Beg Of You (Take 1)
2. Is It So Strange (Take 1)
3. Have I Told You Lately That I Love (Take 2)
4. It Is No Secret (What God Can Do) (Takes 1,2,3)
5. Blueberry Hill (Take 2)
6. Mean Woman Blues (Take 14)
7. There'll Be Peace In The Valley (Takes 2,3)
8. Have I Told You Lately I Love You (Take 6)
9. Blueberry Hill (Take 7)
10. That's When Your Heartaches Begin (Takes 4,5,6)
11. Is It So Strange (Takes 7,11)
12. I Beg Of You (Takes 6,8)
13. There’ll Be Peace In The Valley (Take 7)
14. Have I Told You Lately That I Love You (Takes 12,13)
15. I Beg Of You (Take 12)

B-Side is a song written by Robert Johnson

Manufacturer: United Record Pressing

Track Listing:
A Dead Leaves And The Dirty Ground
B Stop Breaking Down (Live At The BBC Studios Maida Vale)

Mastered Impeccably from the Original Atlantic Records Tapes by Joe Reagoso at Friday Music Studios and Capitol Records in Hollywood

The legendary rockers Foreigner set the music world on fire back in 1977 with their superstar brand of rock and roll. Augmented with the brilliant musicianship of founding members Mick Jones and Lou Gramm, their initial offerings would prove to become the huge catalyst for things to come. For their next four smash albums, Foreigner, Double Vision, Head Games and Foreigner 4, the singles and hit album tracks would take the band to the top of all the popular music charts as these masterpiece albums would become classic rock manna for the ages. Their performances were of legendary proportion, which still makes them one of the most successful live acts of the classic rock era. With massive radio airplay and of course an amazing string of top chart singles and number one albums, Foreigner to this day are still revered and loved by their continual growing legion of fans worldwide.

After delivering a plethora of hits in rapid succession for Atlantic Records, the label honored this hugely popular band with their incredible greatest hits album simply titled Records. Filled with a treasure trove of chart topping singles and hit album tracks from their first four smash albums, this incredible 1982 effort awarded these rock legends with one of the biggest greatest hits albums ever released, with over seven million units sold!

No stone is left unturned, as this 10 track masterpiece is loaded with hit after hit with smashes like Cold As Ice, Double Vision, Urgent, Long, Long Way From Home, and Head Games. As one of the most enduring albums in their massive career catalog, Records includes even more significant hit tracks like the beautiful Lou Gramm/Mick Jones masterpiece Waiting For A Girl Like You and more hard rock classic hits like Hot Blooded, Juke Box Hero and the one that started it all Feels Like The First Time. All in all, a collection of songs which took the fans by storm, forever associating the title superstars to the Foreigner franchise.

Track Listing:
1. Cold As Ice
2. Double Vision
3. Head Games
4. Waiting For A Girl Like You
5. Feels Like The First Time
6. Urgent
7. Dirty White Boy
8. Juke Box Hero
9. Long, Long Way From Home
10. Hot Blooded

Because of the Times is the third album by Kings of Leon. Because of the Times was released on March 30, 2007 in Ireland/Australia, April 2, 2007 in the UK and April 3, 2007 in the US (see 2007 in music). The album has received generally positive reviews and has appeared in numerous Top-10 lists for "Album of the Year. In 2009, Clash named the album number 3 on the "Clash Essential 50", a list of the most important albums released since the magazine's inception in 2004.

Track Listing:
LP 1
1. Knocked Up
2. Charmer
3. On Call
4. McFearless
5. Black Thumbnail
6. My Party

LP 2
1. True Love Way
2. Ragoo
3. Fans
4. The Runner
5. Trunk
6. Camaro
7. Arizona

12 Song Retrospective Includes New Track - Crazy Amazing

Track Listing:
1. Forever
2. By My Side
3. Gold to Me
4. Diamonds On the Inside
5. In the Colors
6. Beloved One
7. Not Fire Not Ice
8. Morning Yearning
9. Feel Love
10. Happy Everafter in Your Eyes
11. Waiting On an Angel
12. Crazy Amazing

Pearl Jam + Alice In Chains + Screaming Trees = Mad Season. Includes 3 songs from mythical unfinished second album with NEWLY RECORDED vocals by Mark Lanegan.

Previously unreleased instrumental "Interlude," Remixed version of John Lennon cover "I Don't Wanna Be A Soldier," 180 Gram, 2LP gatefold

Think of the one-shot Seattle supergroup Mad Season as the grunge version of sober living. Guitarist Mike McCready, best known as the main six-string slinger in Pearl Jam, met bassist John Baker Saunders while in rehab, and the two paired with Screaming Trees' drummer Barrett Martin and Alice in Chains vocalist Layne Staley, partially in hopes of steering the singer onto the path of the straight and narrow. Ultimately, the plan didn't pan out, but for a brief while, the quartet -- who adopted the name Mad Season -- did have their moment of clarity, captured on the 1995 album Above. There was a single issued to modern rock radio -- "River of Deceit" -- but this record downplayed easy hooks and melody in favor of churning introspection and slow vamps that occasionally flirt with blues (the never-ending 12-bar "Artificial Red," balanced by the distorto riffs of "I Don't Everything"), but usually conjure nothing more than the dank sludge of Seattle. Mad Season aren't quite mired in the darkest areas of grunge -- they're clever enough to let a saxophonist lend color to "Long Gone Day" -- but the lack of melodicism is a bit of a drag over the long haul, turning Above into a bit of heavy mood music. In a sense, it's the id of Seattle run rampant: all the bands involved, outside of Saunders' Walkabouts and Martin's Trees (who were nevertheless considerably more popular than Saunders' group), enjoyed commercial success in 1995, so they could have gotten away with anything and, in a sense, they did, as a major-label actually released this turgid bit of soul-baring heavy rock. McCready gets plenty of room for his elliptical guitar, the players has space to dig into their minor-key vamps, Staley essays his only set of completely original lyrics, but the whole thing feels kind of inert and indulgent, which may be appropriate for a band treating rock & roll as therapy.
-All Music Guide

Track Listing:
LP1
1. Wake Up
2. X-Ray Mind
3. River Of Deceit
4. I'm Above
5. Artificial Red
6. Lifeless Dead
7. I Don't Know Anything

LP2
1. Long Gone Day
2. November Hotel
3. All Alone
4. Interlude*
5. Locomotive*
6. Black Book Of Fear*
7. Slip Away*
8. I Don't Want To Be A Soldier (Remix)

*Previously unreleased

LP2
1. Who Ran Away?
2. 49 Reasons
3. Helplessly Hoping – Crosby, Stills & Nash
4. You Don’t Have To Cry – Crosby, Stills & Nash
5. Suite: Judy Blue Eyes – Crosby, Stills & Nash
6. 4+20
7. So Begins The Task
8. The Lee Shore
9. Carry On/Questions – Crosby, Stills, Nash & Young
10. Woodstock – Crosby, Stills, Nash & Young

LP3
1. Love The One You’re With
2. Old Times Good Times
3. Black Queen
4. No Name Jam – with Jimi Hendrix
5. Go Back Home
6. Marianne
7. My Love Is A Gentle Thing
8. Fishes And Scorpions
9. The Treasure
10. To A Flame
11. Cherokee

LP4
1. Song Of Love
2. Rock N Roll Crazies/Cuban Bluegrass
3. Jet Set (Sigh)
4. It Doesn’t Matter
5. Colorado
6. Johnny’s Garden
7. Change Partners
8. Do For Others–S. Stills & Steve Fromholz
9. Find The Cost Of Freedom – Crosby, Stills, Nash & Young
10. Little Miss Bright Eyes
11. Isn’t It About Time

LP5
1. Turn Back The Pages
2. First Things First
3. My Angel
4. Love Story
5. As I Come Of Age
6. Know You Got To Run
7. Black Coral – Crosby, Stills, Nash & Young
8. I Give You Give Blind – Crosby, Stills & Nash
9. Crossroads/You Can’t Catch Me
10. See The Changes – Crosby, Stills & Nash

LP6
1. Thoroughfare Gap
2. Lowdown
3. Cuba Al Fin (edit)
4. Dear Mr. Fantasy – Stephen Stills & Graham Nash
5. Spanish Suite
6. Feel Your Love – Crosby, Stills & Nash
7. Raise A Voice – Crosby, Stills & Nash
8. Daylight Again – Crosby, Stills & Nash

LP7
1. Southern Cross – Crosby, Stills & Nash
2. Dark Star – Crosby, Stills & Nash
3. Turn Your Back On Love – Crosby, Stills & Nash
4. War Games – Crosby, Stills & Nash
5. 50/50
6. Welfare Blues
7. Church (Part Of Someone)
8. I Don’t Get It
9. Isn’t It So
10. Haven’t We Lost Enough? – Crosby, Stills & Nash

LP8
1. Ballad Of Hollis Brown
2. Treetop Flyer
3. Heart’s Gate
4. Girl From The North Country – Crosby, Stills & Nash
5. Feed The People
6. Panama – Crosby, Stills & Nash
7. No Tears Left – Crosby, Stills & Nash
8. Ole Man Trouble – Crosby, Stills, Nash & Young
9. Ain’t It Always

"This Mother's Daughter" remains the most soulful record cut by Nancy Wilson during her Capitol tenure -- producer Eugene McDaniels proves an inspired if surprising choice to helm the session, and his subtle but ingenious jazz-funk flourishes are essential to the project's immediacy and appeal. McDaniels couches Wilson in settings as smooth and rich as velvet, crafting a series of mellow, gently propulsive grooves that flirt with contemporary soul but pay heed to the singer's roots in jazz. Wilson responds with a performance that's sophisticated yet saucy, commanding the spotlight with an intensity that's missing from her lesser Capitol efforts.

Musicians:

• Nancy Wilson (vocal)
• Blue Mitchell (fluegel horn)
• Hugh McCracken, Jeff Miranoy (guitar)
• Dave Gruisin, George Duke (piano, organ)
• Chuck Rainey (bass)
• Steve Gadd (drums)
• Oliver Brown (percussion)

Recording: 1976 at The Record Plant, Los Angeles, by Phil Boogie Schier
Production: Eugene Daniels

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.

Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed "the Spacemen", and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin 'Butter' Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features "Avalon" and "Early Autumn", the slinky stripper pole blues version of "St. Louis Blues" with Ellington's piano taking the lead, and a version of "Body & Soul", with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the tune. There's a modified "Perdido", an animated and perky "Midnight Sun" that deviates from any other slow and lugubrious version of the ballad, and "Jones" a real good swinger. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing "Bass-Ment", and one of the more delightful of all of Ellington's book, the poppin' and boppin' "Spacemen", a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. It comes highly recommended.

Musicians:

• Paul Gonsalves (tenor saxophone)
• Clark Terry (fluegel horn)
• Britt Woodman, John Sanders, Quentin Jackson (trombone)
• Jimmy Hamilton (clarinet)
• Duke Ellington (piano)
• Jimmy Wood (bass)
• Sam Woodyard (drums)

Recording: April 1958 at Columbia 30th Street Studio, New York

About Pure Pleasure

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

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

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

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

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

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

Features:
3LP Deluxe Box Set
180 gram Vinyl
Mastered at Bernie Grundman Studios
12"x12" Full-color booklet with extensive liner notes

Musicians:
Ron Wood - Guitar, Harmonica, Pedal Steel Guitar, Vocals
Keith Richards - Guitar, Piano, Vocals
Stanley Clarke - Bass Guitar
Zigaboo Modeliste - Drums
Ian McLagan - Piano, Organ, Backing Vocals
Bobby Keys - Saxophone

First Pressing - Limited/Numbered to 2500

Take Off Your Pants and Jacket is the fourth studio album by the American rock band Blink-182. Originally release in June 2001, the album debuted at number one on the US Billboard 200 chart, with first-week sales of 350,000 copies. The record was initially released in three separate configurations: the "red plane", the "yellow pants", and the "green jacket" editions. Each release contained two separate bonus tracks, ranging from joke tracks to unreleased cuts. The multiple bonus-track versions were only available for a limited time before the album reverted to a regular, standard edition without any bonus tracks. This is the first time all three configurations and six bonus tracks are available at once.

Not too much has changed since we last left blink-182. You might hear the same snap, crackle, and pop that the trio has prided themselves on for almost ten years. There's even the continual cabbage-patch screech of Tom Delonge and support for rampant teen angst. But five albums later, these San Diego natives grab their rosy-cheek punkadelics and add a bit more of a flamboyant, passionate maturation on Take off Your Pants and Jacket. When Enema of the State leaped onto the charts in 1999, the lyrical direction was 90 percent party-boy mentality, leaving little room for traces of a growth spurt. And while we're still feeling the continual back-drip of tracks from Enema, the fresh plethora of tunes from these rambunctious Toys-R-Us rockers have more purpose than ever. With a fight-for-your-right joviality that's often irresistible, songs like "Anthem Part 2" and "Stay Together for the Kids" house a indomitable school-kid voice where a surging vapor of knockout speed chords meet wrecking-ball percussion. The meanings are bucketed and spilled, with lines like "If we're f*cked up/You're to blame" ("Anthem Part 2"). And forget about escaping lyrics such as, "I'll never talk to you again/Unless your dad 'ill suck me off," which stems from the hilarious, almost brilliant 42-second clash called "Happy Holidays, You Bastard." "First Date" and "Roller Coaster" are only a couple of their tunes that act as therapy for post-pubescent dilemma, also present on previous efforts like Enema and Dude Ranch. Each song about the rotten girlfriend or unhip parent speaks loud and often to the 2000 MTV generation. Nevertheless, the dumped-in-the-amusement-park tone and lyrical progression are sharp, if not entertaining. The band's stint on the Vans Warped Tour, with veteran punksters such as Pennywise and Rancid, has become a supreme outlet for blink-182. Take off Your Pants is one of their finest works to date, with almost every track sporting a commanding articulation and new-school punk sounds. They've definitely put a big-time notch in the win column.

Packaging includes the original Take Off Your Pants and Jacket tracks on a single 180 Gram black LP and a Red Plane 7”, Yellow Pants 7” and Green Jacket 7”. All four pieces are housed in a triple panel gatefold with a custom 7” slit on each panel for the 7”. The first pressing is limited to 2,500 copies and includes a never before released and hand numbered foreword written by Mark Hoppus.

Track Listing:
1. Anthem, Pt. 2
2. Online Songs
3. First Date
4. Happy Holidays, You Bastard
5. Story Of A Lonely Guy
6. The Rock Show
7. Stay Together For The Kids
8. Roller Coaster
9. Reckless Abandon
10. Everytime I Look For You
11. Give Me One Good Reason
12. Shut Up
13. Please Take Me Home

Red 7"
1. Time To Break Up
2. Mother's Day

Yellow 7"
1. What Went Wrong
2. Fuck A Dog

Green 7"
1. Don't Tell Me It's Over
2. When You Fucked Grandpa

Remastered

'Time Out' is the 1959 album by The Dave Brubeck Quartet, based upon the use of time signatures that were unusual for jazz (mainly waltz or double-waltz time, but also 9/8, and most famously 5/4). Although the album was intended as an experiment and received negative reviews by critics upon its release, it became one of the best-known and biggest-selling jazz albums ever! Obviously, timing is everything!

Just over 50 years after its original release, we present this timeless album on 180 grams audiophile vinyl.

Track Listing:
1. Blue Rondo A La Turk
2. Strange Meadow Lark
3. Take 5
4. 3 To Get Ready
5. Kathy's Waltz
6. Everybody's Jumpin'
7. Pick Up Sticks

Explaining his decision to make another Iggy And The Stooges album in 2013, Iggy Pop said recently: "My motivation in making any record with the group at this point is no longer personal. It's just a pig-headed fucking thing I have that a real fucking group when they're an older group, they also make fucking records. They don't just go and twiddle around on stage to make a bunch of fucking money..."

Tracks confirmed to appear include 'Burn', 'Job', 'Sex & Money' and the title track 'Ready To Die'. The album was produced by guitarist Williamson at Fantasy Studios in San Francisco, though Iggy Pop recorded his vocals in Miami.

The album was mixed by Ed Cherney, who revealed last month (January): "It's old-time Stooges. It's raw. They're great songs, but not necessarily big choruses. They're the Antichrist of anthems."

Track Listing:
1. Burn
2. Sex And Money
3. Job
4. Gun
5. Unfriendly World
6. Ready To Die
7. DD's
8. Dirty Deal
9. Beat That Guy
10. The Departed

The VPI Classic 1 turntable comes standard with the unipivot JMW-10.5i tonearm Special Edition in rigid mount mode, new VPI silver coated pure copper wire, a 2.5" thick plinth trimmed with real black oak or real solid walnut finish (at no additional cost), a solid mounted 600 RPM AC synchronous motor, black platter, silent inverted bearing, and new isolator feet derived from the HR-X.

The sound of the Classic 1 turntable is fast, clean, wide open, with deep powerful bass, and unequalled in speed stability. The Classic 1 turntable" gives any turntable made regardless of price a serious "run for the money."

This completely new design has produced the simplest and one of the best sounding VPI tables to date.

VPI "Classic Turntable" Features:

Special Edition JMW-10.5i SE tonearm - By giving up "vta on the fly" adjustments, you get most of the sound of the highly reviewed JMW-10.5i tonearm. A new less expensive base and mounting saves hundreds of dollars but gives up little in sound.

Speed stability on par with a master tape - Due to the rigid mounting of motor - platter - tonearm there is no random motion to cause speed instabilities.

Noise rejection allowing the Classic 1 turntable to sit on a wood shelf near four 15" subwoofers and having virtually no feedback.

Lack of random motion between the motor - platter - tonearm gives the ultimate in low level resolution. Not only does this rigidity improve speed stability, it also allows the retrievel of low level information challenging the world's great turntables and master tapes.

Absolutely solid, non-resonating laminated one-piece chassis holding all components. This is not a wooden frame; it is a solid laminated 2.5" thick MDF block with 11 gauge steel attached to the top with silicone and long bolts through all the layers. The chassis weighs 30 pounds and is totally non-resonant.

RCA jack termination so you can use the interconnect of your choice.

Tonearm anti-skate - For those that require the fine adjustment of anti-skate, it is standard on the JMW-10.5i SE.

Optional lift off full dustcover is available.

Optional periphery ring clamp.

Optional SDS power supply.

Optional XLR conectors.

"There's a very euphoric sound coursing through the album, a very uplifting but yet sad sound," says front-man Oliver Sykes. "Electronically, it's far more advanced than anything we've done before."

The five piece, consisting of Oliver Sykes, Lee Malia, Matt Kean, Matt Nicholls and Jordan Fish, recorded Sempiternal over a three month period with super producer Terry Date (Linkin Park, Deftones, Soundgarden). The band also brought in David Bendeth (A Day To Remember, Paramore) to add to the all-star production line-up and mix the album.

"Writing Sempiternal was a completely different process," comments Sykes. "We worked from a computer, laying down ideas and riffs and working on them tirelessly until we had what we wanted." For the first time, Sempiternal sees a new member appearing on the record, Jordan Fish, who takes on keyboard duties on the record as well as during live performances. "Bringing Jordan into the mix changed things completely; he opened up so many more possibilities."

Sykes goes on to say, "The lyrical theme is everything. My head was a lot clearer when writing this time and it allowed me to write from a different perspective. It's the best stuff I've ever written in my opinion. It's very dramatic, quite blunt, and at times sarcastic, but the biggest part of it - is how it is combined with the music to bring the listener vivid imagery and emotion. I think we really managed to pull that off."

Sempiternal is an embracing ride through soaring vocals, supercharged melodies and what can only be described as spine tingling metal anthems. After the critical and commercial success of their previous albums, There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret (2010) and their breakout success Suicide Season (2008), Bring Me The Horizon plan to take heavy music to the next level, incorporating the most dynamic elements of hard music to create the most exhilarating album of the year.

Track Listing:
1. Can You Feel My Heart
2. The House Of Wolves
3. Empire (Let Them Sing)
4. Sleepwalking
5. Go To Hell, For Heaven's Sake
6. Shadow Moses
7. And The Snakes Start To Sing
8. Seen It All Before
9. Anti-vist
10. Crooked Young
11. Hospitals For Souls

Diplo (AKA Wesley Pentz) has risen through the ranks and has asserted himself as one of the most pioneering producers of the time. Through unending curiosity and exploration of the vast multitudes of the world’s musical heritages, Diplo has managed to seamlessly connect the global underground to the audio mainstream. He is the Grammy-nominated founder, owner and head honcho of Mad Decent records, which has not only garnered widespread critical and audience accolades since its inception, but has also deservedly earned a hefty reputation as a vanguard of groundbreaking releases.

Track Listing:
1 You're No Good (feat. Santigold, Vybz Kartel, Danielle Haim & Yasmin)
2 Jet Blue Jet (feat. Leftside, GTA, Razz & Biggy)
3 Get Free (feat. Amber of Dirty Projectors)
4 Jah No Partial (feat. Flux Pavilion)
5 Wind Up (feat. Elephant Man & Opal)
6 Scare Me (feat. Peaches & Timberlee)
7 Jessica (feat. Ezra Koenig of Vampire Weekend)
8 Watch Out For This (Bumaye) (feat. Busy Signal, The Flexican & FS Green)
9 Keep Cool (feat. Shaggy & Wynter Gordon)
10 Sweat (feat. Laidback Luke & Ms. Dynamite)
11 Reach for the Stars (feat. Wyclef Jean)
12 Bubble Butt (feat. Bruno Mars, Tyga & Mystic)
13 Mashup the Dance (feat. The Partysquad & Ward 21)
14 Playground (feat. Bugle & Arama)

Part of the reason for the bands uniqueness owes to its clean, vibrant sound. Just as Knopflers narratives reflect poetic and surrealist texts, the groups arrangements--an intoxicating combination of easygoing shuffles, bluesy boogies, and pop-honed ballads--mirror the old-fashioned soulfulness and spaciousness inherent in the classic recordings of the late 50s and early 60s. Its no wonder why Dire Straits has long been a favorite of audiophiles the world over. When it comes to sonic purity, transparent soundstages, and rich tonalities, few, if any bands sound better.

And now, thanks to the meticulous efforts of Warner Bros., Dire Straits 1982 LP can be experienced like never before. Remastered and cut from the original analog tapes and pressed on high-quality 180g vinyl, Love Over Gold will bowl you over with its mesmerizing sound and engaging material. Knopflers mesmerizing guitar textures and cool vocals appear as if theyre right in front of you. Details, imaging, and presence are on a level associated with the finest audiophile recordings. As its proven for the last few years, Warner Bros. treats vinyl with the ultimate respect, and this must-have Dire Straits record is no exception. Listeners with original copies of the LP, or Simply Vinyls pressing, will be absolutely stunned upon hearing the improvements. And the rest of us can simply rejoice in knowing that the band's first-rate creations possess an airiness, openness, and palpability theyve never claimed prior. A five-star pressing!

Track Listing:
1. Telegraph Road
2. Private Investigations
3. Industrial Disease
4. Love Over Gold
5. It Never Rains

The Doors exploded onto the music scene in 1967 with their epic debut album introducing the world to their blending of rock, blues, classical, jazz and poetry. Highlighted by some of the band's most loved singles including: 'Break On Through (To The Other Side)', 'Light My Fire' and 'The End'. This is an album whose melodicism and dynamic tension would never be equalled by the band again.

Track Listing:
1. Break On Through (To The Other Side)
2. Soul Kitchen
3. The Crystal Ship
4. Twentieth Century Fox
5. Alabama Song (Whisky Bar)
6. Light My Fire
7. Back Door Man
8. I Looked At You
9. End Of The Night
10. Take It As It Comes
11. The End

As lead singer of The Box Tops through the recording of Big Star’s three albums, to the 1978 death of Chilton’s collaborator Chris Bell.

The 21 previously unreleased tracks on the soundtrack’s four vinyl sides encompass vintage unissued mixes, alternate takes, demos, and new mixes made for the motion picture of Big Star, Chilton and Bell songs. The soundtrack includes 21 previously unheard period mixes, new mixes made specifically for the film, and alternate takes and demos.

Track Listing:
LP1
1. My Soul (Demo, 1973)
2. Give Me Another Chance (Control Room Monitor Mix 1972)
3. In The Street (Movie Mix, 2012)
4. When My Baby's Beside Me (Alternate Mix 1972)
5. Studio Banter (1972)
6. Try Again (Movie Mix, 2012) - Rock City
7. My Life Is Right (Alternate Mix, 1972)
8. The Ballad Of El Goodo (Alternate Mix, 1972)
9. Feel (Alternate Mix, 1972)
10. Don't Lie To Me (Alternate Mix, 1972)
11. Way Out West (Alternate Mix)

LP2
1. Thirteen (Alternate Mix, 1972)
2. You Get What You Deserve (Alternate Mix, 1972)
3. Holocaust (Rough Mix, 1974)
4. Kanga Roo (Rough Mix, 1974)
5. Stoke It Noel (Backward Intro, 1974)
6. Big Black Car (Rough Mix, 1974)
7. Better Save Yourself (Movie Mix, 2012) - Chris Bell
8. I Am The Cosmos (Movie Mix, 2012) - Chris Bell
9. All We Ever Got From Them Was Pain (Movie Mix, 2012) - Alex
10. September Gurls (Movie Mix, 2012)

This four-movement composition employs traditional forms such as the sonata form in the outer movements and the pre-Classical dances menuet and gavotte. The work’s carefree esprit, serenade-like humour, and courtly elegance is delightful throughout and culminates in a high-spirited 'sturm und drang' Finale.

On the B side is Glinka’s "Kamarinskaya" Fantasia, only eight minutes long but captivating with its extremely closely-knit compositional style, and his Overture to "A Life for the Tsar" – a showpiece whose leitmotifs are truly forward-looking. Alongside these classical-romantic musical gems, Borodin’s "In The Steppes of Central Asia" acts as an ideal programmatic amalgamation of the Orient and the Occident, and fits perfectly into this choice of repertoire.

Recording: February and March 1961 at Victoria Hall, Geneva (Switzerland), by Roy Wallace
Production: Michael Bremner

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.

The original Black Sabbath line-up, Ozzy Osbourne (vocals), Tony Iommi (guitar) and Geezer Butler (bass), recorded the album primarily in Los Angeles and were joined at the sessions by drummer Brad Wilk of Rage Against The Machine fame.

13 was produced by Rick Rubin and the album will be released on Vertigo (worldwide) and Vertigo/Republic in the US. The new studio album also marks the band’s return to Vertigo, their original label, apart from being the group’s first studio album together since 1978′s Never Say Die.

Track Listing:
1. End Of The Beginning
2. God Is Dead?
3. Loner
4. Zeitgeist
5. Age Of Reason
6. Live Forever
7. Damaged Soul
8. Dear Father