About Beck, Bogert & Appice (Speakers Corner) by Jeff Beck, Tim Bogert & Carmine Apprice:
On the whole, the supergroups of the Seventies didn’t last very long, but for that – all the more notably. This certainly applies to the Anglo-American trio made up of the extremely talented though narcissistic guitarist Jeff Beck, the bass-player Tim Bogert, and the drummer Carmine Appice. As early as 1970, the British Beck wanted to engage the two American musicians for a joint project. This plan however had to be postponed for two years because the speed-mad Beck had had a serious car accident and needed time to recover. 1973 saw the release of the trio’s first and only studio album, which not only demonstrated Beck’s powerful-hectic style of guitar playing but also allowed his musical companions to show off their prowess. The trio applied their musical talents to all facets of rock ’n’ roll, right from the bluesy first number ("Black Cat Moan"), via the agile rock sound of "Lady", ending up with the moans of a vocal love ballad ("Oh To Love You"), followed by a really convincing gospel song ("Sweet And Surrender") and the super funky beat of "Lose Myself With You".
The trio seemed to lust for more – but this was not to be. For the very next year, during the intense preparations for their next studio album, the moody Jeff Beck dissolved the group on the spur of the moment.
- Jeff Beck (guitar, vocal)
- Jimmy Greenspoon (piano)
- Duane Hitchings (keyboards,melophone, piano)
- Tim Bogert (bass)
- Carmine Appice (drums, vocal)
- Danny Hutton (background vocal)
Recording: 1973 by Baker Bigsby and Gray Starr
Production: Don Nix and The Boys
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.