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  • A Fire In The Sky A Fire In The Sky Quick View

    $44.99
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    A Fire In The Sky

    3xLP Set Featuring 27 Songs Selected From Deep Purple's 19 Studio Albums Recorded Between 1968 And 2013

    Deep Purple stands alongside Led Zeppelin and Black Sabbath as part of the Holy Trinity of British hard rock. The list of the band's classic songs is legion, and the influence it's had on successive generations of musicians is both enduring and remarkable. Rhino will celebrate Deep Purple's history with three definitive collections.

    A FIRE IN THE SKY will be available as a three-LP set that includes a selection of 27 songs chosen from the 19 studio albums that Deep Purple recorded between 1968 and 2013. Among the highlights are the single edit version of Woman From Tokyo, the U.S. single edit for Burn, and the radio edit of Bad Attitude.

    In 2016, past and present members of Purple (being Blackmore, Coverdale, Evans, Gillan, Glover, Hughes, Lord and Paice) were finally inducted into the Rock & Roll Hall Of Fame; it was long-overdue recognition of all they'd achieved in a near half-century career. But in truth, this was merely affirmation for what millions already knew. Deep Purple have sold over 100 million records, were once acknowledged by the Guinness Book Of Records as the loudest band on the planet (for a show at the Rainbow in London during 1972).

    LP 1
    1. Hell To Pay (Radio Edit)

    2. Vincent Price
    3. Rapture Of The Deep
    4. Sun Goes Down
    5. Any Fule Kno That
    6. Sometimes I Feel Like Screaming
    7. The Battle Rages On
    8. Bad Attitude (Radio Edit)
    9. Perfect Strangers


    LP 2
    1. You Keep On Moving (Single Edit)
    2. Soldier Of Fortune
    3. Stormbringer
    4. Burn (U.S. Single Edit)
    5. Might Just Take Your Life
    6. Woman From Tokyo (Single Edit)
    7. Highway Star
    8. Smoke On The Water
    9. Demon's Eye
    10. Fireball


    LP 3
    1. Strange Kind Of Woman
    2. Speed King (U.S. Album Edit)
    3. Child In Time
    4. Black Night
    5. Kentucky Woman
    6. Wring That Neck (aka Hard Road)
    7. Mandrake Root
    8. Hush

    Deep Purple
    $44.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Ways Of Escape Ways Of Escape Quick View

    $15.99
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    Ways Of Escape

    Though it took five years for AndrÉ Obin to write his full length debut, The Arsonist, the Boston synth artist is not taking another five years to craft a sophomore album. In 2014 AndrÉ Obin will release Ways of Escape on Sky Council.


    The title track of his debut is maximalism on tilt, a sort of demand imposed by its intensification of every texture. A year later, Approaching Zero is starkly polar to Obin's past work. As a lyricist, he's still expressing fragility, but on Approaching Zero the acoustic front line is accompanied by crunchy drums that never strong arm the soft fabrics. A year ago he was a ball of inertia, concerned with being a man on fire. The first single of Ways of Escape suggests AndrÉ Obin is coming to terms with the compartmentalizing of the impulses of his emotive synth pop. Approaching Zero is Obin in control and with it comes renewed interest in an artist who's pushing beyond the early signifiers, and modern peers.


    - Blake Gillespie (Impose)

    1. Loaded Soul
    2. Approaching Zerol
    3. Eye for an Eyel
    4. Immunityl
    5. Escape Artistl
    6. Can't Let Gol
    7. Watermarkl
    8. Loomerl
    Andre Obin
    $15.99
    Vinyl LP - Sealed Buy Now
  • Gratitude Gratitude Quick View

    $44.99
    Buy Now
    x

    Gratitude

    180 Gram Translucent Blue Colored Vinyl With Gatefold Cover


    Mastered Impeccably By Joe Reagoso


    Manufactured At R.T.I.


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Introduction

    2. Africano/ Power Medley

    3. Yearnin' Learnin'

    4. Devotion

    5. Sun Goddess
    6. Reasons

    7. Sing A Message To You


    LP 2
    1. Shining Star

    2. New World Symphony
    3. Sunshine

    4. Singasong

    5. Gratitude

    6. Celebrate

    7. Can't Hide Love

    Earth, Wind & Fire
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Greatest Hits (Awaiting Repress) Greatest Hits (Awaiting Repress) Quick View

    $42.99
    Buy Now
    x

    Greatest Hits (Awaiting Repress)

    180 Gram Translucent Gold Colored Vinyl With Gatefold Cover


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Midwestern area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Shining Star

    2. That's The Way Of The World
    3. September

    4. Can't Hide Love

    5. Got To Get You Into My Life
    6. Sing A Song

    7. Gratitude

    8. Serpentine Fire

    9. Fantasy


    LP 2
    1. Kalimba Story
    2. Mighty Mighty

    3. Reasons

    4. Saturday Nite

    5. Let's Groove

    6. Boogie Wonderland ( with The Emotions)
    7. After The Love Has Gone

    8. Getaway

    Earth, Wind & Fire
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Spirit (Speakers Corner) Spirit (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Spirit (Speakers Corner)

    The wise saying »spiritus ubi vult spirat« (»the spirit blows where it wills«) is interpreted by Earth, Wind & Fire with impressive clarity. Gentle sounds and modest gestures are foreign to the colourful Afro group, who in their live performances welded together ancient Egyptian Pharaonic mysticism with urban street life. That this spirit, which is found in the LP title and blows all the way through it, was guaranteed not only by the exuberant wind section in the group's early years. With regard to rhythm, too, the band rolls out almost everything to pave the floor with powerful disco patterns, not forgetting the elegant and finely controlled falsetto, which adds further pep. Out of all this came the highly cultivated and expressive vocals as in Imagine, carefully balanced ballads (Burnin' Bush), as well as a powerful sound that is so good for dancing to, as in the memorable number Saturday Nite. An extremely wide range of musical genres was brought together by Earth, Wind & Fire in a big-band sound that is »innovative yet popular, precise yet sensual, calculated yet galvanizing« (Rolling Stone Magazine).

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

    Musicians:

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

    Recording: 1976 at Wally Heider Studio 3, Burbank Studios, Hollywood Sound Recorders and Westlake Audio by George Massenburg
    Production: Maurice White & Charles Stepney

    About Speakers Corner

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

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

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

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

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

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

    1. Getaway
    2. On Your Face
    3. Imagination
    4. Spirit
    5. Saturday Nite
    6. Earth, Wind & Fire
    7. Departure
    8. Biyo
    9. Burnin' Bush
    Earth, Wind, & Fire
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • That's The Way Of The World (Speakers Corner) That's The Way Of The World (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    That's The Way Of The World (Speakers Corner)

    Ranked 493/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    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.



    1. Shining Star
    2. That's The Way Of The World
    3. Happy Feelin'
    4. All About Love
    5. Yearnin', Learnin'
    6. Reasons
    7. Africano
    8. See The Light
    Earth, Wind, & Fire
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beyond The Permafrost (Picture Disc) (Awaiting Repress) Beyond The Permafrost (Picture Disc) (Awaiting Repress) Quick View

    $19.99
    Buy Now
    x

    Beyond The Permafrost (Picture Disc) (Awaiting Repress)

    Picture Disc


    2007's Beyond The Permafrost is the second overall album and debut release for Prosthetic Records from the acclaimed Ohio metal quintet Skeletonwitch. The Witchs mighty, sonic fortress is an amalgamation of classic Bay Area thrash, Scandinavian death/black metal and NWOBHM. The band brings together the old and sacred elements of true heavy metal here, melts them down, and forges them into a brand new monolith of riffage.


    The Cory Smoot (Municipal Waste, GWAR) produced 12-song set received numerous accolades in the U.S. and overseas upon its original release and landed on many year-end 'Best Of' lists including Revolver, Decibel and Pitchfork. Tracks like opener Upon Wings of Black, the title cut and Fire from the Sky are pumping with sinister themes, shredding guitars and blood curdling screams.

    1. Upon Wings of Black
    2. Beyond the Permafrost
    3. Baptized in Flames
    4. Sacrifice for the Slaughtergod
    5. Vengeance Will be Mine
    6. Limb from Limb
    7. Fast Into the Open Sea
    8. Fire from the Sky
    9. Soul Trashing Black Sorcery
    10. Remains of the Defeated
    11. Feast Upon Flesh
    12. Within My Blood
    Skeletonwitch
    $19.99
    Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
  • TigerFace (Awaiting Repress) TigerFace (Awaiting Repress) Quick View

    $16.99
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    x

    TigerFace (Awaiting Repress)

    Over three previous studio albums, pianist/sound-sculptor/songwriter Marco Benevento has set forth a vision for instrumental music that connects the dots between Explosions In The Sky and Tortoise on one side, Brian Eno and Brad Mehldau on the other. On his fourth studio recording, 'Tigerface', the 34-year old artist takes the next step forward in this evolution. Benevento paints his songs in a myriad of sonic colors, shimmering in acoustic piano, synths and analog keyboards. The tunes themselves conceptualized from seemingly every wisp of melody, hook and cadence that s ever tickled his ear. The album was recorded and mixed by Tom Biller (Silversun Pickups, Fiona Apple) and Bryce Goggin (Pavement, Akron/Family), while Benevento invited a stellar cast of musicians to help capture his ideas, including drummers Matt Chamberlain (Bill Frisell, Pearl Jam), John McEntire (Tortoise, The Sea & The Cake) and Andrew Barr (The Barr Brothers), bassists Dave Dreiwitz (Ween), Reed Mathis (Tea Leaf Green) and Mike Gordon (Phish), violinist Ali Helnwein (Traction Avenue Chamber Orchestra) and saxophonist Stuart Bogie (Antibalas, Superhuman Happiness). For the first time on record he uses vocals, inviting Kalmia Traver (Rubblebucket) to sing on the infectious dance rock rave-up 'Limbs Of A Pine' and the pastoral psych rock meditation 'This Is How It Goes'. Other standouts include the angelic Arcade Fire meets The Flaming Lips anthem 'Eagle Rock', the soaring garage psychadelia of 'Going West', the piano riff rock jaunt 'Escape Horse', and the happily lilting 'Fireworks', which bounces along like a long lost Italian folk song beamed down to him by ancestors from his father s homeland. As anybody who's seen Benevento perform live can attest, the pianist eyes closed, smile wide across his face, fingers free-flowing across the keys is a satellite to the muse. 'Tigerface', indeed, is the commitment to this idea; a record that rides the yes wave and in the process becomes a soundtrack for fellow travelers chasing the horizon ahead.
    1. Limbs Of A Pine
    2. This Is How It Goes
    3. Fireworks
    4. Going West
    5. Eagle Rock
    6. Soma
    7. Do What She Told You
    8. Escape Horse
    9. Basilicata
    10. This Is How It Goes (instrumental)
    Marco Benevento
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Topiary (Colored Vinyl) Topiary (Colored Vinyl) Quick View

    $19.99
    Buy Now
    x

    Topiary (Colored Vinyl)

    Half-Moon Vinyl (Half Black, Half Transparent)


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Topiary Topiary Quick View

    $18.99
    Buy Now
    x

    Topiary

    Recorded At Tom Tom Club/Talking Heads' Clubhouse Studio On All Analogue Gear


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $18.99
    Vinyl LP - Sealed Buy Now
  • Marathon (Awaiting Repress) Marathon (Awaiting Repress) Quick View

    $29.99
    Buy Now
    x

    Marathon (Awaiting Repress)


    The Santana Friday Music 180 Gram Audiophile Series Continues!


    The Original 1979 Rock Fusion Classic Marathon Album!


    First Time 180 Gram Vinyl + Gatefold Cover Presentation!


    Mastered By Joe Reagoso - Pressed At R.T.I.


    The legendary Santana set the music world on fire back in the late
    sixties out of San Francisco with their hypnotic blend of Latin-fused rock,
    jazz and soul, augmented with brilliant and skillful musicianship of their
    leader and guitarist Carlos Santana. Bursting on the scene initially with
    the worldwide smash hit single Evil Ways (Santana's Greatest Hits Friday
    Music #33050), this first offering would prove to become the huge catalyst
    for things to come.


    Throughout the remainder of the late seventies and beyond, Carlos
    Santana would take the band to the top of all the popular music charts as
    the 1979 classic rocker Marathon would go on to yield a plethora of hit
    tracks at all formats of radio.


    No stone is left unturned, as this masterpiece is loaded with hit after hit
    with smashes like You Know That I Love You, the powerful Hard Times, the
    soulful Summer Lady and of course their stellar rock hit All I Ever Wanted,
    all featuring the righteous guitar of the legendary Carlos Santana as well as
    being the first Santana LP to feature the stellar vocals of longtime front man
    Alex Ligertwood and keyboard legend Alan Pasqua.


    As one of the most enduring albums in their massive career catalog,
    Santana's Marathon included some significant album tracks too like the
    rocking masterpiece Lightning In The Sky and the powerful medley of Stand
    Up/Running. The fantastic work also includes the wonderful title track
    instrumental Marathon featuring the all-star percussive line-up of Graham
    Lear, Armando Pereza and Raul Rekow. All in all, Marathon took the fans
    by storm, forever retaining the title superstars to the Santana franchise.
    Friday Music is pleased to announce for the very first time on
    audiophile vinyl Marathon by Santana. Mastered impeccably by Joe
    Reagoso at Friday Music Studios, this amazing classic truly shines in the
    audiophile vinyl domain. Pressed at R.T.I., this brilliant masterwork truly
    resonates as you remember from years ago.


    To enhance your limited anniversary edition album experience, this
    first time audiophile vinyl release is also for a very short time being offered
    in a first time gatefold cover presentation, featuring the original album cover
    design, plus the inner sleeve artwork now displayed beautifully inside the
    gatefold cover.


    Welcome back and celebrate the music of Santana with their amazing
    Marathon ... an audiophile first time vinyl release, only from your friends
    at Friday Music.


    All I Ever Wanted .

    1. Marathon
    2. Lightning In The Sky
    3. Aqua Marine
    4. You Know That I Love You
    5. All I Ever Wanted
    6. Stand Up/Runnin
    7. Summer Lady
    8. Love
    9. Stay (Beside Me)
    10. Hard Times
    Santana
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Tall Tall Shadow Tall Tall Shadow Quick View

    $16.99
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    x

    Tall Tall Shadow

    Tall Tall Shadow, the third album by Toronto singer-songwriter Basia Bulat, is the bravest album she has made. Raw and spectral, heartbroken, yet jubilant, these ten songs tell the story of a very hard year in the artist's life and all the love that helped her through it.


    Whereas the singer's past two LPs, including 2008's Polaris-nominated Oh, My Darling, were made in Montreal's all-analogue Hotel 2 Stango studio, Tall Tall Shadow is a more modern thing. This is a record with echo and reverb, electronic flutters and electric autoharp, voices that charge and incandesce around buzzing guitars, lonely piano and rattling percussion.


    To get to this place, Bulat co-produced the album with, Tim Kingsbury and Mark Lawson. Kingsbury, a member of Arcade Fire, can play anything and everything, she says. Lawson, who has worked on records with Akron/Family and Colin Stetson, and who won a Grammy for his work on Arcade Fire's The Suburbs, is a studio alchemist, someone who hears things hidden in songs, who is always keen to transform them.


    They started recording in Toronto, at a reverberating 60-year-old dance hall. Once again, Bulat put together a band: her brother, the punk-inclined drummer Bobby Bulat; Holly Coish on keys and backing vocals; Kingsbury and Ben Whiteley on guitars and bass. One song features Whiteley's father, the folk legend Ken Whiteley, on gospel organ. But Tall Tall Shadow isn't acoustic folk music: like Beck's Sea Change or Buckingham Nicks, chord and strum are a launch-pad for wilder sounds.


    Bulat's goal was to keep challenging herself. Promise Not to Think About Love, with shimmying bass and dancing handclaps, is the poppiest track she has ever released. It Can't Be You, played on an Andean charango, is one of the simplest. Never Let Me Go is all crescendo, a woman in a storm, and the title track reaches soaring for the sky: has there ever been a better showcase for Bulat's powerhouse voice? For her steam-train heart?


    Two months before I was due to begin recording, I suffered a deep loss, Bulat says. I kind of started over. She started; and she didn't stop.


    - Sean Michaels

    1. Tall tall shadow
    2. Five, four
    3. Promise Not To Think About
    4. It Can't Be You
    5. Wires
    6. The City With No Rivers
    7. Someone
    8. Paris or Amsterdam
    9. Never Let Me Go
    10. From Now On
    Basia Bulat
    $16.99
    Vinyl LP - Sealed Buy Now
  • Stand For Something Or Die For Nothing Stand For Something Or Die For Nothing Quick View

    $20.99
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    x

    Stand For Something Or Die For Nothing


    Boston. Titletown. The Cradle of Liberty. Beantown. From popular neighborhoods like Jamaica Plain and Davis Square to the more hardscrabble quarters like Mattapan and Roxbury, Boston is a complex fabric of people, cultures, and viewpoints. None more Boston are punk rock outfit, Street Dogs. From the air they breathe and the food they eat to the communities they serve-frontman Mike McColgan is a Boston Fire Department 911 Dispatcher and drummer Pete Sosa is an honorary member of the City of Boston-and the values they uphold, Street Dogs exemplify their city and what it has to offer the world. Across the group's storied 16-year career, they've hit hard, spoke the truth, and walked the walk. New album, Stand for Something or Die for Nothing, is proof the Bostonians continue to live and be empowered by their punk rock, tell-it-like-it-is ethos.


    "Anyone who has ever listened to our group knows we are Bostonians to the bone," says bassist Johnny Rioux. "We all love the city. It's our home. I think our fans abroad get a window into our city and what it is like to grow up here and live here through a multitude of different life experiences [from our music]."


    Indeed, Sicut Patribus Sit Street Dogs Nobis. But the primary motivator to pick up where 2010's lauded self-titled left off wasn't to continue waving the sky blue at the Boston Common, but to sound the alarm that our leadership and the affluent are taking advantage of society. The wedge is being driven between classes, deeper and deeper, where the rich get richer and the poor are afforded fewer choices in life, like education, opportunity, and the pursuit of a good life, respected liberties, and unquestionable happiness. This gift, as it were, has given the Street Dogs have plenty to write about eight years after their Hellcat Records' swansong.


    "The dumbing down of America is a reason to write songs in 2018," Rioux asserts. "People need to wake the fuck up and realize the rich won't drain the swamp or look after the working man and woman. [So] we hit on familiar turf and we go outside our zone as well on Stand for Something or Die for Nothing. It's tough to contain my excitement for this record and our fans are going to love it. Everyone stepped way up."


    If there's one thing that sets the self-titled apart from Stand for Something or Die for Nothing it's the songwriting. Tracks like "Other Ones," "Angels Calling," "Working Class Heroes," and "Never Above You, Never Below You" show Street Dogs at their finest: loud, abrasive, confrontational, and unifying. In fact, there's not one track on the group's sixth full-length that doesn't convey brotherhood, common values, and the ability to stand together against anyone with aims to disfigure or disband their raised fist.


    "On Stand for Something or Die for Nothing, we took our time making sure everything was worked out as well as it possibly could be with multiple re-writes of songs and painstaking takes," says Rioux. "The band wrote this record together as a unit. This is the most full-band record we have ever made with everyone contributing. It's our best record. I really believe that and all the hard-painstaking work we put in people will hear and feel. With respects to the self-titled record we were moving at very quick and prolific pace back then. That record came together fast and is special."


    Recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studios with Rioux in the producer's chair, mix master Sean Cahalin at the desk, and mastering ace Jeff Lipton navigating, Stand for Something or Die for Nothing is a punk rock album for the new era. Rioux was careful to balance the DIY tenets of punk with the professional requirements of recording an album. The result was hard won, but Stand for Something or Die for Nothing is a punk rock triumph, with tracks like "The Comeback Zone," "Lest We Forget," and the title track delivering modern-day anthems that kick ass and take names.


    "Other than Sean being a total professional and super-proficient, there aren't really any specific stories to Stand for Something or Die. I've always has had a hand in the production of our records and I can be demanding in the studio! That all said, I think we have our best sounding record to date. It has all the energy of our live shows in it. Fans will immediately tell it's us when they hear it."


    While the definition of punk rock has its divisions, Street Dogs are, no doubt, part of the genre's proud history. Stand for Something or Die is undoubtedly punk rock. Using Rioux's definition (or not): "What's punk to me is people living how they want to not how they are told to."


    Amen, brother.

    1. Stand For Something Or Die For Nothing
    2. Other Ones
    3. The Comeback Zone
    4. Angels Calling (feat. Slaine)
    5. These Ain't The Old Days
    6. Working Class Heroes
    7. Lest We Forget
    8. The Round Up
    9. Mary On Believer Street
    10. Never Above You, Never Below You
    11. Torn And Frayed
    Street Dogs
    $20.99
    Vinyl LP - Sealed Buy Now
  • Six Sik Sisters (Discontinued) Six Sik Sisters (Discontinued) Quick View

    $17.99
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    x

    Six Sik Sisters (Discontinued)

    It's been a scant 3 years since the last salvo from the Racebannon camp, but that time has not passed without vengeful fruit. Offering a handful of 12 singles releases (most notably the Merzbow collaboration, Merzbannon, and the DJ-friendly Wrap The Body 12) the time draws nigh and the skies turn black for a new full-length from the venerable Bloomington, IN firing squad.


    Helmed by executive soundscapist Kurt Ballou of Converge, Six Sik Sisters is a stripped-down affair, yet clear and massive sounding. Tempos drop to both their fastest ever, as well as their slowest and burliest ever, with impetuous results. Racebannon is a bile-soaked conjuration of warped speed-metal riffs here colliding with Sabbathesque knuckle-drag, alongside breakneck warp-speed drumming that falls only a tad short of grindcore. As with Acid Or Blood, the noise facet of the band is now singularly incorporated into the songs themselves, and not a sonic afterthought. This is a focused beast that feasts solely to sustain itself on pain and suffering.

    1. Thee Plea

    2. Thee Apology
    3. Thee Interlude
    4. Thee Brother
    5. Thee Truth
    6. Thee Solo
    7. Thee Challenge
    8. Thee Desperate
    9. Thee End
    Racebannon
    $17.99
    Vinyl LP Buy Now
  • Birds Birds Quick View

    $19.99
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    x

    Birds

    Seth Glier's new album Birds is steeped in conflict and contradictions. There's grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.

    Glier (pronounced Gleer) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. I felt a tremendous amount of comfort talking to the Birds, he says I'd check in with them regularly to see how they thought things were going so far.

    Birds is Glier's fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.

    The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with Water on Fire, a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. Hasn't Hit Me Yet has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier's autistic brother.

    Together, those songs represent the opposite poles of Birds. I was really trying to explore connections on this record, Glier says. Among those connections is the one between race and the criminal justice system on Justice for All, a raw chain-gang stomp that sounds almost like an old field recording. Like I Do takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.

    The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while Too Much Water pairs Glier's voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early '70s. People Like Us is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on Just Because I Can sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.

    Even the cover tune, a reimagined version of Buffalo Springfield's For What It's Worth, evokes urgency. Although it was written 50 years ago, it's still about what's happening right now, Glier says.

    Birds began taking shape after Glier lost his brother, Jamie, who died in October 2015, and inspired a TED Talk performance that Glier gave in 2016. My brother passing away was a huge component of where I was and what I was looking for, Glier says. In particular, I was looking for meanings, wanting his life to mean more than just being over.

    For a long time afterward, Glier passed the time by writing songs and inspecting each melody with the feathered fellows by his windowsill. Instead of recording the album in a Los Angeles studio, as he did on his 2015 album If I Could Change One Thing, he decided to make Birds at home.

    I thought that I should just stay close to the windows here, Glier says. I think this sort of happened by accident, but by the time I started recording the record, it was fall in New England, which is a profoundly beautiful death. The air is full of honesty, the sky is full of geese, and there is bright gorgeousness woven into the dying of things. It all seeped into the textures of this record.

    1. Sunshine
    2. Water On Fire
    3. Birds
    4. Just Because I Can
    5. People Like Us
    6. Like I Do
    7. For What It's Worth
    8. Too Much Water
    9. Justice For All
    10. Hasn't Hit Me Yet
    11. I'm Still Looking
    Seth Glier
    $19.99
    Vinyl LP - Sealed Buy Now
  • Schubert: Complete Trios For Piano And Cello (Speakers Corner) Schubert: Complete Trios For Piano And Cello (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Schubert: Complete Trios For Piano And Cello (Speakers Corner)

    Anyone who takes an interest in Schubert's late works will sooner or later come across clichÉ-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert's two great Piano Trios: he characterised that in E flat major as effectual, masculine and dramatic, and the sister work in B flat major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes. That this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound colouring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters.



    Having taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording.





    Recording: February 1966





    About Speakers Corner



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



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



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



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



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



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



    1. Piano Trio In B Flat Major Sonata
    2. Piano Trio In E Flat Major Notturno
    3. Piano Trio In B Flat Major OP. 99
    4. Piano Trio In E Flat Major OP. 100
    Franz Schubert
    $69.99
    180 Gram Audiophile Virgin Vinyl LP- 2 LPs Sealed Buy Now
  • Rough And Ready (Speakers Corner) Rough And Ready (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Rough And Ready (Speakers Corner)

    Great talent and low morals well describes the groupie-loving and colleague-killing Jeff Beck - and no fear of denial! But this fast-paced life demanded its toll, which came in the form of a life-threatening car accident. The ace on the guitar was forced to retire for two years but returned to the scene full of vigour and with new musicians to launch the second Jeff Beck Group.
    Rough And Ready doesn't offer what might be expected from Brit Rock as far as a heavy sound or the boss's egomaniacal leaps on the guitar strings are concerned. Bob Tench opens the album with a surprisingly soulful sound and soaring falsetto in Get The Feeling. But then in the next number, Situation, we have crackling fire from the lead guitar and inventive solos - all easy-going and down-to-earth. Beck wouldn't tolerate routine rock: this is obvious from Max's Tune, in which developing melodies are hacked to pieces by the clash of cymbals. To round off the album, the band sings about Jody with constantly varying rhythms and fascinating harmonic twists, which genially and firmly find their way along the narrow path between sentiment and testosterone. So much roughness is a must!


    Musicians:



    • Jeff Beck (guitar)

    • Bob Tench (vocals)

    • Max Middelton (piano)

    • Clive Chaman (bass)

    • Cozy Powell (drums)



    Recording: April-July 1971 at Island Studios, London, by Jack Ashkinazy
    Production: Jeff Beck




    About Speakers Corner



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



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



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



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



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



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

    1. Got the Feeling
    2. Situation
    3. Short Business
    4. Max's Tune
    5. I've Been Used
    6. New Ways/Train Train
    7. Jody
    Jeff Beck Group
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Plays Bach No. 1 (Speakers Corner) Plays Bach No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Plays Bach No. 1 (Speakers Corner)

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



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



    Musicians:



    • Jacques Loussier (arranger, piano)

    • Pierre Michelot (bass)

    • Christian Garros (drums, percussion)




    Recording: 1959




    About Speakers Corner



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



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



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



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



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



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



    Jacques Loussier
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stone Flower (Speakers Corner) Stone Flower (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stone Flower (Speakers Corner)

    Around the year 1970, almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. Adventurous musicians such as Luis Bonfa, Baden Powell, Charly Byrd, João and Astrud Gilberto, and the saxophonist Stan Getz lent fire and sentiment to the "new trend". First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song Desafinado and the genial One Note Samba were heard all over the globe.
    That the man from Ipanema still had a lot to say is proved by the present album, which presents Jobim's creativity at the height of his maturity. Right from the very first number, where Urbie Green on the trombone 'sings' Tereza My Love so purely in the top register, it is clear that the late bossa with its typical rhythm is structurally far more refined than the early hot dance numbers. The melodies are woven through, as it were, with shining gold and silver threads of rhythm, and clusters of sound are light and airy. However, here and there, the musicians let their hair down, such as in the Latin classic Brazil.



    With that magician of sound Deodato as arranger and conductor, and Rudy van Gelder as recording engineer, this LP is certainly a Bossa masterpiece. There's no more to be said!



    Musicians:



    • Antonio Carlos Jobim (piano, electric piano, violin, vocal, guitar)

    • Joe Farrell (soprano saxophone)

    • Urbie Green (trombone)

    • Hubert Laws (flute)

    • Eumir Deodato (guitar, arranger, conductor)

    • Harry Lookofsky (violin)

    • Ron Carter (bass)

    • Airto Moreira, Everaldo Ferreira (percussion)

    • João Palma (drums)



    Recording: June 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    About Speakers Corner



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



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



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



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



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



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

    1. Tereza My Love
    2. Children's Games
    3. Choro
    4. Brazil (Ary Barroso)
    5. Stone Flower
    6. Amparo
    7. Andorinha
    8. God and the Devil in the Land of the Sun
    9. Sabia
    Antonio Carlos Jobim
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Afro Classic (Speakers Corner) Afro Classic (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Afro Classic (Speakers Corner)

    In the Seventies, fusion was a popular pigeonhole for music somewhere between jazz and pop. At the same time it was also an often used, belittling term employed by critics and representatives of 'pure' jazz, who never wanted to listen to it, let alone include any of the numerous LPs in their collection.



    Forty years later, the dust has settled. Flautist Hubert Laws' recordings not only for the Atlantic but also the CTI labels are treasured - especially the present LP, which was produced by the 'Master of Sound' Creed Taylor. Now these crossover numbers from the worlds of classic, jazz, pop and easy listening are available once more. Discover, for example, Al Kooper's composition Fire And Rain (more familiar are the versions from Blood, Sweat & Tears and James Taylor), the famous theme music from the film Love Story, and three classical compositions by J. S. Bach and Mozart. All have been given a facelift and with such super sidemen ranging from Ron Carter to Bob James and a superb Freddie Waits on the drums, they are a real treat.
    So cast aside any preconceptions and enjoy this meticulous production and the clear reproduction on vinyl.



    Musicians:



    • Hubert Laws (flute)

    • Don Sebesky (arranger)

    • Fred Alston, Jr. (bassoon)

    • Bob James (electric piano)

    • Gene Bertoncini (guitar)

    • David Friedman (vibraphone)

    • Ron Carter (bass)

    • Airto, Richie 'Pablo' Landrum (percussion)

    • Fred Waits (drums)




    Recording: December 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor





    About Speakers Corner



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



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



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



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



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



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

    1. Fire and Rain
    2. Allegro from Concerto No. 3 in D
    3. Theme from Love Story
    4. Passacaglia in C Minor
    5. Flute Sonata in F
    Hubert Laws
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Emergency Ward (Speakers Corner) Emergency Ward (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Emergency Ward (Speakers Corner)

    We can thank our lucky stars that Nina Simone was well aware of her musical environment and enjoyed experimenting with it, despite her notorious eccentric personality. This was the only reason that so much basic repertoire, traditional blues numbers, black work songs and favourite white show melodies - all filled with a deep soul feeling - reached her fans. Emergency Ward! is no exception. First there is the explosive medley, recorded live, of George Harrison's My Sweet Lord and David Nelson's Today Is A Killer. Accompanied by a small combo and a gospel choir, Nina Simone ignites an 18-minute blazing bonfire which loses none of its spiritual fire for even a second.



    In contrast to the gentle Poppies, extravagantly produced with strings, woodwinds and chorus, is the questioning Isn't It A Pity, arranged for piano. Here, simple, throbbing harmonies are occasionally allowed to swell into clouds of chords, giving Nina Simone the opportunity to show off her highly diversified vocal timbre which, as so often, fades away into nothing like an unanswered question. This is an exceptional album filled with a wealth of feeling and one which will leave no one untouched.



    Musicians:



    • Nina Simone (piano, vocal)

    • Sam Waymon (vocal)

    • Orchestra




    Recording: November 1971 at Fort Dix and February 1972 at RCA Victor's Studio A,
    New York City, by Ed Begley

    Production: Nina Simone, Andrew Stroud and Weldon J. Irvine Jr.





    About Speakers Corner



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



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



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



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



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



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



    1. My Sweet Lord
    2. Today is a Killer
    3. Poppies
    4. Isn't It a Pity
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Toto IV (Speakers Corner) Toto IV (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Toto IV (Speakers Corner)

    Anyone who gives the dull name "Four" to their rock album must either be very sure of success or already have resigned. The group Toto may well have experienced such extremes as there was an enormous cleft between their amazing financial success and the crushing negative opinions voiced by the critics. Billboard criticised the superficial lyrics as being void of any sort of emotional weight while the Los Angeles Times aimed their fire at the musicians themselves, slamming them as dubious artists with a commercialised mentality.



    To this Toto struck back with their fourth album, which was an unparalleled success and brought them six Grammy awards. For a whole ten months Africa reigned at Number 1 on the charts and together with the super-hit Rosanna the two smash hits were a constant presence, backed up by a collection of impressive rock classics. A trip to the record shop is all that is needed to prove that this is unlikely to change in the near future. The bright red cover with its depiction of a sword will catch your eye, as though saying: It's got to be the Fourth!



    Musicians:



    • Steve Porcaro, David Paich (keyboard, vocal)

    • Steve Lukather (guitar, vocal)

    • Bobby Kimball (vocal)

    • David Hungate (bass)

    • Jeff Porcaro (drums, percussion)





    Recording: 1982 at Sunset Sound, Los Angeles, by David Leonard, Peggy McCreary & Terry Christian and Record One, Los Angeles, by Jamie Ledner, Niko Bolas & Lon LeMaster

    Production: Toto




    About Speakers Corner



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



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



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



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



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



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



    1. Rosanna
    2. Make Believe
    3. I Won't Hold You Back
    4. Good For You
    5. It's a Feeling
    6. Afraid Of Love
    7. Lovers In The Night
    8. We Made It
    9. Waiting For Your Love
    10. Africa

    Toto
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jump On Board Jump On Board Quick View

    $18.99
    Buy Now
    x

    Jump On Board

    Texas are back with 'Jump On Board', a glorious new album from one of Britain's best-loved bands. Now signed to BMG, Texas have made an absolute pop classic boasting the back to the dance floor first single 'Let's Work It Out' and the stone cold smash hit 'Tell That Girl'.


    Written and produced by Texas stalwarts Johnny McElhone and Sharleen Spiteri, in London and Glasgow, and mixed by Craig Silvey (Arcade Fire, Florence & The Machine, Noel Gallagher),'Jump On Board' is guaranteed to turn any dark skies blue. It's the perfect antidote to these worrying times and will put a big smile back on your face.


    "When music's in your DNA, what's gone in will come back out," Sharleen Spiteri says. "'Jump On Board' has references of course, but it's an up-front, modern-sounding record."


    'Jump on Board' is the first new Texas studio album since 'The Conversation' in 2013. Having sold over 35 million records with 3 number one albums, 7 top ten albums and 13 top ten singles, 'Jump On Board' looks set to reignite their flame.


    "We feel refreshed," Sharleen admits. "We definitely had a great time making this record. It's time to jig it all up. It's like a new beginning. This is the next part of our story, and we're loving it."


    With songs as strong as the ten tracks on 'Jump On Board', who are we to argue?

    1. Let's Work It Out
    2. Can't Control
    3. For Everything
    4. It Was Up To You
    5. Tell That Girl
    6. Sending A Message
    7. Great Romances
    8. Won't Let You Down
    9. Midnight
    10. Round The World
    Texas
    $18.99
    Vinyl LP - Sealed Buy Now
  • Liszt Two Piano Concertos (Speakers Corner) Liszt Two Piano Concertos (Speakers Corner) Quick View

    $34.99
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    Liszt Two Piano Concertos (Speakers Corner)

    Any pianist who tackles Franz Liszts great works must possess outstanding skills in many areas. Technical prowess is absolutely necessary to play the extremely difficult score, as is immense physical energy in order to compete with the hefty onslaughts from the orchestra. But a great awareness of the unusual conceptual forms, refined energy and passion are also required to make the keyboard sing. At the beginning of the Sixties Sviatoslav Richter seemed to possess all these attributes in an ideal equilibrium. With youthful energy he catapulted powerful chords against the First Concertos defiant theme in the orchestra, offering resistance only to join in later with the lyrical maelstrom of the orchestra. In the Second Concerto Richter exchanges heroic brilliance for an elegiac air, then becomes capricious with graceful arpeggios and a lyrical, firm melodiousness that fires the course of the work. In the Finale these twists and turns come together to form an emphatic single strand of spirited theme, brilliant cadenza and blustering orchestra.



    The impressive sound was captured by the highly dedicated Mercury recording team.




    Recording: July 1961 at Walthamstow Assembly Hall, London, by C.R. Fine

    Production: Harold Lawrence




    About Speakers Corner



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



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



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



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



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



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



    1. Concerto No. 1
    2. Concerto No. 2
    Franz Liszt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP- Sealed Buy Now
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