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  • Good News For Modern Man Good News For Modern Man Quick View

    $16.99
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    Good News For Modern Man


    First Time On Vinyl For This 1999 Solo Album From Ex Husker Du Drummer/songwriter!


    No one has to ask what the hell happened to Grant Hart? anymore. When last heard from in 1994, he was releasing his second LP with Nova Mob. His absence since was perhaps atypical, but here he is again, resuming his solo career for the first time in ten years. The good news is that Good News doesn't sound like Nova Mob or 1991's visceral Last Days of Pompeii, nor does it repeat his more introspective 1989 solo LP Intolerance or 1988's accomplished 2541 EP. Production-wise, this is the most pleasant Hart has come across. A sugar rush is added to his pronounced hooks, adding warmth without robbing the attack of vitality. It's hard to describe -- the first thought might be the exuberance of Cheap Trick on Surrender, only not so thumping. Songs such as Nobody Rides for Free and Seka Knows are not traditional power pop as much as vaguely restrained, crunchy-under-the-surface melodic rock songs with slight '60s influence. This steady, understated exhilaration is consistent with Hart's affable personality. You see it most on the lightest selection, Run Run Run to the Centre Pompidou, a jaunty pop romp to nowhere in gay Paris. But it's just as prevalent in the slower, demure tracks such as You Don't Have to Tell Me Now and, most unique of all, the Chills-like New Zealand hush of Teeny's Hair. Hart's control now is as impressive as when he was contrarily blistering the night with such incredible intensity behind the drums in 1984. His best LP since he parted company with Bob Mould and Greg Norton? Very likely!


    - Jack Rabid (All Music Guide)

    1. Little Nemo
    2. Think It Over Now
    3. Nobody Rides For Free
    4. Run Run Run To The Centre Pompidou
    5. You Don't Have To Tell Me Now
    6. Teeny's Hair
    7. A Letter From Anne Marie
    8. In A Cold House
    9. Seka Knows
    10. Remains to Be Seen
    11. Let Rosemary Rock Him, Laura-Louise
    Grant Hart
    $16.99
    Vinyl LP - Sealed Buy Now
  • Mirror Man Mirror Man Quick View

    $29.99
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    Mirror Man


    Captain Beefheart/Friday Music 180 Gram Audiophile Vinyl Series Begins!


    The Return Of The Iconic Mirror Man Album!


    First Time 180 Gram Audiophile Vinyl & Smashed Mirror Die-Cut LP Gatefold Cover


    Mastered Impeccably By Joe Reagoso From The Authorized Buddah Records Tapes


    Captain Beefheart will be forever known as one of the first
    originators of art rock, prog-rock and punk rock all rolled into
    one. With his Howlin' Wolfesque growl and blazing harmonica
    blues wailing, Don Van Vilet a/k/a/ Captain Beefheart truly
    delivered the goods with his legendary Mirror Man album.
    Originally recorded between 1965 and 1967, The Captain
    and his Magic Band created some of the most masterful funk
    and progressive rock ever waxed with this stellar session.


    Consisting of lengthy jam packed champions like his classic
    Tarotplane and 25th Century Quaker, Beefheart continues to
    rock further with the international title track hit Mirror Man and
    the funkified rocker Kandy Korn.


    Friday Music is very proud to announce the authorized 180
    Gram Audiophile Vinyl release of Captain Beefheart's classic
    Mirror Man. Mastered from the authorized Buddah Records
    tapes by Joe Reagoso at Friday Music Studios and Capitol
    Mastering in Hollywood, these classic tracks truly reach sonic
    heights in the audiophile vinyl domain.


    For a very short time, we are also including the super
    rare psychedelic die-cut gatefold LP cover artwork not seen in
    decades, to further enhance your listening pleasure, plus three
    poems on the back cover from the pen of Don Van Vilet.


    Enjoy!

    1. Tarotplane 19:00
    2. Kandy Korn 8:00
    3. 25th Century Quaker 9:50
    4. Mirror Man 15:38
    Captain Beefheart & His Magic Band
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Missing...Presumed Having a Good Time Missing...Presumed Having a Good Time Quick View

    $24.99
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    Missing...Presumed Having a Good Time

    Missing...Presumed Having a Good Time by The Notting Hillbillies is a studio album originally released in 1990 by Warner Bros. Records in the United States. The result is a low-key, joyous run-through of mostly traditional, blues-based songs with a handful of originals.


    In 1990 Missing...Presumed Having a Good Time peaked at 52 on the Billboard 200 album chart.


    After the mega-platinum success of Dire Straits' 1984 Brothers in Arms LP, the group's frontman, guitarist extraordinaire Mark Knopfler, opted to temporarily shift gears by forming the Notting Hillbillies, a one-off country side project. Among the band's first recruits was Steve Phillips, a fellow guitar player whom Knopflerhad first met in Yorkshire in 1968. Soon, the two aspiring journalists formed the two-man Duolian String Pickers.

    1. Railroad Worksong
    2. Bewildered
    3. Your Own Sweet Way
    4. Run Me Down
    5. One Way Gal
    6. Blues Stay Away From Me
    7. Will You Miss Me
    8. Please Baby
    9. Weapon Of Prayer
    10. That's Where I Belong
    11. Feel Like Going Home

    The Notting Hillbillies
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Piano Man (Awaiting Repress) Piano Man (Awaiting Repress) Quick View

    $34.99
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    Piano Man (Awaiting Repress)

    Billy Joels Piano Man established a legend via two elements that became a trademark of his career: simple, yet disarmingly effective lyrics that speak to universal truths and instilled feelings of pathos. With the classic title track, Joel captures the emotions and expectations all of usconsciously or notattach to our favorite musicians: Sing us a song you're the piano man/Sing us a song tonight/Well we're all in the mood for a melody/And you've got us feeling alright, he croons. Indeed, Joel has everyone feeling good on this breakout set.



    Never before properly remastered, Mobile Fidelity secured the original master tapes to present this 1973 singer-songwriter masterwork in unparalleled fidelity. The cavity of Joels piano, tension of the strings, and reach of his voice are astounding on this numbered limited-edition LP pressing. The New York native finally seems as if hes playing in your room rather than down the hall.



    After the commercial failure of his debut, and resulting legal disputes with his label, a determined Joel took up a six
    month residency as a lounge singer in Los Angeles. The vocalist continued to pen songs, including his signature track, Piano Man, a fictional narrative motivated by the real-life stories and actions of the patrons he witnessed during his cocktail club residency. Joel also drew inspiration from a fellow peer with whom hed ultimately collaborate on a series of highly successful tours that continue to this day: Elton John. The Englishmans Tumbleweed Connection fueled a creative spurt in Joel, who extends the records Western imagery and bluesy themes.



    Ignoring introspection in favor of rich character sketches, Joel utilizes his knack for melodic flair, filling out the songs with comprehensive arrangements and a swift sense of purpose. His talesThe Ballad of Billy the Kid, Captain Jack, Aint No Crimeare supported with phenomenal harmonies and thematic flavors that arrive courtesy of instrumental accents from first-rate players that include guitarist Larry Carlton, banjoist Fred Heilbrun, and drummer Ron Tutt. Joel supplies the requisite emotions, and Piano Man oozes with life.



    Mobile Fidelitys 180g LP possesses a warmth that, until now, none of Joels records possess. Soundstaging, imaging, and immediacy are refined and mannered, and the enthusiasm and completeness of Joels craft come into supreme focus.



    No fan of 70s rock or pop should be without this stellar pressing!


    This title is not eligible for discount.

    1. Travelin' Prayer
    2. Piano Man
    3. Ain't No Crime
    4. You're My Home
    5. The Ballad of Billy the Kid
    6.Worse Comes to Worst
    7. Stop in Nevada
    8. If I Only Had the Words (To Tell You)
    9. Somewhere Along the Line
    10. Captain Jack
    Billy Joel
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • An Innocent Man (Awaiting Repress) An Innocent Man (Awaiting Repress) Quick View

    $49.99
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    An Innocent Man (Awaiting Repress)

    An Innocent Man on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Infectious Doo-Wop, Carefree Soul, Harmonious Pop a Testament to Music of Joel's Childhood


    Album Sounded Mediocre For the Longest Time-No Longer: Mobile Fidelity Reissue Allows You to Hear This Pleasing Set With Fresh Ears


    Another Joel Blockbuster: Seven-Times Platinum 1983 Affair Includes "Uptown Girl," "For the Longest Time," "An Innocent Man," "Tell Her About It"


    After making The Nylon Curtain, Billy Joel felt the need to exhale and get back to the carefree music of his childhood. He also met supermodel Christie Brinkley, who brought serious degrees of levity and romance to his world. In love, relaxed, and out to have fun, the singer crafted An Innocent Man, arguably the most easygoing and pleasing album of his career. Featuring four Top 40 pop singles and the same number of Top 5 Adult Contemporary hits to grace the Billboard charts, the record remains a commercial staple.


    An essential title in Mobile Fidelity's Billy Joel catalog restoration series, An Innocent Man is mastered from the original master tapes and pressed on 180 gram LP at RTI. The resulting presentation effortlessly outshines that heard on all previous editions of this 1983 set. Particularly, the effervescent harmonies now possess an airiness and extension that lends to realistic tonal decay. Instruments are balanced and placed on a wider, deeper soundstage, contributing improved to improved imaging and spaciousness. Joel's voice, too, comes across with tremendous clarity, presence, and body. These songs have never sounded so contagious.


    Per usual, Joel proves a melodic jukebox. The vocalist's grasp on structure, hooks, and delivery help make this batch of songs among his most beloved, easy to hum, and impossible to ignore. Much of the appeal resides in Joel's understanding of the early rock and roll, doo-wop, and soul that he grew up hearing in New York, and the manners in which the popular songwriters favored simplicity over complexity, good-natured vibes over seriousness, and romantic charm over introspective sadness.


    Whether floating on a cloud on the giddy "Uptown Girl" (check out his falsetto), doubling as both the lead and background vocalist on the reminiscent-themed "The Longest Time," or tapping gospel undercurrents on the tribute "Keeping the Faith," Joel revels in 50s and 60s pop constructs, turning out amiable refrains and unforgettable moods. Love perfumes the air, and Joel can't get enough, and it's a feeling he passes on to his listeners.


    As the calm before stormier periods in his life, and a timeless connection to America's finest pop music traditions, An Innocent Man is indeed innocent-a guiltless pleasure that keeps on giving.


    This title is not eligible for discount.

    1. Easy Money
    2. An Innocent Man
    3. The Longest Time
    4. This Night
    5. Tell Her About It
    6. Uptown Girl
    7. Careless Talk
    8. Christie Lee
    9. Leave a Tender Moment Alone
    10. Keeping the Faith
    Billy Joel
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Seven Nation Army / Good To Me (Awaiting Repress) Seven Nation Army / Good To Me (Awaiting Repress) Quick View

    $6.99
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    Seven Nation Army / Good To Me (Awaiting Repress)

    One of four black vinyl pressings of The White Stripes' biggest Elephant-era hits, audio remastered and artwork tidied up. This single also features the non-album b-side ''Good to Me,'' a cover by Brendan Benson and Jason Falkner. Housed in ''soft touch aqueous coating'' sleeves (yes, really), these are the best feeling 7''s that are missing from your collection and they feel like a cross between rubber and lambskin. It's nice.


    ''Seven Nation Army'' b/w ''Good To Me'' (written by Brendan Benson and Jason Falkner, originally released on Benson's 2002 album Lapulco.)

    A Seven Nation Army
    B Good To Me
    The White Stripes
    $6.99
    7 Vinyl Single AWAITING REPRESS Buy Now
  • The Man I Love (Pure Pleasure) The Man I Love (Pure Pleasure) Quick View

    $34.99
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    The Man I Love (Pure Pleasure)

    Around the same time that Peggy Lee decamped her longtime label home, Capitol Records, for what turned out to be a five-year sojourn at Decca Records in 1952, an apparently washed-up Frank Sinatra signed with Capitol. In 1957, when Lee returned to Capitol, Sinatra had re-established himself as a major recording artist. Meanwhile, the recording world had changed with the emergence of the 12-inch LP as an industry standard. The Man I Love, Lee's first recording for Capitol in the format after re-signing, matched her with the company's flagship artist, Sinatra, who was credited as the album's conductor, his name printed on the front cover in the same size as Lee's. A year earlier, Sinatra had conducted his Tone Poems Of Color album for Capitol, and though the singer did not read music and relied on arranger Nelson Riddle, he again proved himself able to make his intentions clear in working with Lee.



    The Man I Love is a concept album in the manner pioneered by Sinatra at Capitol, a group of 12 songs chosen to express a single theme. That theme, as the title suggests, is a woman's unwavering devotion to a man, as expressed in songs often composed by gilt-edged songwriters (Gershwin, Arlen, Rodgers, Kern, etc.) and taken from Broadway shows. The result is a superb pairing of singer, conductor, and arranger on an album that re-conceives Lee as a Capitol recording artist in the Sinatra concept album mold.




    Musicians:



    • Peggy Lee (vocal)

    • Nelson Roddle (arranger)

    • Frank Sinatra (conductor)

    • Orchestra






    About Pure Pleasure



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



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



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



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



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



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



    1. The Man I Love
    2. Please Be Kind
    3. Happiness Is a Thing Called Joe
    4. (Just One Way to Say) I Love You
    5. That's All
    6. Something Wonderful
    7. He's My Guy
    8. Then I'll Be Tired of You
    9. My Heart Stood Still
    10. If I Should Lose You
    11. There Is No Greater Love
    12. The Folks Who Live on the Hill
    Peggy Lee
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Son Of A Preacher Man (Pure Pleasure) Son Of A Preacher Man (Pure Pleasure) Quick View

    $34.99
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    Son Of A Preacher Man (Pure Pleasure)

    Nancy Wilson, one of the most stylish and sultry singers in jazz. Here we have an exciting mix of influences from the music of Nat King Cole, the romanticism of Billy Eckstine, the emotional delivery of Dinah Washington and the genius of Little Jimmy Scott.



    Nancy Wilson signed with Capitol Records in 1959, and recorded 37 albums over a period of 20 years, a period in which many of her album sales were second only to the Beatles, surpassing even Sinatra, Peggy Lee, the Beach Boys and Nat King Cole.



    This exhilarating album features the legendary bassist Chuck Rainey on this previously hard to find gem of an album. Produced by David Cavanaugh and with musical arrangements from Jimmy Jones, Phil Wright and Joe Parnello. Of Jimmy Jones, Nancy Wilson says one of the greatest arrangers there ever was. Very sparse, nothing overdone.



    Musicians:



    • Nancy Wilson (vocal)

    • Jimmy Jones (piano, arranger, conductor)

    • Phil Wright, Joe Parnello (arranger, conductor)

    • Chuck Rainey (bass)




    About Pure Pleasure



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



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



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



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



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



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



    1. Son of a Preacher Man
    2. By the Time I Get to Phoenix
    3. Mr. Walker It's All Over
    4. I Made You This Way
    5. Almost Persuaded
    6. Got It Together
    7. Make the World Go Away
    8. Husbands and Wives
    9. Little Green Apples
    10. Trouble in Mind
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Man On The Moon: The End Of Day Man On The Moon: The End Of Day Quick View

    $24.99
    Buy Now
    x

    Man On The Moon: The End Of Day

    Man on the Moon: The End of Day the debut album of American rapper Kid Cudi, released September 15, 2009, on GOOD Music. A concept album, it follows the release of his first mixtape A Kid Named Cudi (2008).
    1 In My Dreams Cudder Anthem
    2 Soundtrack 2 My Life
    3 Simple as...
    4 Solo Dolo (Nightmare)
    5 Heart of a Lion Kid Cudi Theme Music
    6 My World
    7 Day N Nite (Nightmare)
    8 Sky Might Fall
    9 Enter Galactic Love Connection, Pt. 1
    10 Alive (Nightmare)
    11 Cudi Zone
    12 Make Her Say
    13 Pursuit of Happiness (Nightmare)
    14 Hyyerr
    15 Up Up & Away
    Kid Cudi
    $24.99
    Vinyl LP - Sealed Buy Now
  • Hyphenated-Man Hyphenated-Man Quick View

    $19.99
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    Hyphenated-Man

    Hyphenated-man is the name of my third opera, Contemplating The Engine Room (1997) being the first one and The Secondman's Middle Stand (2004) being the second. Whereas Engine Room dealt with my pop's life in the navy as a metaphor for the story of the minutemen and Middle Stand was a parallel to Dante's comedia dealing with an illness that almost killed me in 2000, this third opera is quite different in that it has no standard narrative (libretto!) meaning no regular beginning-middle-end and is as it were simultaneous in the way a mirror from just inside my head, right in this middle-age moment of mine, was then shattered into thirty pieces and then each piece stuffed in the head to show a piece of my state of mind (or out-of-mind) as of now. Thirty tunes? Yes, they're little ones, actually they're thirty parts of one big tune.



    It was kind of trippy how this piece was actually made. I wrote all thirty parts on one of D. Boon's telecasters, the black one he got in Kent, Ohio in 1984. Now I'm not a very good guitarist but Tom Watson was quite the righteous man in his patience and determination to take the palsy demos I gave him and bring them to the piece. - Mike Watt

    1. Arrow-Pierced-Egg-Man
    2. Beak-Holding-Letter-Man
    3. Hammering-Castle-Bird-Man
    4. Bird-in-the-Helmet-Man
    5. Belly-Stabbed-Man
    6. Stuffed-in-the-Drum-Man
    7. Baby-Cradling-Tree-Man
    8. Hollowed-Out-Man
    9. Finger-Pointing-Man
    10. Own-Horn-Blowing-Man
    11. Fryingpan-Man
    12. Head-and-Feet-Only-Man
    13. Shield-Shouldered-Man
    14. Cherry-Head-Lover-Man
    15. Mouse-Headed-Man
    16. Antlered-Man
    17. Pinned-to-the-Table-Man
    18. Confused-Parts-Man
    19. Bell-Rung-Man
    20. Boot-Wearing-Fish-Man
    21. Thistle-Headed-Man
    22. Funnel-Capped-Man
    23. Blowing-It-Out-Both-Ends-Man
    24. Jug-Footed-Man
    25. Lute-and-Dagger-Man
    26. Mockery-Robed-Man
    27. Hill-Man
    28. Hell-Building-Man
    29. Man-Shitting-Man
    30. Wheel-Bound-Man
    Mike Watt
    $19.99
    Vinyl LP - Sealed Buy Now
  • Jungle Fire Jungle Fire Quick View

    $31.99
    Buy Now
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    Jungle Fire

    Five hot Latin jazz cuts including great dance track Got Myself A Good Man 1970. Tracks: Friendship Train, Got Myself a Good Man, The Spokerman, Cloud 9, Jamilah. Limited pressing.
    1. Friendship Train
    2. Got Myself A Good Man
    3. The Spokerman
    4. Cloud 9
    5. Jamilah
    Pucho And The Latin Soul Brothers
    $31.99
    Vinyl LP - Sealed Buy Now
  • Man-Child (Speakers Corner) Man-Child (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Man-Child (Speakers Corner)

    After his early avant-garde years with Blue Note Records, Herbie Hancock achieved much success with pop music fans by gradually turning towards a mixture of Afro-American styles in which he combined soul, jazz and funk. Having composed the soundtrack to Bill Cosby's animated children's show Fat Albert and the Cosby Kids and released a popular family-orientated album entitled Fat Albert Rotunda, Hancock stated that instead of looking for jazz musicians who could play funky music, he had searched for funk musicians with a feeling for jazz. That this concept functions only too well is demonstrated in the funky album Man-Child, which features such brilliant jazz musicians as Wayne Shorter, Bennie Maupin and Ernie Watts. But wait! There's no narcissistic showing off here as in a jam session. The whole band performs as one, playing concentrated grooves around Hancock's carefully intertwined electronic sounds. The result is a fast-paced funky style, due to the collective efforts of the band, although each member is given ample opportunity to show off his prowess in short solo interludes and thus delight the listener with his unique style.



    Musicians:



    • Bud Brisbois (trumpet)

    • Garnett Brown (trombone)

    • Dick Hyde (tuba, bass trombone)

    • Wayne Shorter (soprano saxophone)

    • Bennie Maupin (soprano saxophone, tenor saxophone, saxello, bass clarinet, flute)

    • Jim Horn (saxes, flute)

    • Stevie Wonder (harmonica)

    • Herbie Hancock (keyboard)

    • David T. Walker (guitar)

    • Wah Wah Watson (guitar, voice bag, synthesizer)

    • Henry Davis (electric bass)

    • James Gadson (drums)

    • Bill Summers (percussion)



    Recording: July 1975 at Wally Heider Recording Studios, San Francisco / Village Recorders, Los Angeles / Funky Features, San Francisco / Crystal Studios, Los Angeles

    Production: David Rubinson & Friends Inc. and Herbie Hancock



    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. Hang Up Your Hang Ups
    2. Sun Touch
    3. The Traito
    4. Bubbles
    5. Steppin' In It
    6. Heartbeat
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Closer To Home Closer To Home Quick View

    $39.99
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    x

    Closer To Home

    Import


    Produced by Terry Knight, Closer To Home is Grand Funk Railroad's third studio album, and was released in 1970. The album reached Gold record status the same year, making it the group's third Gold record in one year. The album's inside artwork shows a live photo of the band performing at Madison Square Garden in February 1970.


    Closer To Home was the record that really broke them through to the commercially successful level of Metal masters such as Led Zeppelin and Black Sabbath. Rather than rushing headlong into their typical hard, heavy, and overamplified approach, Grand Funk Railroad began expanding their production values.


    Most evident is the inclusion of strings, the acoustic opening on the disc's leadoff cut, Sins a Good Man's Brother, as well as the comparatively mellow Mean Mistreater. But the boys had far from gone soft. The majority of Closer To Home is filled with the same straight-ahead rock & roll that had composed their previous efforts.

    1. Sin's A Good Man's Brother
    2. Aimless Lady
    3. Nothing Is The Same
    4. Mean Mistreater
    5. Get It Together
    6. I Don't Have To Sing The Blues
    7. Hooked On Love
    8. I'm Your Captain
    Grand Funk Railroad
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Everybody's Coming Down Everybody's Coming Down Quick View

    $18.99
    Buy Now
    x

    Everybody's Coming Down

    Call it a soundtrack to Man's 21st century existential angst, Everybody's Coming Down poses cosmic queries, contemplates regrets, questions self-worth, and examines the possibility of living in the moment, when memories are all that we truly take with us. And in some ways, that's the sweet spot front man and lyricist Tim Kasher inhabits: trying to make sense of this world of ours, and how and why we navigate it the way we do.


    Everybody's Coming Down moves in a new direction musically and, in contrast to The Good Life's earlier releases, is very much a rock record. It is also the first that truly embodies the band as a whole, more so than any previous album. In blending elements of drummer Roger L. Lewis's love of classic rock, multi-instrumentalist Ryan Fox's chaotic approach to melody, Stefanie Drootin-Senseney's propulsive, tuneful bass parts and colorful vocal arrangements, and Kasher's deft, complementary song writing, the band sparked a vibrant evolution in sound. The gentler, folk-driven pop/rock for which the band is beloved remains (sonic sister album bookends "7 In The Morning" and "Midnight Is Upon Us;" "The Troubadour's Green Room"), but it is now mixed amongst guitars lines that unspool in a blaze across songs that hit harder and more viscerally ("Everybody," "Holy Shit"), as well as moments of distorted psychedelia and moody ambience ("Flotsam Locked Into A Groove," "Diving Bell," "How Small We Are").


    Kasher began writing songs for a new album in October 2013, and the quartet - balancing their busy lives and multiple projects - reconvened from July to December 2014 to finish writing what became Everybody's Coming Down. With the help of Ben Brodin in Omaha's ARC Studios, The Good Life started recording in January of this year and finished the album in their respective homes. The band then turned to John Congleton (St. Vincent, Baroness, Angel Olsen, Cloud Nothings) to mix the album at his Elmwood Recording in Dallas, TX, looking to his experienced hand and uninhibited style to maintain and further realize the album's untempered, vital sound.


    And vital it is: Everybody's Coming Down might not crack the ever-elusive code to our universal wonderings, but it'll make you think, illuminate a new or alternative perspective, perhaps salve a lonely ache of isolation. Because we are, ultimately, all in this together - forever coming down.

    1. 7 in the Morning
    2. Everybody
    3. The Troubadour's Green Room
    4. Holy Shit
    5. Flotsam Locked Into a Groove
    6. Forever Coming Down
    7. Happy Hour
    8. Diving Bell
    9. Skeleton Song
    10. How Small We Are
    11. Ad Nausea
    12. Midnight Is Upon Us
    The Good Life
    $18.99
    Vinyl LP - Sealed Buy Now
  • Musik Wie Von Einem Anderen Stern: Manger Test LP (Discontinued) Musik Wie Von Einem Anderen Stern: Manger Test LP (Discontinued) Quick View

    $59.99
    Buy Now
    x

    Musik Wie Von Einem Anderen Stern: Manger Test LP (Discontinued)

    The Manger LP test consists of 15 tracks, many of which are already known to the audiophile crowd. For example, tracks 11 and 12 are by Chesky Records, the well known Livingston Taylor selections. Track 3 is a Beethoven's Piano Sonata (# 8, C-Dur, Op. 13) by Denon/Nippon Columbia. Still from the same label is track #4 (from Denon Professional Test CD): Beethoven Ich liebe dich, Hermann Prey. Then there's something from Philips, Klavier Records, Divox Jazz etc.


    The quality of the chosen tracks is excellent, as one may expect from a test disc. The Manger LP test offers different kinds of music, from classical to jazz and light pop. Each track is meant to test a particular instrument or musical genre, so you have track no. 8 which is devoted to classical guitar (Capriccio Arabo), track no. 9 for double-bass, track 12 for an acapella choir and so on.


    The last track of the disc is devoted to a percussion ensemble (The O-Zone Percussion Group), always very useful to test rise-time, decays and macrodynamics. This audiophile test LP is very interesting, reasonably priced and with a good selection of excellently recorded tracks.


    This title is not eligible for discount.

    LP 1
    1. Volles Gelaut (Gutesloher Glocken)
    2. Der Himmel Deckt Alles Mit Stille Zu (Horspiel, SWF)
    3. Sonata No. 8, C-Moll, Op. 13 (Beethoven) (Bruno-Leonardo Gelber)
    4. Ich Liebe Dich (Beethoven) (Hermann Prey)
    5. Der Winter Aus Die 4 Jahreszeiten, 3. Satz (Vivaldi) (Sonatori De La Gioiosa Marca)
    6. Sinfonie No. 67, F-Dur, 1. Satz (Haydn)(Leipziger Gewandhausorchester)
    7. Pulcinella, Tarantella (Stravinsky)(Berliner Philharmoniker)
    8.Ghazali (Renaud Garcia-Fons)


    LP 2
    1. Tarrega: Capricho Arabe (Stefano Grondona)
    2. Pavane (Faure) (The Treya Quartet)
    3. Isn't She Lovely (Livingston Taylor)
    4. Grandma's Hands (Livingston Taylor)
    5. Walking On The Moon (The Yuri Honing Trio)
    6. Jazz Variants (The O-Zone Percussion Group)
    7. The Cost Of Freedom (Marla Glen)

    Various Artists
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Manley Neo-Classic SE / PP 300B Amplifier Manley Neo-Classic SE / PP 300B Amplifier Quick View

    $9,700.00
    Buy Now
    x

    Manley Neo-Classic SE / PP 300B Amplifier

    Enjoy


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


    Handcrafted in the USA


    The wonderfully simple 300B directly heated triode is virtually Lee De Forest's very first evolutionary 3-element piece, comprising only filament, input grid and anode output. Brought to reliable perfection by Western Electric USA and later by Standard Telephones UK as the 4300B, the 300B was very much intended and widely used for telephony amplification. But audio enthusiasts of older times knew a good thing when they saw (heard!) it and the great love affair between the 300B and music began... and dwindled many years later as the American Western Electric 300B was taken out of production in the late 1980's making the genuine ones extremely valuable and, accordingly, very highly prized as collectors' pieces. With the Asian-driven passion and resultant revival of SINGLE ENDED topology the call for the 300B to be put back into production was too overwhelming for the Chinese factories to resist. The Russian and the re-start of USA manufacture of the genuine Western Electric original have further expanded the selection. Basic thermionic simplicity... directly-heated triodes... it is a drug for some, a religion for others...


    With its decidedly (and studiedly) 'retro' physical proportions- very deep front-to-back dimensions with a narrow side-to-side width, this layout closely follows concepts of a bygone era, where the well-conceived intention was to keep the power supply as far as possible from the hum and noise susceptible octal input tubes. The output tubes themselves require careful distancing from the mains transformer and, of course, require pure DC on their filaments. Again, reverence to past times begs the use of vacuum tube rectification with its very gentle voltage rise-time. But to bring the performance up to modern demands, we use two rectifiers to enable the use of very substantial filter / reservoir capacitors... over 1300 microfarads in the B+ rail- much improved from the 4 or 8 microfarads utilized in the 1930's.


    When several other manufacturers started selling single-ended amps with 5 to 9 watts of power, we understood subjectively and objectively the good part of the story: the superb mid range, the delicate detail, the inherent simplicity. The bad news was that there were almost no speakers efficient enough to help form a dynamically viable system. The worst news was that either these single-ended amps cost more than the condo and or they had specs that could only be read as a joke. As the triode fans increased, more efficient speakers became available and several fanatics began to dismiss push-pull as a bad thing to be avoided at all costs. We objected to such blanket generalities and stressed that the push-pull done right with truly phase-balanced transformers, quality parts throughout and well designed circuitry has proven to be a superb technique. We also enjoy single-ended topology but only when it is done right, mostly because we expect flat frequency response and low distortion out of an amplifier. We knew that we could achieve this in a properly conceived single-ended design. We chose to rise to the challenge of designing special circuitry that could be switched on the fly From 12 watts in parallel SINGLE-ENDED to 25 watts in PUSH-PULL which, we believe is unique in the industry.


    The Output transformer (hand-wound in our own factory) is of complex design employing inordinately high primary inductance to compensate for the mandatory magnetic gap required for the uni-direction current and voltage flow of the single-ended output stage. Another factor in the single ended triode saga (currently enjoying a wide spread popularity) is demand for little (or sometimes zero) negative feedback. We at Manley Labs believe in the judicious or sensible amount of feedback to refine and maximize performance. Our Neo-Classic SE/PP300B gives you the choice in precision switched 1 dB steps to go from ZERO dB's to 10 dB's of negative feedback. Even with zero negative feedback, this amp is cleaner and flatter than any single-ended amp we know of.


    One interesting aspect of negative feedback is it gives a higher damping factor. Conventional wisdom would have us think that the higher the damping factor, the better. Our experience is that the optimum damping factor is not infinity and that it depends on the speaker, the room. and the taste of the listener. In other words, the optimum is variability, and this we provide. This amp satisfies us as long time amplifier builders, amazes the critics in several well known magazines and is bound to satisfy you with the ability to fit into your system and your expectations. BUT REMEMBER PLEASE the overall facts of power ratings versus loudspeaker sensitivity and room size when electing to venture into lower power amplifiers (less than 50 watts) and especially when contemplating single-ended topology.


    Manley Labs
    $9,700.00
    Manley Neo-Classic SE/PP 300B Amplifier Buy Now
  • Voyage To India Voyage To India Quick View

    $24.99
    Buy Now
    x

    Voyage To India

    India Arie seems comfortable in her own body. She told us as much on both Video and Brown Skin from her stunning debut album, Acoustic Soul, which celebrated the diversity of feminine beauty, self-acceptance, and spirituality. She addresses similar themes on her second outing, although much of her original soul-scouring fire is gone. While she still preaches self-empowerment, many of her lyrics veer toward the trite, and that's not where we expected to go on this Voyage to India. In fact, there are very few self-revelatory moments like the ones on Soul. Arie seems bent on journeying to the center of womankind's mind, rather than unearthing more of her own autobiography, casting herself as adviser to the disempowered. But that is not where Arie shines. When she strips her voice down to its unvarnished essence--leaving all the imperfections in the mix--she is a lithe, ethereal presence. She's capable of raising chills, as when she sings of a man who foretells his death on Good Man. Or on Complicated Man, where she lets her voice run ragged, brimming with raw emotion while describing her imperfect love. Despite some glibness, this is still a voyage worth taking. --Jaan Uhelszki
    1. Growth
    2. Little Things
    3. Talk to Her
    4. Slow Down
    5. The Truth
    6. Beautiful Surprise
    7. Healing
    8. Get It Together
    9. Headed in the Right Direction
    10. Can I Walk With You
    11. The One
    12. Complicated Melody
    13. Gratitude
    14. Good Man
    15. God Is Real
    16. Interested
    India.Arie
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Manley Jumbo Shrimp Pre-Amplifier Manley Jumbo Shrimp Pre-Amplifier Quick View

    $3,850.00
    Buy Now
    x

    Manley Jumbo Shrimp Pre-Amplifier

    Best


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


    Handcrafted in the USA


    The JUMBO SHRIMP shares key outward features found in many of its counterparts both past and present. It is a twochannel single-ended line level control preamplifier with five sets of stereo inputs, and two sets of paralleled stereo line outputs. A five-position input selector switch routes the chosen signal directly to the first amplifier tube's control grid. Amplified signals, boosted about 4 times [11.8 dB] are then fed through a dedicated White-Follower stage (using 5670 triodes) to effortlessly drive the (motorized!) high quality ALPS stereo variable attenuator, known for its stability, long life, ease of servicing and good inter-channel level tracking characteristics. This is followed by a similarly appealing, center-detented ALPS stereo balance potentiometer.


    The attenuator network output is then fed to a special White-follower output stage. This output circuit has been a favorite of ours for many years mainly due to the stage's inherently low output impedance, simplicity, wide bandwidth, ease of drive, modest feedback requirements and graceful overload characteristics. Ordinarily, the typical JUMBO SHRIMP user would not ever begin to approach the limits of this output stage under normal line and loading circumstances.


    High quality polypropylene dielectric film-and-foil capacitors have been employed at all signal-coupling points in the circuit along with two extravagant 30 microfarad metalized monsters coupling the output stage signals to the output RCA jacks. These are all MultiCaps made by our buddy Bas Lim at Rel Cap. We know you would rather listen to superior capacitors such as these over some cheap electrolytic capacitors like you might find in other gear.


    But the JUMBO SHRIMP's cardinal feature is its uncomplex non-inverting signal path. This minimal signal path approach is designed to bring unbalanced RCA-type line inputs up to levels suitable for proper drive of downstream power amplifiers in the simplest and most direct way possible. This is accomplished by using only three active stages, as described above, through the judicious use of vacuum tubes, whose purpose-designed application in audio amplifcation is, as always, pressed to full advantage. By so doing, the endeavor here is to provide the most direct, uncolored, quiet and wide-band signal path possible so that the native character of the chosen source material may be heard with out encumbrances from a set of imposed limitations brought on by the preamp. In this spirit, there are no provisions for balanced inputs or outputs. Since the whole guts of the Jumbo Shrimp are inherently single-ended, adding balanced I/O would require additional circuitry, transformers, or IC's which would inevitably color the sound.


    Lastly, we would be remiss if we did not mention the clever REMORA REMOTE CONTROL that comes standard with every Jumbo Shrimp. This little box commands the motorized ALPS volume control via radio frequency signals, so it works through doors, walls, cabinets, you name it!


    Manley Labs
    $3,850.00
    Manley Jumbo Shrimp Preamplifier Buy Now
  • Manley Neo-Classic 300B Pre-Amplifier RC Manley Neo-Classic 300B Pre-Amplifier RC Quick View

    $6,100.00
    Buy Now
    x

    Manley Neo-Classic 300B Pre-Amplifier RC

    2008


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


    Handcrafted in the USA


    Our most esoteric product is THE 300B PREAMPLIFIER. This is the first and only preamp to feature these classic tubes. We had been designing the 300B into small power amps for many years and have always had great respect for the smooth natural sound of this tube. However, a single 300B provides truly appropriate power and voltage swing for headphones and makes a remarkable line driver. Here is where the impedances are not too low and the power requirements are not too high: ideal for this kind of tube in a single-ended configuration. This was the genesis of a new preamp.


    We combine the historic 300B with another classic, the large octal based 6SL7GT, for the input stage- all triodes running in pure Class A operation. To complement this 'retro' feel, we implemented vacuum tube rectification and regulation in the power supply along with plenty of capacity. We also developed an additional (and innovative) ripple rejection circuit to filter out power supply noise making this an incredibly low-noise preamplifier- especially critical for headphone users.


    Complementing this lovely and rich sounding line-driver is the ALPS audiophile volume control, gold plated RCA connectors, high purity silver wire, mil-spec printed circuit boards with extra thick copper and plating, and custom designed output transformers which we wind right here in our own magnetics department. It all adds up...


    For 2002, we returned to our classic and elegant Manley-Blue pewter grey color and the chassis was reworked to accommodate a few updates we had in mind.


    Whether you use headphones or loudspeakers this preamp will deliver the goods and spoil you for any other preamplifier.


    Notes for current version not covered in the manual:


    The transformer switch puts the output transformer in or out of circuit. You HAVE TO have it switched to IN to use the headphone jacks. It is recommended, in the spirit of less is more, to switch to OUT when using the main line outputs.


    The SUB out is a post-volume control output which can be used to drive a powered subwoofer unit so that the level of the subwoofer follows the volume level of the preamplifier.


    For an exciting exploration of the 300B experience read the late Dr. Harvy Gizmo's Spiritual Woody!


    Manley Labs
    $6,100.00
    Manley Neo-Classic 300B Preamplifier Buy Now
  • I'd Rather Go Blonde I'd Rather Go Blonde Quick View

    $32.99
    Buy Now
    x

    I'd Rather Go Blonde

    Import


    I'd Rather Go Blonde is the eighth album in a twenty year career that has seen Eleanor McEvoy establish herself as one of Irelands most accomplished singer / songwriters. The album features eleven new songs, nine of which were penned by McEvoy, one which was co-written with former Beautiful South man Dave Rotheray and, finally, theres a cover of Good Times by Sam Cooke.



    Never one to shy away from the big issues, this album sees McEvoy tackling themes such as alienation, hypocrisy, recent Irish history and romance.

    1. Look Like Me
    2. Just For The Tourists
    3. I'd Rather Go Blonde
    4. Away From You
    5. Deliver Me (From What You Do)
    6. Shibboleth
    7. Take You Home
    8. The Thought Of You
    9. Harbour
    10. For The Avoidance Of Any Doubt
    11. Good Times
    Eleanor McEvoy
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Meditations In B Meditations In B Quick View

    $19.99
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    Meditations In B

    Meditations in B. A simpler time. Like Pepperidge Farms, and Little House on the Prairie. Two beautiful young men (Aaron Turner and Santos Montano) set off on their own, in the peak of their sexual virility, to forge a new path in brutally sludgy, crushing, apocalyptic, post-metal, post-hardcore, pre-Y2K, post-math, pre-friendster, post-rock riffs. It was a magical time, before they added a few session players. Still regarded by some (mostly the guys who played on it) as Old Man Gloom's finest hour. Fun fact: Meditations in B was written in one afternoon, then recorded AND mixed in 12 hours! While many things in this text are only kinda true, that is absolutely true. They also had the privilege of recording it in their home town of Santa Fe, New Mexico at Stepbridge Studios. Within months of this, they used this monumental piece of music to convince Nate Newton (Converge) to join, and once they had him, it was a little easier to convince Caleb Scofield (Cave In) to join. It's kinda like the beginning of Bill and Ted, where the talk about getting Eddie Van Halen to join, but won't be good until he joins, but can't get good 'til he joins, to convince him to join. Get it? Fantastic.
    1. Afraid Of
    2. Flood I
    3. Simian Alien Technology: Message Recieved
    4. Sonic Wave of Bees
    5. Sonar Enlightenment Program
    6. Rotten Primate
    7. The Exploder Whale
    8. Poisoner
    9. An Evening at the Gentlemen's Club for Apes
    10. Vipers
    11. Test Results: Alien Ape Distress Signal
    12. Flood II
    13. Resolving the de-Evolution Conflict
    Old Man Gloom
    $19.99
    Vinyl LP - Sealed Buy Now
  • Blackout! 2 Blackout! 2 Quick View

    $24.99
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    Blackout! 2

    With over 16 years in the business, Redman & Method Man are certifiable rap superstars with a devoted fan-base that spans the globe. The secret to their longevity as one of raps longest lasting duos is due in part to the fact that the two emcees bring fun to hip-hop. Hardly taking themselves too seriously, Red & Meth have always been about good times and carefree humor, as evidenced on their debut album Blackout! (1999) and the follow-up How High Soundtrack (2001). Their comedic personalities allowed them to transition to the big screen in the cult classic film How High (2001) as well as the small screen with the FOX sitcom Method & Red (2004). Now they're back with the sequel to their debut, Blackout 2! The album features production from Pete Rock, Erick Sermon and Rockwilda among others.
    1. BO2 (Intro)
    2. I'm Dope Ni**a
    3. A-Yo
    4. Dangerus MCees
    5. Errbody Scream
    6. Hey Zulu
    7. City Lights
    8. Father's Day
    9. Mrs. International (Skit)
    10. Mrs. International
    11. How Bout Dat
    12. Diz Is 4 All My Smokers
    13. Lock Down (Skit)
    14. Four Minutes To Lock Down
    15. Neva Herd Dis B4
    16. I Know Sumptn
    17. A Lil Bit
    Method Man And Redman
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The 5, 6, 7, 8's (Awaiting Repress) The 5, 6, 7, 8's (Awaiting Repress) Quick View

    $16.99
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    The 5, 6, 7, 8's (Awaiting Repress)

    Weve been sitting on this one so long it feels good to finally let it free like some doves at a wedding.



    You may know them from Kill Bill but let it be known that for many years prior the 5.6.7.8s toiled away in their own 1960s gold-glitter garage universe without the slightest notice from those outside a small circle a like-minded anoraks.



    Thats why Third Man is overjoyed to reissue the self-titled LP from Japans finest female garage rockers. As its first-ever domestic US release, this album is a long-time personal favorite of Jack Whites and hes been known to break into I Walk Like Jayne Mansfield (a veritable classic included on this LP) without notice during White Stripes live performances. Couple that with impeccable covers of Harlem Nocturne, Long Tall Sally as well other originals and what you get is as close to a modern garage must-have as there is.



    Third Man spared no expense with this project with the gold-foil embossing on the old-style, tip-on LP cover (something the band wanted on the original issue of the record but which was not feasible at the time) ...this project was a labor of love.

    1 Harlem Nocturne 1:19
    2 Oriental Rock 2:28
    3 I Walk Like Jayne Mansfield 3:48

    4 Arkansas Twist 2:22
    5 Handsome Man 2:35
    6 Rockin' Rochester 2:18
    7 One Potato 1:55


    1 Long Tall Sally 2:57
    2 Cat Fight Run 2:19
    3 I Don't Need You No More 2:11
    4 Highschool Witch 2:57
    5 Teenage Cleopatra 3:26
    6 Tallahassee Lassie 2:29
    7 Scream 2:05

    The 5, 6, 7, 8'S
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
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