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  • Afro Classic (Speakers Corner) Afro Classic (Speakers Corner) Quick View

    $34.99
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    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
  • Stone Soul (Speakers Corner) Stone Soul (Speakers Corner) Quick View

    $34.99
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    Stone Soul (Speakers Corner)

    With all the exultation about the reconciliation between the capitalistic USA and the socialistic island state of Cuba, it is easy to oversee that the musical fusion between the two countries took place decades ago. Afro Cuban jazz, in which the interpretation and rhythms of swing and bebop are united with all imaginable rhythms from Brazil and the Caribbean, was label enough to describe a peaceful yet exciting and revolutionary music.


    At first glance it appears that in his album Stone Soul the Cuban percussionist Mongo Santamaria just took a handful of popular songs from pop and soul and 'translated' them into his own musical language. So far so good: but the enthusiasm and joy with which the band performs is anything but ordinary. Once the threshold for a potent Latin combo has been overcome with meaty winds (See Saw), Sonny Fortune on the alto sax storms ahead along rhythm & blues tracks and breaks out with hectic cleft licks on his own headstrong path. Incited by crisp percussion, one can experience how traditional music is combined with a musician's own ideas to create completely new music.

    Musicians:



    • Mongo Santamaria (conga,bongo)
    • Sonny Fortune (alto saxophone)
    • Hadley Caliman, Hubert Laws (tenor saxophone)
    • Art Kaplan (bassoon)
    • Louis Gasca (trumpet)
    • Rodgers Grant (piano)
    • William Allen (bass)
    • Steve Berrios (timpani)
    • Bernard Purdie (drums)
    • Julito Collazo, Osualdo Martinez (percussion)


    Recording: 1969 by Fred Catero

    Production: David Rubinson

    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. See-Saw
    2. Son-Of-A-Preacher Man

    3. Love Child
    4. Where Are We
    5. Hitchcock Railway

    6. Stoned Soul Picnic
    7. Who's Making Love
    8. The Now Generation
    9. Little Green Apples
    10. Cloud Nine
    Mongo Santamaria
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Afro-Peruvian Classics: The Soul of Black Peru Afro-Peruvian Classics: The Soul of Black Peru Quick View

    $19.99
    Buy Now
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    Afro-Peruvian Classics: The Soul of Black Peru

    The Afro-Peruvian style heard on The Soul of Black Peru compilation originated hundreds of years ago from the Spanish slave trade. The music is a mix of African, Spanish, and Andean traditions, due to the fact that the slaves who came to Peru were not from one specific region, so they did not have a common language to communicate with. It's easy to break the music down and see which culture contributed what -- the lyrics are all sung in Spanish (Spain), have a slight melancholy approach (similar to the Yaravi form from the Andes), and boast interesting rhythms (Africa). The musical form is just starting to catch on in other parts of the world, and deservedly so. And since this is heartfelt, emotional music, fans outside of the world music circle can easily grasp and appreciate it. Ranging from Manuel Donayre's Yo No Soy Jaqui to Chabuca Granda's Lando (Luaka Bop Records head David Byrne even contributes a track, Maria Lando), The Soul of Black Peru is a true musical treasure.

    - Greg Prato (All Music)
    1. Maria Lando - Susana Baca
    2. Yo No Soy Jaqui (I Am Not Jaqui) - Manuel Donayre
    3. Canterurias - Cecilia Barraza
    4. Samba Malato - Lucila Campos
    5. Enciendete Candela (Light The Flame) - Roberto Rivas & El Conjunto Gente Morena
    6. Azuca De Cana (Sugarcane) - Eva Ayllon
    7. Prendeme La Vela (Light My Candle) - Abelardo Vasquez & Cumanana
    8. Lando - Chabuca Granda
    9. Toro Mata (Bull Kills) - Lucila Campos
    10. Son De Los Diablos (Dance Of The Devils) - Peru Negro
    11. No Me Cumben (That's Not For Me) - Nicomedes Santa Cruz
    12. Una Larga Noche (A Long Night) - Chabuca Granda
    13. Lando - Peru Negro
    14. Maria Lando - David Byrne
    15. Zapateo En Menor - Vincente Vasquez
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Felix Beloy: Baila Mi Son (Pure Pleasure) Felix Beloy: Baila Mi Son (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Felix Beloy: Baila Mi Son (Pure Pleasure)

    Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest soneros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.



    Felix Baloy has been singing for more than 40 years which means he has waited a long time to make his first solo album. One of Cuba's outstanding soneros with a unique timbre, the opportunity came about after he met Tumi Music founder Mo Fini in Havana in 1995 when Baloy sang on the label's splendid four CD set Las Leyendas de la Musica Cubana as part of the Cuban All Stars with Orquesta Amèrica.



    There's an absolute joy about this record, and Baloy proves himself worthy of all the praise that's been heaped on him in Cuba, as capable of gliding through the cha cha of Van a Bailar el Cha Cha Cha, with its prim strings, as the rawer bolero of El Mal de la Hipocresia. The arrangements frame his voice wonderfully, too, as on the rich bolero cha of Los Es Todo Tu Amor, with its glistening flute solo. Baloy does himself proud, and Gonzalez gives him a band to remember behind him, some crystal clear production, and songs any singer would love to sing. Nigh on perfect.



    Musicians:



    • Juan de Marcos Gonzalez (director)

    • Felix Baloy (vocal)

    • Teresa Garcia Caturla (vocal)

    • Javier Zalba (bassoon)

    • Yanko Pizaco (trumpet)

    • Daniel "El Gordo" Ramos (trumpet)

    • Alberto "Molote" Munoz (trombone)

    • Antonio Sesma (trombone)

    • David Alfaro (piano)

    • Ricardo Munoz (bass)

    • Rolando "El Nino" Salgado (percussion)



    Recording: 2000 in ICAIC Studios and DM Ahora Studios, Havana, Cuba, by Alain Martinez de la Torre

    Production: Juan de Marcos Gonzalez




    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.



    and that the lacquer discs are newly cut.


    1. Baila mi son
    2. Mami te Gusto
    3. Yo Soy el del sentimiento
    4. DespuÉs de esta noche
    5. El mal de la hipocresía
    6. Ven a bailer cha cha cha
    7. Cada vez que te veo
    8. Lo es todo to amor
    9. El son de Baloy
    10. Misericordia, no aguanto
    Afro-Cuban All Stars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed 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
  • Cal Tjader's Latin Concert Cal Tjader's Latin Concert Quick View

    $21.99
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    x

    Cal Tjader's Latin Concert

    As Cal Tjader's reputation and popularity grew as one of the major forces in Afro-Cuban jazz, he was able to hire some of the music's most able artists. On this 1958 album, recorded at San Francisco's famous Black Hawk, his band included percussionists Mongo Santamaria and Willie Bobo, pianist Vince Guaraldi, and bassist Al McKibbon, a veteran of the Dizzy Gillespie band that opened American ears to the charms and urgencies of Afro-Cuban rhythms. Having Al in the band, Tjader once said, is an impossible dream come true. Among the pieces here are several by Tjader and one that was destined to become a classic in the literature of Latin jazz, Ray Bryant's Cubano Chant.
    1. Viva Cepeda
    2. Mood for Milt
    3. The Continental
    4. Lucero
    5. Tu Crees Que?
    6. Mi Guaguanco
    7. Cubano Chant
    8. A Young Love
    9. Theme
    Cal Tjader
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Winwood Greatest Hits Live Winwood Greatest Hits Live Quick View

    $39.99
    Buy Now
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    Winwood Greatest Hits Live

    Winwood: Greatest Hits Live' is a new 4-LP collection sourced from Steve's personal archives of live performances. With a 23-song tracklist handpicked by Steve, featuring his best-loved songs, 'Greatest Hits Live' offers fans a definitive musical portrait of his five-decade career. The expanded 4-LP gatefold package features rare, previously unreleased material touching on all aspects of Winwood's extensive catalog, including contemporary arrangements of the music he created with the Spencer Davis Group, Traffic, Blind Faith, and on his classic solo recordings. The collection channels R&B, Jazz, Funk, Folk, Classic Rock, Pop, and Afro-Caribbean & Brazilian rhythms, highlighting Winwood's unique ability to fuse multiple genres into a singular, cohesive musical expression. The record not only demonstrates Steve's mastery of the Hammond B3 Organ but also showcases his remarkable guitar skills.
    LP 1
    1. I'm A Man
    2. Them Change
    3. Fly
    4. Can't Find My Way Home
    5. Had To Cry Today
    6. Back In The High Life


    LP 2
    1. Low Spark Of High Heeled Boys
    2. Empty Pages
    3. Higher Love
    4. Dear Mr. Fantasy
    5. Gimme Some Lovin


    LP 3
    1. Rainmaker
    2. Pearly Queen
    3. Why Can't We Live Together
    4. 40,000 Headmen
    5. Walking In The Wind


    LP 4
    1. Medicated Goo
    2. John Barleycorn
    3. While You See A Chance
    4. Arc of a Diver
    5. Freedom Overspill
    6. Roll With It

    Steve Winwood
    $39.99
    Vinyl LP - 4 LPs Sealed Buy Now
  • Radio Retaliation Radio Retaliation Quick View

    $24.99
    Buy Now
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    Radio Retaliation

    LP reissue of Thievery Corporation's classic fifth studio album which has scanned 118k RTD


    Thievery Corporation once again raises the bar with their incendiary fifth independent studio album Radio Retaliation. Along with longtime microphone co-conspirators like Sleepy Wonder, Lou Lou, and Notch the outernational DJ and production duo are joined by a new cast of musical collaborators including
    Nigeria's afro-beat heir Femi Kuti, Brazilian star vocalist and guitarist Seu Jorge, Indian sitar virtuoso Anoushka Shankar, Slovakian chanteuse and
    violinist Jana Andevska, and Washington DC's own godfather of go-go Chuck Brown. With an uncompromising socio-political agenda and richly layered
    production touching upon the eclectic sounds of Jamaica, Latin America, Africa, Asia and the Middle East, Radio Retaliation is one of Thievery
    Corporation's broadest and most progressive albums.

    1. Sound The Alarm
    2. Mandala
    3. Radio Retaliation
    4. Vampires
    5. Hare Krsna
    6. El Pueblo Unido
    7. (The Forgotten People)
    8. 33 Degree
    9. Beautiful Drug
    10. Le Femme Parallel
    11. Retaliation Suite
    12. The Numbers Game
    13. The Shining Path
    14. Blasting Through the City
    15. Sweet Tides
    Thievery Corporation
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Vampire Weekend Vampire Weekend Quick View

    $22.99
    Buy Now
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    Vampire Weekend

    Free MP3 Download Included


    This NY four-piece draw on their diverse backgrounds and interests, experimenting with African guitar music, the Western classical canon, hazy memories of Cape Cod summers, winters in upper Manhattan, and reggaeton. Equal parts shruggy New York indie strumming and groovy Afro-pop, Vampire Weekend's organ-and-drum runs highlight narratives about relationships, punctuation, and sometimes both - Spin. Named Hot New Kids in Rolling Stone's Hot issue. Vinyl contains MP3 coupon.
    1. Mansard Roof
    2. Oxford Comma
    3. A-Punk
    4. Cape Cod Kwassa Kwassa
    5. M79
    6. Campus
    7. Bryn
    8. One (Blake's Got A New Face)
    9. I Stand Corrected
    10. Walcott
    11. The Kids Don't Stand A Chance
    Vampire Weekend
    $22.99
    Vinyl LP - Sealed Buy Now
  • Hatari! - Music from the Paramount Motion Picture Hatari! - Music from the Paramount Motion Picture Quick View

    $34.99
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    x

    Hatari! - Music from the Paramount Motion Picture

    200-gram 33 1/3 LP, mastered at Sterling Sound by Ryan Smith from the Analog Tapes


    Plated and Pressed by Quality Record Pressings


    Deluxe tip-on Jacket by Stoughton Printing


    Featuring Baby Elephant Walk


    Featured on Harry Pearson's Famous Recommended List of fine audio recordings


    Coming off a double Oscar win for his Breakfast at Tiffany's score, Henry Mancini produced this score for the Howard Hawks-directed, John Wayne-starring safari comedy Hatari!.


    This is at first a fun blend of jazz and Afro-exotica, jungle drums mixed with a classic bop combo. Elsewhere, however, the soundtrack opts for some pleasant, but very Western jazz, only stopping for the African instrument-sampler 'The Sounds of Hatari,' which features some nice treated piano. The filmmakers were probably hoping that the Mercer and Carmichael song 'Just for Tonight' would be as much a success as Tiffany's 'Moon River,' but if Hatari! is memorable for anything, it's for the incredibly goofy 'Baby Elephant Walk,' which has gone on to be infamous musical shorthand for kookiness of any stripe. - AllMusic.com.


    Now Music from the Paramount Picture score Hatari! is back bigger and better than ever! We've gone the deluxe Analogue Productions route - remastered from the original analog tape by Ryan Smith at Sterling Sound, cut at 33 1/3 RPM, plated and pressed as a 200-gram LP at Quality Record Pressings. Then packaged in a deluxe tip-on jacket from Stoughton Printing. A great title, a brilliant reissue. Exceptional!


    This title is not eligible for discount.

    1. Theme from Hatari!
    2. Baby Elephant Walk
    3. Just For Tonight
    4. Your Father's Feathers
    5. Night Side
    6. Big Band Bwana
    7. The Sounds Of Hatari
    8. The Soft Touch
    9. Crocodile, Go Home!
    Henry Mancini
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hatari! Soundtrack Hatari! Soundtrack Quick View

    $34.99
    Buy Now
    x

    Hatari! Soundtrack

    Import

    First Pressing Of 500 Individually Numbered Copies On Yellow Vinyl, Black Vinyl Thereafter


    180 Gram Audiophile Vinyl


    PVC Protective Sleeve


    Music Composed By Henry Mancini (The Pink Panther, Breakfast At Tiffany's, Peter Gunn, Charade)


    If the recognition of one's peers is the true measure of success, then few men are as successful as composer, arranger, and conductor Henry Mancini. In a career that spanned 40 years, writing for film and television, Mancini won four Oscars and twenty Grammys, the all-time record for a pop artist. Plus he received a posthumous Grammy Lifetime Achievement Award in 1995.


    Mancini's best-known works include the jazz-idiom theme to The Pink Panther film series (The Pink Panther Theme), his Moon River to Breakfast at Tiffany's, and the theme to the Peter Gunn television series. The Peter Gunn Theme won the first Grammy Award for Album of the Year. Mancini also had a long collaboration on film scores with the film director Blake Edwards.


    Henry Mancini produced the score for the Howard Hawks-directed, John Wayne-starring safari comedy Hatari! which included the well-known Baby Elephant Walk. This is at first a fun blend of jazz and Afro-exotica, jungle drums mixed with a classic bop combo. Elsewhere, however, the soundtrack opts for some pleasant, but very Western jazz, only stopping for the African instrument-sampler The Sounds of Hatari, which features some nice treated piano.


    The American Film Institute nominated the score from Hatari! as one of the greatest film scores of all time.

    1. Theme From "Hatari!"
    2. Baby Elephant Walk
    3. Just For Tonight

    4. Your Father's Feathers
    5. Night Side
    6. Big Band Bwana

    7. The Sounds Of Hatari

    8. The Soft Touch

    9. Crocodile, Go Home!
    Henry Mancini
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Memory Drawings Memory Drawings Quick View

    $19.99
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    Memory Drawings

    The follow-up to their debut Noumena. Though the music on this release is familiar, there's a depth to both the performance and production that feels new. The direct-to-analog tape mix is used as another instrument to help shape each song, channeling the mythos of late 60s jazz and late 70s dub classics. They've also expanded their influences with shades of afro-beat and disco-soul.
    1.If Wishes Were Like Horses
    2.Uncanny Valley
    3.I Had A List And I Lost It
    4.Years Gone By


    1.Golden Sands
    2.Smoke Falls
    3.Lands End
    4.Floating Truth

    The Drift
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • So It Is So It Is Quick View

    $19.99
    Buy Now
    x

    So It Is

    Preservation Hall Jazz Band have announced the release of their new album, So It Is, the septet's second release featuring all-new original music, releasing via Legacy Recordings. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba.


    In Cuba, all of a sudden we were face to face with our musical counterparts, says bandleader/composer/bassist Ben Jaffe. There's been a connection between Cuba and New Orleans since day one - we're family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it's part of something much bigger. It was almost like having a religious epiphany.


    Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city's famed second-line parades. I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate, he says. I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.


    The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city's Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.


    Preservation Hall Jazz Band:


    BEN JAFFE - Bass (upright), Tuba, Percussion

    CHARLIE GABRIEL - Saxophone (tenor), Clarinet

    CLINT MAEDGEN - Saxophone (tenor), Percussion

    RONELL JOHNSON - Trombone

    WALTER HARRIS - Drums, Percussion

    KYLE ROUSSEL - Piano, Wurlitzer, Organ

    BRANDEN LEWIS - Trumpet

    1. So It Is
    2. Santiago
    3. Innocence
    4. La Malanga
    5. Convergence
    6. One Hundred Fires
    7. Mad
    Preservation Hall Jazz Band
    $19.99
    Vinyl LP - Sealed Buy Now
  • No Deal Remixed: Presented By Gilles Peterson No Deal Remixed: Presented By Gilles Peterson Quick View

    $22.99
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    No Deal Remixed: Presented By Gilles Peterson

    Internationally renowned DJ and radio personality Gilles Peterson has called upon some of the most exciting names across the jazz, electronic and indie worlds to rework Melanie De Biasio's acclaimed album No Deal, including EELS, The Cinematic Orchestra, Hex, and Seven Davis Junior.


    EELS haunting, orchestral reworking of opening track I Feel You is the first ever remix by Mark Oliver Everett (AKA E), who fell in love with De Biasio's music when she supported EELS at the Royal Albert Hall in June. The Cinemantic Orchestra give I'm Gonna Leave You an intense reworking, while beat maker C. Crisci, a.k.a Clap! Clap! gives the same track an afro-beat slant. Seven Davis Jr gives title-track No Deal an old school house flavour, while LA's Jonwayne coats With All My Love a lush balm of hip-hop. Japan's Toshio Matsuura (AKA Hex) adds an impressive urgency to The Flow, whilst France's modern classical composer Chassol provides a downtempo and discordant take on Sweet Darling Pain.

    1. I Feel You (EELS Remix)
    2. The Flow (Hex Remix) - Boiler Room Debuts
    3. No Deal (Seven Davis Jr Remix)
    4. With Love / Sweet Darling Pain (Gilles Peterson & Sinbad Remix)
    5. Sweet Darling Pain (Chassol Remix)
    6. I'm Gonna Leave You (Clap! Clap! Remix)
    7. With All My Love (Jonwayne Remix)
    8. I'm Gonna Leave You (The Cinematic Orchestra Remix)
    Melanie De Biasio
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Kenya (Pure Pleasure) Kenya (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Kenya (Pure Pleasure)

    This outstanding album, recorded in 1957, in honor of the then recently formed republic of Kenya, highlights the wonderful Afro-American and Afro-Cuban musical language Machito spoke so well.



    In this album, Machito has combined all the elements needed in bringing the true meaning of Afro-Cuban jazz music to the listener. Machito, his musical director Mario Bauza, Rene Hernandez and A. K. Salim who along with Mr Bauza composed and arranged this music, define it this way: Afro-Cuban rhythm differs from other rhythms in that instead of the usual drums carrying the rhythmic beat, it is carried by Cuban percussion instruments such as the bongos, congas, timbales, guiros and maracas. Also, and even more elemental, is that although there are four beats to the bar as in all jazz, in Afro-Cuban jazz the beat is not played by any instrunments as such. It is felt, rather than actually heard. Afro-Cuban jazz is, in it's performance, the marriage of Afro-Cuban rhythm and soloists.



    Musicians:



    • Machito (vocal, conductor)

    • Mario Bauza, Doc Cheatham, Joe Newman (trumpet)

    • Cannonball Adderley (as)

    • Ray Santos (ts)

    • Santo Russo, Eddie Bert (trombone)

    • Rene Hernandez (piano)

    • Roberto Rodriguez (bass)

    • Jose Mangual, Uba Nieto, Candido Camero (percussion)




    Recording: December 1957 at Metropolitan Studios, New York City



    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. Wild Jungle
    2. Congo Mulence

    3. Kenya
    4. Oyeme
    5. Holiday
    6. Cannonology
    7. Frenzy
    8. Blues A La Machito

    9. Conversation
    10. Tin Tin Deo
    11. Minor Rama
    12. Tururato
    Machito & His Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • After Midnight (Pure Pleasure) (Awaiting Repress) After Midnight (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    After Midnight (Pure Pleasure) (Awaiting Repress)

    Nat 'King' Cole's music is the perfect combination of romantic charm and musical invention. Cole is renowned for his big production numbers and pop hits such as Stardust, but he was also an accomplished and unique jazz pianist and excelled in a small-group setting. After Midnight's album cover states that this is a 'trio' release. However, Cole is actually paired up with his trio plus five guest soloists (saxophone, trombone, trumpet, percussion, and violin). The dubious credits don't matter much though. This is precious music and, without a doubt, one of Cole's best records. Included here are wonderful and intimate renditions of Cole favorites Sweet Lorraine, (Get Your Kicks on) Route 66, and many others. Trombonist Juan Tizol performs a beautiful version of his Afro-Cuban tune Caravan, and Cole and violinist Stuff Smith trade some hot licks on the up-tempo I Know That You Know. For anybody looking to understand the depth and breadth of Cole's jazz roots, this disc is an excellent point of departure.




    Musicians:



    • Nat 'King' Cole (piano, vocal)

    • Willie Smith (alto saxophone)

    • Harry 'Sweets' Edison (trumpet)

    • Juan Tizol (trombone)

    • John Collins (guitar)

    • Charlie Harris (bass)

    • Stuff Smith (violin)

    • Lee Young (drums)

    • Jack Costanza (conga, bongo)




    Recording: August and September 1956 at Capitol Studios, Los Angeles, California

    Production: Lee Gillettedeutsch



    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. Just You, Just Me
    2. Sweet Lorraine
    3. Sometimes I'm Happy
    4. Caravan
    5. It's Only a Paper Moon
    6. You're Looking at Me

    7. The Lonely One
    8. Don't Let it Go to Your Head
    9. I Know That You Know
    10. Blame it on my Youth
    11. When I Grow too Old to Dream
    12. Route 66

    13. I Was a Little too Lonely (and You Were a Little too Late)
    14. Your Can Depend on Me
    15. What is There to Say
    16. Two Loves Have I
    17. andy
    18. You're Looking at Me (alternate take)
    Nat King Cole
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Caravanserai (Speakers Corner) (Awaiting Repress) Caravanserai (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Caravanserai (Speakers Corner) (Awaiting Repress)

    To attempt to categorise Carlos Santana's music is, for the prophets of rock music, rather like dancing on the edge of a volcano. While the New York Times acclaimed the band as a reincarnation of Dizzy Gillespie's Cuban-jazz bigband from the end of the Forties, the specialist magazine Rolling Stone spoke of a »methadrine trip without visions«. Organ-player Gregg Rolie offered a very simple explanation of the origins of the highly differentiated sound colouring and the throb and chirp of the Afro-Cuban polyrhythms: he succinctly remarked that each member of the multi-cultural band just played the music which he had grown up with.



    Just how thrilling this sounds is already evident from the first number on the disc, with its sounds of nature, twisted rhythms, and little snatches of melody, which - as in several other titles - remains spellbinding even without the fascinating drive of Santana's lead-sound. Of course there is plenty of solo material on the guitar which manifests itself in exuberant improvisations with a fusion of rock, salsa and jazz elements. When listening to this well-oiled rhythm machine, one quite rightly gets the impression that this unique band has stretched itself to its limits, and it is not by mere coincidence that they split up shortly afterwards. What has remained is one of the most powerful Santana records ever made.



    Musicians:



    • Carlos Santana (guitar, percussion)

    • Hadley Caliman (saxophone)

    • Gregg Rolie (organ, piano)

    • Wendy Haas (piano)

    • Tom Coster (electric piano)

    • Neal Schon (guitar)

    • Douglas Rauch (guitar, bass)

    • Tom Rutley (bass)

    • Mike Shrieve (drums)

    • Jose Chepito Areas, Armando Peraza (percussion)



    Recording: February and May 1972

    Production: Carlos Santana and Michael Shrieve



    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. Eternal Caravan Of Reincarnation
    2. Waves Within
    3. Look Up (To See What's Coming Down)
    4. Just In Time To See The Sun
    5. Song Of The Wind
    6. All The Love Of The Universe
    7. Future Primitive
    8. Stone Flower
    9. La Fuente Del Ritmo
    10. Every Step Of The Way


    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS 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
  • Belafonte At Carnegie Hall (Speakers Corner) Belafonte At Carnegie Hall (Speakers Corner) Quick View

    $49.99
    Buy Now
    x

    Belafonte At Carnegie Hall (Speakers Corner)

    To perform in Carnegie Hall must surely be the greatest ambition of every artist, regardless of his or her style of music. But it also presents an enormous challenge, because on such an evening 'good' isn't good enough. The artist is not merely expected to perform to his or her usual high standard - the evening must be exceptional. Harry Belafonte, the charismatic and highly experienced performer, certainly managed to fulfil such expectations, as is testified to by the present double album, which has retained its place as a best-seller at the top of the charts over many years.
    This performance contains three acts, as it were: Afro-American moods, Caribbean songs and excursions into music of the world. Belafonte is in top form and celebrates an exciting, sparkling festival of song, including spontaneous comic interludes, which arise from direct interaction with his enthralled and enthusiastic audience. He is brilliantly supported by Bob Corman and his 47-man orchestra, an ensemble which is reduced to a small combo when the maestro raises his husky voice. It goes without saying that all the favourites are there such as Jamaica Farewell, Day-O and Mama Look A Boo Boo, making this Carnegie Hall event one of the most mesmerizing live performances of all time, which captures the essence of the performer in his prime (All Music Guide). With this double album you too can sit in the audience and enjoy this great event.



    Musicians:



    • Harry Belafonte (vocal)

    • Millard Thomas, Raphael Boguslav (guitar)

    • Norman Keenan (bass)

    • Danny Barrajanos (percussion)

    • & orchestra conducted by Robert Corman




    Recording: April 1959 live at Carnegie Hall, New York, by Bob Simpson

    Production: Bob Bollard





    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. Introduction/Darlin'
    2. Sylvie
    3. Cotton Fields
    4. John Henry
    5. The Marching Saints
    6. The Banana Boat Song (Day-O)
    7. Jamaica Farewell
    8. Mama Look a Boo Boo
    9. Come Back Liza
    10. Man Smart (Woman Smarter)
    11. Hava Nagila (Traditional)
    12. Danny Boy
    13. Cucurrucucu Paloma
    14. Shenandoah
    15. Matilda
    Harry Belafonte
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Santana Santana Quick View

    $49.99
    Buy Now
    x

    Santana

    Numbered, Limited Edition


    Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version


    Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended


    Ranked #149 on Rolling Stone's List of the Greatest Albums of All Time


    Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.


    Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.


    Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.


    For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.


    Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before-as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.


    Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.


    This title is not eligible for discount.

    1. Waiting
    2. Evil Ways
    3. Shades Of Time
    4. Savor
    5. Jingo
    6. Persuasion
    7. Treat
    8. You Just Don't Care
    9. Soul Sacrifice
    Santana
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Santana IV Santana IV Quick View

    $29.99
    Buy Now
    x

    Santana IV

    Santana IV is the wildly anticipated studio album that reunites the revered early '70s lineup of guitar icon Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion) and Michael Shrieve (drums). The album signifies the first time in 45 years - since 1971's multi-platinum classic Santana III - that the quintet has recorded together.


    Santana IV features 16 all-new tracks written and produced by the band that burst with the same unparalleled energy and superlative musicianship that made Santana a pioneering force in world music and a household name across the globe. Joining the core Santana IV band in the studio are current Santana members Karl Perazzo (percussion) and Benny Rietveld (bass), with the legendary vocalist Ronald Isley guesting on two cuts.


    The origins for the reunion go back several years, when Schon suggested that he and Carlos Santana record together. Santana liked the idea but went one better, proposing that they recruit Rolie, Shrieve and Carabello for what would be called Santana IV. After initial writing sessions and rehearsals took place in 2013, the group recorded throughout 2014 and 2015, amassing 16 spellbinding tracks that combined all their signature elements - Afro-Latin rhythms, soaring vocals, electrifying blues-psychedelic guitar solos, and irrepressibly jubilant percussion work - with widescreen hooks and melodies that will lodge themselves in the thicket of listeners' senses and stay there.


    It was magical, Santana says. We didn't have to try to force the vibe - it was immense. >From there, we then needed to come up with a balance of songs and jams that people would immediately identify as Santana.


    The band's signature sound arrives forcefully on the album opener Yambu, a righteously gritty and soulful stomper teeming with swirling B3 organ hooks and walloping guitar crunch.


    The first single, Anywhere You Want to Go, is destined to storm the pantheon of Santana classics. Written by Gregg Rolie, it's a sexy, body-shaking winner and an unmistakable tip of the hat to the inescapable cha-cha/Latin jazz charms of Oye Como Va.


    Ronald Isley (The Isley Brothers) is a special guest on two tracks. His vocals highlight the feverishly impassioned Latin-rock workout Love Makes the World Go Round and the hard-edged and funky Freedom in Your Mind. Guitar fans expecting fireworks from Santana and Schon will cherish Santana IV from front to back. All Aboard is a no-holds-barred guitar jam of the highest order, as is the slinky, soulful metal cruncher Caminando, which explodes with tectonic axe force. And on the unabashedly British blues-tinged Shake It, the two go toe to toe on not one but two extended solo runs that will have lovers of unhinged fretboard work rejoicing.


    Carlos and I feel more connected than ever, says Schon. We get super-aggressive when we play, but also melodic and poetic. We have an incredible dialog with each other on our guitars.


    Santana's recurring themes of love and tolerance are common threads throughout Santana IV, most dramatically on the epic tone poem album closer Forgiveness, a languid and breathtakingly gorgeous atmospheric groover.


    Music fans familiar with the roaring lion artwork on Santana's 1969 debut album will instantly greet Heather Griffin-Vine's graphic for Santana IV as a gloriously realized update of that iconic image. I really think the music goes along with the cover, and vice versa, says Santana. It all fits together beautifully.


    Few bands can pick up a musical dialog after 45 years apart, but on Santana IV each band member reaches a new level of virtuosity and communal intuition on a collection of songs that easily stands side-by-side with the group's treasured early work.


    When you can go back and break new ground with joy and determination - and some whoop-ass energy - it gets you going, says Santana. I think we achieved something very rare. This music was screaming to come out of us. It wasn't about nostalgia. It was about passion.

    1. Yambu
    2. Shake It
    3. Anywhere You Want To Go
    4. Fillmore East
    5. Love Makes The World Go Round (Feat: Ronald Isley)
    6. Freedom In Your Mind (Feat: Ronald Isley)
    7. Choo Choo
    8. All Aboard
    9. Suenos
    10. Caminando
    11. Blues Magic
    12. Echizo
    13. Leave Me Alone
    14. You And I
    15. Come as You Are
    16. Forgiveness
    Santana
    $29.99
    Vinyl LP - Sealed Buy Now
  • Live In Cuba (Box Set) Live In Cuba (Box Set) Quick View

    $39.99
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    Live In Cuba (Box Set)

    Playing Afro-Cuban repertoire, jazz classics and contemporary works, the JALC Orchestra may have done more for American-Cuban relations in a single week than all the political rhetoric generated from both sides of the Straits of Florida for the past 60-plus years. - The Chicago Tribune


    Supercharged... A suave delight." - The New York Times


    Mr. Marsalis and company strike just the right mood, choose just the right set and play just the right amount to an adoring audience while maintaining the artistic high ground here. The band gave the Havana audience a lot of love over those three nights, and the crowd returned the favor. It's all evident on Live In Cuba. - DownBeat


    From bebop to bolero and beyond, LIVE IN CUBA captures nine-time Grammy Award-winning Wynton Marsalis and the world-renowned Jazz at Lincoln Center Orchestra with Wynton Marsalis's first-and only-performances in Cuba. Explore the profound connections between American jazz and Afro-Cuban music on this deluxe vinyl box set featuring four LPs and a gorgeous booklet.


    Recorded in front of clamorous, sold-out crowds over three nights at Havana's Mella Theatre in October 2010, LIVE IN CUBA finds the Jazz at Lincoln Center Orchestra with Wynton Marsalis performing Ellington standards, Afro-Cuban numbers, and distinctly modern compositions from band members. LIVE IN CUBA is a document of two nations' indelible cultural connections and of an emotional reunion between long-lost musical cousins.

    Wynton Marsalis
    $39.99
    Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • Betty Davis (Awaiting Repress) Betty Davis (Awaiting Repress) Quick View

    $20.99
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    Betty Davis (Awaiting Repress)

    One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.


    There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their "Lady Marmalade" for another year while Millie Jackson wasn't "Feelin' Bitchy" until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.


    Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song "Uptown" for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew.'


    But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.


    In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

    1. If I'm In Luck I Might Get Picked Up
    2. Walkin Up The Road
    3. Anti Love Song
    4. Your Man My Man
    5. Ooh Yeah
    6. Steppin In Her I. Miller Shoes
    7. Game Is My Middle Name
    8. In The Meantime
    Betty Davis
    $20.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Masterpieces (Pure Pleasure) Masterpieces (Pure Pleasure) Quick View

    $34.99
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    Masterpieces (Pure Pleasure)

    When Ellington went into the studio in 1950 to record the longer tracks on this LP, his orchestra was a bridge between its late-1940's configuration (the 5-man trumpet section) and its mid-1950's personnel. The sax section had settled into the form it would have for most of the ensuing two decades (old-timers Hodges and Carney and newcomers Procope, Hamilton and Gonsalves); the trombone section had long-timer Lawrence Brown as well as Tyree Glenn and newcomer Quentin Jackson; and the drummer was still Sonny Greer, who had anchored the rhythm section since the beginning.


    The arrangements and orchestrations all bear the hallmarks of Ellington's collaboration with Billy Strayhorn in the late 1940's: they are lush, symphonic, impressionistic, and densely (and adventurously) harmonic. Mood Indigo, in particular, is a 15-minute tone-poem with shifting colors and key relationships as Ellington and Strayhorn bring the melody through a wide variety of guises, from Glenn's wah-wah trombone solo to Shorty Baker's lyrical waltz to orchestral and piano passages which do homage to the influence which Ravel and Stravinsky had on both of them.


    The Tattooed Bride is the only new piece from the original Masterpieces by Ellington LP, and it is a beauty. The others of the original tracks -- Sophistocated Lady and Solitude -- are not laid out as inventively in their harmonics or structure. Of the group, Solitude is perhaps the weakest, but this is a relative term. Ellington would go on to pen many more extended, symphonic works, but none would have quite the multicolored, impressionistic tone-pallate that these do. And Strayhorn's presence would not be as pronounced in those future works as it is here: the orchestration and harmonies in particular bear his mark. These are masterpieces indeed: great works of art by two of our greatest composers/orchestrators, and played by one of the greatest orchestras in Afro-American music. - Andrew R. Weiss

    Musicians:



    • Duke Ellington, Billy Strayhorn (piano)
    • Cat Anderson, Clark Terry, Ray Nance (trumpet)
    • Quentin Jackson (trombone)
    • Johnny Hodges (reeds)
    • Mercer Ellington (french horn)
    • Russell Procope (clarinet, reeds)
    • Wendell Marshall (bass)
    • Louie Bellson (drums)




    About Pure Pleasure



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



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



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



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



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



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



    1. Mood Indigo
    2. Sophisticated Lady
    3. The Tattooed Bride
    4. Solitude
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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