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  • Turn of a Friendly Card Turn of a Friendly Card Quick View

    $34.99
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    Turn of a Friendly Card

    With two of the Alan Parsons Project's best songs, the lovely ballad Time and the wavy-sounding Games People Play, 'The Turn Of A Friendly Card' remains one of this group's most enjoyable albums.


    Parsons' idea, the subject of the album's six tracks, centers around the age-old temptation of gambling and its stranglehold on the human psyche.


    Music On Vinyl is proud to present yet another beauty by these British Progressive Rockers.

    1. May Be A Price To Pay
    2. Games People Play
    3. Time
    4. I Don't Wanna Go Home
    5. The Gold Bug
    6. The Turn Of A Friendly Card
    I. The Turn Of A Friendly Card (Part One)
    II. Snake Eyes
    III. The Ace Of Swords
    IV. Nothing Left To Lose
    V. The Turn Of A Friendly Card (Part Two)
    Alan Parsons
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gaudi Gaudi Quick View

    $34.99
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    Gaudi

    Gaudi was the tenth and final Alan Parsons Project studio album released in 1987. Inspired as he was by the Catalan architect Antonio Gaudi, Alan Parsons built a truly passionate concept album. Money Talks and Closer To Heaven, which were used in episodes of Miami Vice are, without a doubt, the tracks that sonically define this record. But then there's Paseo de Gracia, a fully orchestrated track in the typical vein of Alan Parsons Project, which can be counted as an exquisite instrumental masterpiece. The masterfully cut Gaudi album simply is yummy for the ears. We are extremely proud to extend the ever expanding catalogue by releasing number eight of the Project's discography!
    1. La Sagrada Familia
    2. Too Late
    3. Closer To Heaven
    4. Standing On Higher Ground
    5. Money Talks
    6. Inside Looking Out
    7. Paseo De Gracia (Instrumental)
    Alan Parsons Project
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On Air On Air Quick View

    $37.99
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    On Air


    Printed Innersleeve


    Gatefold Sleeve


    Exclusive Artwork Created By Peter Curzon, Storm Studis


    On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project, however the album's chief creative force was the Project's long-time guitarist, Ian Bairnson. Its concept revolves around the history of airborne exploration. Musically, this album is very different from Try Anything Once and the Alan Parsons Project albums, opting for more of a soft rock sound and a stable band line-up rather than the funky rhythms, symphonic flares, or rotating vocalists of the past.

    1. Blue Blue Sky
    2. Too Close To The Sun
    3. Blown By The Wind
    4. Cloudbreak
    5. I Can't Look Down
    6. Brother Up In Heaven
    7. Fall Free
    8. Apollo
    9. So Far Away
    10. One Day To Fly
    11. Blue Blue Sky
    Alan Parsons
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Time Machine Time Machine Quick View

    $39.99
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    Time Machine

    Available On Vinyl For The First Time!


    Gatefold & Printed Innersleeves


    Exclusive Artwork Created By Peter Curzon, Storm Studis


    On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project, however the album's chief creative force was the Project's long-time guitarist, Ian Bairnson. Its concept revolves around the history of airborne exploration. Musically, this album is very different from Try Anything Once and the Alan Parsons Project albums, opting for more of a soft rock sound and a stable band line-up rather than the funky rhythms, symphonic flares, or rotating vocalists of the past.



    1. The Time Machine (Part 1)
    2. Temporalia
    3. Out Of The Blue
    4. Call Up
    5. Ignorance Is Bliss
    6. Rubber Universe
    7. No Future In The Past
    8. Press Rewind
    9. The Very Last Time
    10. Far Ago And Long Away
    11. The Time Machine (Part 2)
    12. Dr. Evil Edit
    Alan Parsons
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Pyramid Pyramid Quick View

    $36.99
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    Pyramid

    The British progressive rock band Alan Parsons Project was active between 1975 and 1990. The Project consisted of Eric Woolfson and Alan Parsons surrounded by a varying number of session musicians.


    Englishman Alan Parsons met Scotsman Eric Woolfson in the canteen of Abbey Road Studios in the summer of 1974.


    Parsons had already acted as assistant engineer on The Beatles' 'Abbey Road' and 'Let It Be' and had recently engineered Pink Floyd's 'The Dark Side of the Moon'.


    Woolfson, a songwriter and composer, was working as a session pianist.


    'Pyramid' is the third album by The Alan Parsons Project and was originally released in 1978. The album contains numerous references to the Egyptian pyramids, hence the name.

    1. Voyager (2:25)
    2. What Goes Up... (3:31)
    3. The Eagle Will Rise Again (4:20)
    4. One More River (4:18)
    5. Can't Take It With You (5:07)


    1. In The Lap Of The Gods (5:29)
    2. Pyramania (2:44)
    3. Hyper-Gamma-Spaces (4:17)
    4. Shadow Of A Lonely Man (5:39)

    Alan Parsons Project
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ammonia Avenue Ammonia Avenue Quick View

    $32.99
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    Ammonia Avenue

    Released two years after their big-selling Eye In The Sky album, Ammonia Avenue from 1984 offers beautiful tunes, with intelligent lyrical content. The theme of the album is the communication breakdown of mankind in a society turning ever more antisocial. Alan Parsons Project is the pinnacle of art rock, and this album proves it, yielding the hit single Don't Answer Me. A great deal of variation and clever hooks result in a record that holds more than the sum of its parts: a great listen throughout!
    1. Prime Time
    2. Let Me Go Home
    3. One Good Reason
    4. Since The Last Goodbye
    5. Don't Answer Me
    6. Dancing On A High Wire
    7. You Don't Believe
    8. Pipeline
    9. Ammonia Avenue
    Alan Parsons Project
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Eve Eve Quick View

    $36.99
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    Eve

    For the most part, 1979's Eve is somewhat overlooked as being one of the Alan Parsons Project's finest work, when in fact it involves some of this group's most intricate songs. The album's concept deals with the female's overpowering effect on man. Each song touches on her ability to dissect the male ego, especially through sexual means, originating with Eve's tempting Adam in the beginning of time.


    Not only does this idea gain strength as the album progresses, but a musical battle of the sexes begins to arise through each song. The gorgeous "You Won't Be There" spotlights man's insecurity. Sung by Dave Townsend, its melodramatic feel sets a perfect tone. The classically enhanced "Winding Me Up" follows suit, based on a woman's ability to dominate her mate and opening up with sound of a wind-up doll being cranked. Other gems include the bitter but forceful "Damned If I Do" sung by Lenny Zakatek, and the dominating fury of "Lucifer," a powerful instrumental. Even the loutish "You Lie Down with Dogs" bears wit with its gender inclined mud-slinging.


    The female vocalists, Lesley Duncan and Clare Torry do a splendid job of representing the females point of view throughout the album. Not only does Eve solidify its main idea, but the songs are highly entertaining with catchy rhythms and intelligent lyrics. Musically, the tempo appealingly switches back and forth from slow to quick, as does the temperament of the album. Somehow, Eve is dismissed as one of this band's greatest efforts, when in fact it's one of their finest marriages of both concept and music.

    1. Lucifer
    2. You Lie Down With Dogs
    3. I'd Rather Be A Man
    4. You Won't Be There
    5. Winding Me Up
    6. Damned If I Do
    7. Don't Hold Back
    8. Secret Garden
    9. If I Could Change Your Mind
    Alan Parsons Project
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stereotomy Stereotomy Quick View

    $34.99
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    Stereotomy

    Alan Parsons Project is well known for building their albums around certain socio-demographic themes. Stereotomy (1985) deals with the way in which modern society molds the personality. At the time, Stereotomy was one of the first completely digitally recorded pieces of music, sporting a rare 'DDD' code on its first release.


    The album is coherently balanced, its synthesized and orchestrated songs completing each another. The high octane Where's The Walrus? is a response to 'Mr. Laser Beam', analogy of Mr. Lee Abrams, an American radio personality. He accused the band having gone 'flat' in their last albums: he asked them 'Where's The Walrus?', meaning 'Where are the classic songs like The Beatles' I Am The Walrus?'.

    1. Stereotomy
    2. Beaujolais
    3. Urbania
    4. Limelight
    5. In The Real World
    6. Where's The Walrus
    7. Light Of The World
    8. Chinese Whispers
    9. Stereotomy Two
    Alan Parsons Project
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Royal Philharmonic Orchestra Plays Prog Rock Classics The Royal Philharmonic Orchestra Plays Prog Rock Classics Quick View

    $25.99
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    The Royal Philharmonic Orchestra Plays Prog Rock Classics

    The ambitious new project from one of the world's leading orchestras recording fully orchestrated progressive rock masterpieces with guest appearances by members of iconic prog rock bands!


    Features scintillating symphonic versions of Pink Floyd's "Comfortably Numb" with Alan Parsons Project multi-instrumentalist Ian Bairnson, King Crimson's "21st Century Schizoid Man" featuring King Crimson and Porcupine Tree drummer Gavin Harrison, Gentle Giant's "Think Of Me With Kindness" featuring Yes and Moody Blues
    keyboardist Patrick Moraz and many more!

    1. ELP Suite: Tarkus / From The Beginning / Tarkus (Reprise)
    2. Comfortably Numb feat. Ian Bairnson
    3. Thick As A Brick feat. Richard Harvey
    4. 21st Century Schizoid Man feat. Gavin Harrison and Guthrie Govan
    5. Focus II feat. Thijs Van Leer
    6. Nights In White Satin feat. Mark Feltham
    7. Think Of Me With Kindness feat. Patrick Moraz
    8. Roundabout feat. Jimmy Greenspoon
    Royal Philharmonic Orchestra
    $25.99
    Vinyl LP - Sealed Buy Now
  • The Prog Collective The Prog Collective Quick View

    $26.99
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    The Prog Collective

    The biggest super group of Progressive Rock players
    ever assembled and one of the most talked about releases of 2012 finally arrives on vinyl!


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

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


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

    The Prog Collective
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Amigos (Speakers Corner) Amigos (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Amigos (Speakers Corner)

    Santana's music is like the game of Mikado - a tight bundle of pieces in various styles that is difficult to handle, even for experienced musicians. No whether the sticks are labelled funk, jazz, rock, R & B, or folk: when you try to pick out just one of these, the whole lot vibrates alongside.



    It seems relatively simple (and is often attempted) to try and sort out track lists according to more or less commercially oriented compilations. And having fastidiously set up the ranking and astutely discussed it in your circle of friends, you can sit back and enjoy the brilliant guitar sound of such blockbusters as Caravanserai or Welcome - quality rules the day!



    In his seventh album the guitar guru is once again surrounded by numerous freshly recruited supporting musicians and the star producer David Rubinson. The latter watches carefully over the development of this project, which is highly reminiscent of the early Santana sound. A perceptible infatuation with the vocals, or the wealth of buzzing, pulsating, clattering, clicking rhythms, or yet again the inimitable bubbling, frothy guitar solos: a Santana LP is simply unthinkable without all this. Why then should one try to pick out the various styles, genres or consumer groups when this record belongs to his best and most important six, seven - or maybe even eight? At the end of the day, we all remain amigos with Santana.



    Musicians:



    • Devadip Carlos Santana (guitar, vocals, percussion, conga)

    • Tom Coster (keyboards)

    • Ndugu Leon Chandler (drums, percussion, conga)

    • Armanda Peraza (conga, percussion, vocals)

    • David Brown (bass)

    • Greg Walker (vocals)




    Recording: 1976 at Wally Heider Recording Studios, San Francisco, by Fred Catero and David Rubinson

    Production: David Rubinson & Friends, Inc.




    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.


    This title is not eligible for discount.

    1. Dance Sister Dance (Baila Mi Hermana)
    2. Take Me with You
    3. Let Me
    4. Gitano
    5. Tell Me Are You Tired
    6. Europa (Earth's Cry Heaven's Smile)
    7. Let It Shine
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Year Of The Cat Year Of The Cat Quick View

    $31.99
    Buy Now
    x

    Year Of The Cat

    Produced and recorded at Abbey Road by rock icon Alan Parsons, Al Stewart's Year of the Cat album catapulted this English prog-rock legend into gold and platinum territory upon its hit release in 1976. Packaging features the amazing original gatefold album cover artwork designed by Hipgnosis (Pink Floyd) for this limited edition, 180 gram vinyl release impeccably mastered from the original Janus Records tapes by Joe Reagoso.
    1. Lord Grenville
    2. On The Border
    3. Midas Shadow
    4. Sand In Your Shoes
    5. If It Doesn't Come Naturally, Leave It
    6. Flying Sorcery
    7. Broadway Hotel
    8. One Stage Before
    9. Year Of The Cat
    Al Stewart
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • V V Quick View

    $29.99
    Buy Now
    x

    V

    Written and recorded over a period of 18 months in both Israel and England, Blackfield V contains 13 linked songs that form a flowing 45-minute ocean themed song cycle. With the pair expertly handling vocals, guitars, and keyboards, they brought in Tomer Z from the Blackfield band on drums, Eran Mitelman on keys, and string arrangements were performed by the London Session Orchestra. Blackfield V is a powerful journey through catchy melodies, lush arrangements, and stunning production, with legendary producer / engineer Alan Parsons working on three of the album's key tracks. Both musicians consider Blackfield V to be their best collaboration to date.
    1. A Drop in the Ocean
    2. Family Man
    3. How Was Your Ride ?
    4. We'll Never Be Apart
    5. Sorrys
    6. Life Is An Ocean
    7. Lately
    8. October
    9. The Jackal
    10. Salt Water
    11. Undercover Heart
    12. Lonely Soul
    13. From 44 to 48
    Blackfield
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Besnard Lakes Are The Roaring Night The Besnard Lakes Are The Roaring Night Quick View

    $16.99
    Buy Now
    x

    The Besnard Lakes Are The Roaring Night

    With the aid of Besnard members Kevin Laing on drums and Richard White on guitar, The Besnard Lakes Are the Roaring Night is a dense, ambitious recording, experimenting, as always, with the studio as instrument. The album calls upon the influence of ELO and finer parts of the Alan Parsons Project in its orchestration. Still inspired by the Ghost of Beach Boys Past, the album is more Dennis Wilson than Brian, and more Peter Green Fleetwood Mac than Lindsay Buckingham. The album is a dark bliss-out that folds the eerie guitar epics of the Montreal band's breakthrough into a wall of affected drones and atmospherics, but with a toughened immediacy and grit that gives the form a much-needed shove over the cliffs, making for a haunting, provocative swan dive into the crushing tide.
    1. Like The Ocean, Like The Innocent Pt. 1: The Ocean
    2. Like the Ocean, Like The Innocent Pt. 2: The Innocent
    3. Chicago Train
    4. Albatross
    5. Glass Printer
    6. Land Of Living Skies Pt.1: The Land
    7. Land Of Living Skies Pt. 2: The Living Skies
    8. And This Is What We Call Progress
    9. Light Up The Night
    10. The Lonely Moan
    Besnard Lakes
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Art of The Primadonna (Speakers Corner) The Art of The Primadonna (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    The Art of The Primadonna (Speakers Corner)

    Recording: July and August 1960 in Kingsway Hall, London, by Kenneth Wilkinson

    Production: Michael Bremner and Ray Minshull




    About Speakers Corner



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



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



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



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



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



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




    This title is not eligible for discount.

    LP1
    1. Arne - Artaxerxes: The Soldier Tir'd
    2. Handel - Samson: Let The Bright Seraphim
    3. Bellini - Norma: Recit. And Aria, Casta Diva
    4. Bellini - I Puritani: Polonaise, Son Vergin Vezzosa
    5. Rossini - Semiramide: Bel Raggio
    6. Bellini - I Puritani: Qui La Voce
    7. Bellini - La Sonnambula: Recit. And Aria, come Per Me Sereno
    8. Gounod - Faust: The Jewel Song


    LP2
    1. Gounod - Romeo Et Juliette: The Waltz Song
    2. Verdi - Otello: The Willow Song
    3. Mozar - De Entfubrung Aus Dem Serail: Marten Aller Arten
    4. Verdi - La Traviata: Ah, Fors'e Lui And Sempre Libera
    5. Thomas - Hamlet: The Mad Scene
    6. Delibes - Lakme: The Bell Song
    7. Meyerbeer - Les Huguenots: O Beau Pays

    8. Verdi - Rigoletto: Recit And Aria, Caro Nome

    Joan Sutherland
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Compadres (Speakers Corner) Compadres (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Compadres (Speakers Corner)

    To this day, the typical sound colouring of the Dave Brubeck Quartet is quite distinctive and unmistakable thanks to Paul Desmond's tenor saxophone. But Gerry Mulligan's low-pitched horn and his restrained swing also offers enough appeal to make one want to listen to these somewhat less popular but - for all that - very worthwhile recording by the Quartet.



    The Quartet's concert tour of Mexico's major cities in 1968 was a great success and so Dave Brubeck's recording company had no qualms in making live recordings of the group - complemented by bassist Jack Six and drummer Alan Dawson. Themes from indigenous folk music were skilfully coupled with new compositions with the result that the LP Compadres with its concert excerpts was in great demand and became a top hit.
    This carefully remastered new pressing will certainly contribute to the popularity of Dave Brubeck and Gerry Mulligan long after their demise.



    Musicians:



    • Dave Brubeck (piano)

    • Gerry Mulligan (bassoon)

    • Jack Six (bass)

    • Alan Dawson (drums)




    Recording: 1968 live in Mexico by John Guerriere and Russ Payne

    Production: Teo Macero



    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.


    This title is not eligible for discount.

    1. Jumping Bean
    2. Adios Mariquita Linda
    3. Indian Song
    4. Tender Woman
    5. Amapola
    6. Lullaby De Mexico
    7. Sapito
    8. Recuerdo
    Dave Brubeck
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bizet - Carmen Fantasy (Speakers Corner) Bizet - Carmen Fantasy (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bizet - Carmen Fantasy (Speakers Corner)

    Some violinists enrapture their audience with their purity of tone, others with their warm timbre, or their amazing technical virtuosity. Pablo de Sarasate y NavascuÉz was one of the very few violinists who combined all these merits, and in addition was a composer in his own right. The most famous of his 50 works are Zigeunerweisen, based on traditional gypsy folklore and the fiendishly difficult Carmen Fantasy.



    And what better proof is there than Saint-Saëns's Rondo capriccioso that it is perfectly possible to unite high-spirited joyfulness with a minor key. As the name suggests, his Havanaise is filled with the melodies and colourful rhythms of Spain: no wonder this piece is known as "the violinists' warhorse".



    It goes without saying that these 19th-century bravura pieces are an absolute "must" for all those who wish to join the annals of great virtuoso violinists. And today, 40 years after the making of this recording, general consensus has it that Ruggiero Ricci has taken his rightful place among the great virtuosos.





    Musicians:



    • Ruggiero Ricci (violin)

    • London Symphony Orchestra

    • Pierino Gamba (conductor)




    Recording: September 1959 at Kingsway Hall, London by Alan Reeve

    Production: James Walker





    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.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Ruggiero Ricci
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Quick View

    $34.99
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    Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner)

    Max Bruch's Scottish Fantasia is a late-Romantic work which is seldom found on concert hall programmes today. One realises after listening to the piece for the first time that the composition proves to be at least as solid and artistic as all the other works of the composer.



    The London Symphony Orchestra, conducted by Jascha Horenstein gives a sonorous interpretation of the melancholic which, according to Bruch, depicted an aged minstrel who, while gazing upon the ruins of an ancient keep, ponders over the splendid days gone by. The well-known slender but warm timbre of David Oistrakh's violin is well suited to this music which was inspired by Scotland.
    David Oistrakh demonstrates his versatility in this performance of Hindemith's Violin Concerto, written in 1939, where he effortlessly mesmerises the audience with breakneck cascades of scales. With many years of experience in the performance of modern music, the London Symphony Orchestra, led by the composer himself, prove that they are a match for this work.



    This DECCA recording offers first class interpretations of two great masterpieces from differing eras that have been acclaimed widely and have reached far beyond the circle of Oistrakh fans.



    Musicians:



    • David Oistrakh (violin(/li>
    • London Symphony Orchestra

    • Jascha Horenstein and Paul Hindemith (conductor)




    Recording:October 1962 at the Walthamstow Town Hall, London by Arthur Lilley and Alan Reeve

    Production: Erik Smith





    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.



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Jascha Horenstein conducts the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release



    Musicians:



    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)




    Recording: March & April 1972 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.


    This title is not eligible for discount.

    1. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Iberia, Danzas Fantasticas (Speakers Corner) Iberia, Danzas Fantasticas (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Iberia, Danzas Fantasticas (Speakers Corner)

    As in numerous other works by Spanish composers, Isaac AlbÉniz's aim in his Iberia Suite was to portray the landscape and express the zest for life which is so abundant in southern countries. Infused with folkmusic elements, the suite is introduced by the dancelike Evocación which vividly evokes a picture of Iberia. The lush, extravagant harmonies and the stark contrasts of the dynamics in particular - from the softest pianissimo to the extreme fortissimo - certainly whet one's appetite. Don't worry - Spain has a lot to offer! The next movement, El Corpus en Sevilla transports us to Andalusia where a solemn procession is taking place to celebrate the feast of Corpus Christi. This is followed by a sparkling Triana in which the various complex and brilliant rhythms of the national dances Almería, Rondeña and Fandango are ingeniously combined. And the two movements El puerto and El Albaicín are no less exciting: the first presents a rich potpourri of types of Spanish songs, while the second - held in the minor key - conjures up a picture of Granada's gypsy quarter.



    Turina's Danzas fantásticas are noted for their sumptuous orchestration and marked rhythms. A better choice to round off this first-class recording, dedicated to Spanish tradition, is almost impossible to imagine.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: Mai 1960 at Victoria Hall, Geneva by Roy Wallace

    Production: James Walker





    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.



    This title is not eligible for discount.

    1. Evocación (Iberia)
    2. El Corpus en Sevilla (Iberia)
    3. Triana (Iberia)
    4. El Puerto (Iberia)
    5. El Albaicín (Iberia)
    6. Exaltación (Fantásticas)
    7. Ensueño (Fantásticas)
    8. Orgia (Fantásticas)
    Issac Albeniz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Date With Elvis (Mono) (Speakers Corner) A Date With Elvis (Mono) (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    A Date With Elvis (Mono) (Speakers Corner)

    Good products are worth their weight in gold when times are a little harsh - and this album was certainly a genially placed stopgap. In 1959, at the time when RCA launched this record on the market, the label's shining rock star was out of the country doing his military service in good old Germany. In order to comfort all his fans during his forced absence, the record bosses produced an album with a smartly uniformed Elvis on the cover, smiling widely to let his faithful followers know that he'd be back soon. There was a special calendar too, so that his fans could count off the days until his return. This marketing ploy was extremely successful. The record became a highly desirable collector's item and even years later illegal dollars still flowed from pirate copies.
    The RCA producers kept mum about when and where the tracks were recorded. But who cares about that when listening to Elvis giving the 'blue grass' classic Blue Moon Of Kentucky his unmistakable, rockabilly sound? The other titles, all of them performed by a well-proven ensemble of rock-'n'-roll musicians, are filled with the honest, powerful language of the young - or from today's viewpoint, old - Elvis. Which takes us back full circle to the date. What better way is there to celebrate the 50th birthday of rock-'n'-roll than with this early album by its 'King'?





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Scotty Moore (guitar)

    • Bill Black (bass)

    • D.J. Fontana (drums)

    • The Jordanaires (vocal)




    Recording: July 1954 at Memphis Recording Service, Memphis, Tennessee (USA), and other venues till 1957

    Production: Sam Phillips




    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.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Blue Moon of Kentucky Monroe 2:05
    2. Young and Beautiful Schroeder, Silver 2:07
    3. (You're So Square) Baby I Don't Care
    4. Milk Cow Blues Arnold 2:38
    5. Baby Let's Play House Gunter 2:18
    6. Good Rockin' Tonight Brown 2:12
    7. Is It So Strange Young 2:32
    8. We're Gonna Move Matson, Presley 2:31
    9. I Want to Be Free Leiber, Stoller 2:16
    10. I Forgot to Remember to Forget 2:27
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner)

    The performance history of Beethoven's Piano Concertos is, it appears, bound up with a paradoxical situation. On the one hand, every great pianist must almost feel destined to perform these works at least once in his lifetime. But on the other hand, so many heroes of the schellac era have left future generations their excellent recordings that these are filled with awe and respect, their otherwise nimble fingers become lame - and often only a mediocre recording is the result.



    The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Benedetti Michelangeli's performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven's famous compositions and in which the pianist's amazing sensitivity penetrates even the smallest detail.



    Musicians:



    • Arturo Benedetti Michelangeli (piano)
    • The Vienna Symphonic Orchestra

    • Carlo Maria Giulini (conductor)



    Recording: September 1979 at Musikverein, Grosser Saal, Vienna by Klaus Hiemann

    Production: Cord Garben



    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.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Emperor; Concerto No. 5 (Speakers Corner)

    The Concerto No. 5 in E flat major for Piano and Orchestra, composed in 1809 at the time of Napoleon's siege and occupation of Vienna, was Ludwig van Beethoven's last work in this form. The heroic optimism at the heart of the Concerto finds expression in the majesty of its design and the innovative virtuosity of the solo part. The dialect between piano and orchestra creates an electric atmosphere of brooding depth and sweeping grandeur. Beethoven's choice of key, the E-flat major, was not arbitrary but gave voice rather to the wild pathos in his own soul.



    Clifford Curzon's interpretation of the score is intelligent and refined, his execution characterized by introspective discipline.



    The exemplary interplay between Curzon and Hans Knappertsbusch evokes the chiaroscuro latent in each of the Emperor's three movements. The Vienna Symphony Orchestra displays its customary brilliance throughout.



    This DECCA recording, one of the very earliest in stereo, is convincing both musically and tonally. More than a document, it is a milestone in musical history.





    Musicians:



    • Sir Clifford Curzon

    • Vienna Philharmonic Orchestra

    • Hans Knappertsbusch (conductor)




    Recording: June 1957, Sofiensaal, Vienna by Gordon Parry

    Production: Erik Smith




    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.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. First Movement - Allegro
    2. Second Movement: Adagio Un Poco Mosso
    3. Third Movement: Rondo (Allegro)
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 9 (Speakers Corner) Beethoven: Symphony No. 9 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Symphony No. 9 (Speakers Corner)

    It was clear from the start that Beethoven's Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world's cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level.



    There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which "The Absolute Sound" journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven's rich abundance of ideas to ferment into a great whole.



    The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level.




    Musicians:



    • Pilar Lorengar, Stuart Burrows, and other soloists

    • The Chicago Symphony Chorus & Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1972 in the Krannert Centre of the University of Illinois, Chicago, by Kenneth Wilkinson and Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve



    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.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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