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  • This Is It This Is It Quick View

    $21.99
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    This Is It

    Psychedelic music all began with the tiniest possible
    bang: a minuscule pressing of a self-produced LP by
    Zen Buddhist scholar Alan Watts. In one cosmic flash
    of inspiration and group improvisation, the next two
    decades of musical innovation was pre-supposed:
    psychedelic rock, spiritual jazz, and even new age. As
    this micro pressing barely made it out of the ashram,
    it was his writings that actually spread his ideas, usually
    through osmosis: he was profoundly influential on
    the beat poets and the subsequent counter-culture.
    He became the forebear of '60s counter-culture's
    spirituality, much as William Burroughs was the
    forebear of its hedonism.


    Released in 1962, This Is It is an imaginative cacophony
    of percussion, non-verbal chanting, and free-flowing
    expression, punctuated occasionally by leisurely passes
    at a terrestrial piano, marimba, or french horn. It is
    at once, experimental, intellectual, and experiential.
    Three years before Ken Kesey's inaugural Acid Test,
    This Is It! constitutes the first transmission for a tunedin
    counterculture of hippies, beats, and psychedelic
    revolutionaries of all stripes.

    1. Love You
    2. Onion Giant
    3. Gagaku-ku
    4. Fingernail Poem
    5. Umdagumsubudu
    6. Metamatic Ritual
    7. The End
    Alan Watts
    $21.99
    Vinyl LP - Sealed Buy Now
  • Reptilians (Pre-Order) Reptilians (Pre-Order) Quick View

    $19.99
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    Reptilians (Pre-Order)

    Release Date: June 15, 2018*


    Pressed On Colored Vinyl


    2011's Reptilians is STRFKR's second full-length and first with Polyvinyl.


    Lyrically, the album focuses primarily on death and the end of the world, two intertwined subjects at the forefront of songwriter Josh Hodges' mind following the passing of his grandmother. Yet, amazingly, the record manages to be not the slightest bit depressing.


    In reality, it's quite the opposite -- a trait likely attributed to the fact that the band, like British philosopher Alan Watts (whose lectures are excerpted at various intervals), believes death is responsible for giving meaning to life.


    For STRFKR, this comforting notion is expressed musically via vibrant crescendos, explosive drum beats, and layered synth melodies that drive a theatrical live show where dance party meets Roxy Music.


    As such, Reptilians marches effortlessly from the stripped-bare psychedelia of Born, which conjures David Byrne's ghost, to the funeral parade of Bury Us Alive (a track that greets death with open arms in a moment of animated celebration), to Death as a Fetish, where the title becomes a liberating mantra sung over an immediately hummable keyboard-driven loop.


    Just as with the band's previous two releases, Reptilians was written almost entirely by principal songwriter and multi-instrumentalist Joshua Hodges.


    This time around, however, the group's sound is bolstered by the addition of Keil Corcoran (whom Hodges describes as a "human drum machine") and producer Jacob Portrait (The Dandy Warhols, Mint Chicks).


    The result is STRFKR's most well-rounded and full-sounding album to date -- a blissfully buoyant affair that will have you dancing to songs about death while having the time of your life.


    *Please note that release dates are subject to change.

    1. Born
    2. Julius
    3. Bury Us Alive
    4. Mystery Cloud
    5. Death as a Fetish (feat. Mattress)
    6. Astoria
    7. Reptilians
    8. The White of Noon
    9. Hungry Ghost
    10. Mona Vegas
    11. Millions
    12. Quality Time
    STRFKR
    $19.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • Mahler - Symphony #2 (Speakers Corner) (Awaiting Repress) Mahler - Symphony #2 (Speakers Corner) (Awaiting Repress) Quick View

    $69.99
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    Mahler - Symphony #2 (Speakers Corner) (Awaiting Repress)

    The search for the extra-musical world in Gustav Mahler's philosophical and programmatic works will doubtless continue to occupy future generations of music scholars. Today's music lovers, however, are wholly satisfied with the highly varied interpretations and impressive sound reproduction - which is precisely what Mahler himself wished for his rugged works. For decades Mahler's dramatic musical masterpieces were misunderstood and scorned as "kapellmeister music". Luckily interest in his works was revived and all nine symphonies were recorded in the 1960s by the recently deceased conductor Sir Georg Solti. Right up to this very day, his cycle has clearly lost nothing of its aura, its reputation for "never having been surpassed" - how could it otherwise have been so successful for so many years in the light of all the highly competitive, more recent recordings?



    After the success of the new pressing of Mahler's First Symphony (DECCA SXL 6113), it was high time that the Resurrection-Symphony became available on LP once more. And the result is most impressive. One can only hope that the complete Mahler cycle will one day be resurrected in vinyl.



    Musicians:



    • Heather Harper

    • Helen Watts

    • London Symphony Orchestra and Chorus

    • Sir Georg Solti (conductor)





    Recording : May 1966 at Kingsway Hall, London by Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve, booklet



    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.



    Gustav Mahler
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Gimme Some Neck (Speakers Corner) Gimme Some Neck (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Gimme Some Neck (Speakers Corner)

    'Gimme Some Neck' - words with a double meaning! Ron Wood's demand for a guitar and/or a bottle serves well to demonstrate both his lifestyle and his commitment to music. On the one side he is a rock'n'roll legend who played his way up the career ladder beginning with the Jeff Beck Group via The Faces to become a member of The Rolling Stones. On the other side we hear a man who was not adverse to the odd drink now and again, but who was a musician through and through, and whose slick hands conjured magical waves of sound on his slide guitar. This sound is brilliantly demonstrated in the opening number I Don't Worry No More, with its bluesy, earthy honky-tonk groove. It is followed by Breakin' My Heart, which gives us a glimpse of Wood's soul by means of sharp organ chords which come from a psychedelic abyss. Then he turns another corner to take us to the gentle, sensitive poetry of Delia with an unamplified guitar.


    Woods presents Buried Alive and Come To Realize with powerful vocals and enough power for a stage performance, and then comes a previously unreleased song by Bob Dylan - Seven Days, in which he sounds more like Big D than D himself. But this is no cover version for Wood's personality is more than alive and kicking. Ron Wood remains Ron Wood - totally distinctive and quite inimitable.

    Musicians:



    • Ron Wood (guitar, vocal, harmonica)

    • Bobby Keys (saxophone)

    • Mick Jagger, Keith Richards (guitar, vocals)

    • Dave Mason (guitar)

    • Ian McLagan (keyboards)

    • Swamp Dogg, Harry Phillips (piano)

    • Mick Taylor (bass, guitar)

    • Mick Fleetwood, Jim Keltner, Charlie Watts (drums)



    Recording: January - March 1978 at Pathe Marconi Studios, Paris, and October - December 1978 at Cherokee Studios, Los Angeles

    Production: Roy Thomas-Baker

    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. Worry No More
    2. Breakin My Heart
    3. Delia
    4. Buried Alive
    5. Come To Realise
    6. Infekshun
    7. Seven Days
    8. We All Get Old
    9. F.U.C. Her
    10. Lost And Lonely
    11. Don't Worry
    Ron Wood
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Psychic Temple II Psychic Temple II Quick View

    $19.99
    Buy Now
    x

    Psychic Temple II

    It may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.


    Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.


    "I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.


    "It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."


    Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."


    Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.


    Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.


    Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."


    Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.


    Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."


    Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.

    1. Seventh House
    2. The Starry King Hears Laughter
    3. Solo In Place
    4. Bird In The Garden
    5. 'Til I Die
    6. She Is The Golden World
    7. Steppin' Out
    8. All I Want Is Time
    9. Sofa No. 2
    10. NO TSURAI
    11. Hyacinth Thrash Quarter
    Chris Schlarb
    $19.99
    Vinyl LP - Sealed Buy Now
  • Man-Child (Speakers Corner) Man-Child (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Man-Child (Speakers Corner)

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



    Musicians:



    • Bud Brisbois (trumpet)

    • Garnett Brown (trombone)

    • Dick Hyde (tuba, bass trombone)

    • Wayne Shorter (soprano saxophone)

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

    • Jim Horn (saxes, flute)

    • Stevie Wonder (harmonica)

    • Herbie Hancock (keyboard)

    • David T. Walker (guitar)

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

    • Henry Davis (electric bass)

    • James Gadson (drums)

    • Bill Summers (percussion)



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

    Production: David Rubinson & Friends Inc. and Herbie Hancock



    About Speakers Corner



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



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



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



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



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



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



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