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  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $49.99
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    Art Blakey!!!!! Jazz Messengers!!!!!

    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele



    This title is not eligible for discount.

    1. À la Mode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear a Rhapsody
    6. Gee Baby, Ain't I Good to You
    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
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    Miles Smiles (Speakers Corner)

    Except for the taping of a live performance at the Portland Festival, Miles Davis's discography for 1966 only lists the recordings made for the LP Miles Smiles! How strange when one considers the usual large output of Miles and his ensembles for Columbia Records in the Sixties.



    The bass player Ron Carter was best suited for the complicated rhythm part and remained Miles's 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as Freedom Jazz Dance by Eddie Harris and Jimmy Heath's Gingerbread Boy.



    Every second of the nine-minute-long Footprints by Shorter is an absolute highlight, while the drumming of the young Tony Williams in Freedom Jazz Dance is full of vitality, with a quick pulse, and even described as threatening in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That's exactly what Miles Smiles was upon its release 40 years ago - and that's what it is to this day! And that Miles Davis smiled for once thanks to the great musical relationship between the five individualists is certainly no mere rumour.



    Musicians:



    • Miles Davis

    • Wayne Shorter (tenor saxophone)

    • Herbie Hancock (piano)

    • Ron Carter (bass)

    • Tony Williams (drums)




    Recording: October 1966 at Columbia RecordsStudios, New York, by Frank Laico

    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.



    1. Orbits
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Trouble An' Blues Trouble An' Blues Quick View

    $17.50
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    Trouble An' Blues

    Louisiana-born singer and harmonica blower Sidney Maiden first made his mark in the blues world during the late Forties with Eclipse of the Sun, a number cut in Oakland with guitarist K.C. Douglas. Unlike many other Southern bluesmen who urbanized their styles after relocating to the West Coast, Maiden and Douglas stuck close to their rural roots. Maiden spent much of his career entertaining farm workers around Fresno, while Douglas became a favorite in Bay Area folkmusic circles. This 1961 reunion, recorded in Berkeley by Kenneth S. Goldstein and Chris Strachwitz, reveals that the two men had lost none of their old musical empathy and shows Maiden, in the words of annotator Larry Cohen, worthy of being mentioned along with the select few greats of the mouthharp.


    This title is not eligible for discount.

    1. Buy Me an Airplane
    2. Sweet Little Woman
    3. My Black Name
    4. Sidney's Fox Chase
    5. San Quentin Blues
    6. Tell Me, Somebody
    7. Blues An' Trouble
    8. Hand-Me-Down Baby
    9. Sidney's Worried Life Blues
    10. Me and My Chauffeur Blues
    11. Coal Black Mare
    12. I'm Goin' Back Home
    Sidney Maiden
    $17.50
    Vinyl LP - Sealed Buy Now
  • Pet Sounds (Stereo) (200 Gram 45 RPM) Pet Sounds (Stereo) (200 Gram 45 RPM) Quick View

    $54.99
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    Pet Sounds (Stereo) (200 Gram 45 RPM)


    Ranked 2/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time!


    Stereo


    Lacquer Plating By Gary Salstrom


    200-Gram Vinyl Pressed At Quality Record Pressings


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Mastered By Kevin Gray At Cohearant Audio


    Stereo Mix Produced By Mark Linett Under The Supervision Of Brian Wilson


    The ultimate pressing of The Beach Boys' iconic album from Analogue Productions!
    Pet Sounds, the 11th studio album by The Beach Boys, is acclaimed by critics
    and musicians alike as one of the most influential works in the history of popular
    music. Brian Wilson wrote and composed almost all of the songs - mono
    mixes created under Wilson's supervision were how the surf rockin' California
    crew rose to fame, and now Analogue Productions brings them to you with THE
    definitive Pet Sounds reissue on 200-gram vinyl at 45 RPM pressed at Quality
    Record Pressings. You get to choose - either the mono or stereo album version,
    or both!


    The reception for our previously-issued 33 1/3 version drew praise from reviewer
    Michael Fremer of AnalogPlanet.com who wrote: "The instrumental separation
    and front-to-back layering is nothing short of astonishing compared to the pleasing
    mush offered up by other editions." Acclaimed mastering engineer Kevin
    Gray has been able to extract details heretofore uncaptured from the tape with
    Brian Wilson's original mono mix "and present it in a way that is pleasing and
    natural to the ear," wrote Lee Dempsey, for Endless Summer Quarterly.


    Our stereo version was mixed from an assembled digital multi-track master that
    synced the original 4-track master instrumental with the 4 or 8-track vocal overdub
    master. The stereo mix was mixed to 15 ips 1/4" analog tape with SR noise reduction.


    Even better, the 45 RPM versions of this historical musical masterpiece makes your
    cartridge a near-perfect tracker by way of reduction of inner-groove distortion, a
    clear sonic advantage. You get two 200-gram LPs in a beautiful tip-on gatefold
    jacket from Stoughton Printing.


    Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as
    well as other cutting edge audio techniques for its time. Conventional keyboards
    and guitars were combined with exotic touches of orchestrated strings, bicycle
    bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments,
    Coca-Cola cans, barking dogs, and more. This classic has some of the
    group's most stunning melodies - "Wouldn't It Be Nice," "God Only Knows," "Caroline
    No," and "Sloop John B" (the last of which wasn't originally intended to go on
    the album) are the well-known hits, but equally worthy are "You Still Believe in Me,"
    "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."


    VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n'
    Roll History, as judged in a poll of musicians, executives and journalists. It's been
    ranked No. 1 in several music magazines' lists of the greatest albums of all time,
    including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling
    Stone's 500 Greatest Albums of All Time list.


    This title is not eligible for discount.

    LP 1
    1. Wouldn't It Be Nice
    2. You Still Believe Me
    3. That's Not Me
    4. Don't Talk (Put Your Head On My Shoulder)
    5. I'm Waiting For The Day
    6. Let's Go Away For Awhile
    7. Sloop John B


    LP 2
    1. God Only Knows
    2. I Know There's An Answer
    3. Here Today
    4. I Just Wasn't Made For These Times
    5. Pet Sounds
    6. Caroline No

    Beach Boys
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Ultimate Analogue Test LP The Ultimate Analogue Test LP Quick View

    $39.99
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    The Ultimate Analogue Test LP

    Editors Editors Editors Editors


    Analogue Productions set out to produce the ultimate test record.


    We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.


    Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.


    This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.


    Side 1

    General Reference Level

    This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
    Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)

    Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
    Adjust preamp channel balance for equal output.
    Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.


    Azimuth Adjustment

    Track 2 1kHz reference level Left channel only

    Measure Right channel output.

    Track 3 1kHz reference level Right channel only

    Measure Left channel output.

    The object is to sit the stylus exactly perpendicular in the groove.

    Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.


    High Frequency Adjustment

    Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.

    Track 4 1 kHz tone at -20 below reference level, Lateral

    Reference for High Frequency test.

    Track 5 10 kHz reference tone at -20dbu, Lateral
    Adjust the high frequency until the output level equals that of Track 4.

    Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)

    The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.


    Low Frequency Adjustment

    Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.

    Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)

    Play Track 7 and measure the output with your AC millivolt meter.

    Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.

    Track 8 100 Hz reference tone at 0 vu (Lateral)
    Adjust LF Eq to reference (which is your reading from Track 1).


    Track 9 VTA adjust

    This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.

    Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.


    Track 10 Standard Wow & Flutter test signal; 3150Hz
    The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.

    Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.


    Side 2

    Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)

    Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.

    It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.


    Track 2 Pink noise lateral

    Track 3 Pink noise vertical

    Used for cartridge "demagnetizing"

    You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.


    Track 4 1kHz @ reference level, vertical
    This out-of-phase signal should cancel to nothing when summed to mono.

    Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.


    Track 5 1kHz to 10Hz sweep @ -20 below

    reference level, vertical
    Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.

    Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.


    Track 6 Silent groove for bearing rumble and table isolation

    During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.


    This title is not eligible for discount.

    Analogue Productions
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pronounced Leh-nerd Skin-nerd (45 RPM) Pronounced Leh-nerd Skin-nerd (45 RPM) Quick View

    $54.99
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    Pronounced Leh-nerd Skin-nerd (45 RPM)


    45 RPM 200-Gram Gatefold Double LP Reissue


    Remastered By Ryan Smith At Sterling Sound From The Original Analog Tapes


    Plated And Pressed At Quality Record Pressings!


    Tip-On Gatefold Jacket By Stoughton Printing


    What would American southern rock be without the scorching sounds of Lynyrd Skynyrd? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites - the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd.


    Remastered from the original analog tapes by Ryan Smith at Sterling Sound, our Analogue Productions reissue of Pronounced Leh-nerd Skin-nerd is the ultimate in luxurious reproduction and unbeatable sound. 200-gram plating and pressing by Quality Record Pressings, and a tip-on Stoughton Printing jacket round out the package.


    The undeniable youthful hunger of Pronounced Leh-nerd Skin-nerd pumps through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.


    Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.


    It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches - twinkling piano notes, soaring mellotrons, a one-off harmonica - provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.


    This title is not eligible for discount.

    1. I Ain't The One
    2. Tuesday's Gone
    3. Gimme Three Steps
    4. Simple Man
    5. Things Goin' On
    6. Mississippi Kid
    7. Poison Whiskey
    8. Free Bird
    Lynyrd Skynyrd
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Chirping Crickets (200 Gram Vinyl) The Chirping Crickets (200 Gram Vinyl) Quick View

    $34.99
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    The Chirping Crickets (200 Gram Vinyl)

    Ranked 420/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    Country, Rockabilly And R&B Fused Into Epochal Rock 'n' Roll


    Remastered By Kevin Gray At Cohearent Audio From The Original Analog Master Tapes


    Plating And 200-Gram Vinyl Pressing By Quality Record Pressings


    Old-style Tip-on Gatefold Jacket From Stoughton Printing


    One of rock's greatest albums, this is the debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime. The Chirping Crickets contains the group's number one single That'll Be the Day and its Top Ten hit Oh, Boy!. Other Crickets classics include Not Fade Away, Maybe Baby, and I'm Looking for Someone to Love.


    These are among the best rock 'n' roll songs of the 1950s or ever, making this one of the most significant album debuts in rock 'n' roll history - ranking with Elvis Presley and Meet the Beatles, writes AllMusic.


    What has Analogue Productions done to kick this classic album up a notch? For starters, our version features stellar remastering by Kevin Gray at Cohearent Audio. Followed by state-of-the-art plating and pressing on 200-gram heavyweight vinyl at Quality Record Pressings, maker of the world's finest-sounding LPs. Stoughton Printing provides a sturdy old-style tip-on jacket to round out the package.


    Born Charles Hardin Holley on September 7, 1936, in Lubbock, Texas, Holly was nicknamed Buddy by his mother. She felt that his given name was too big for her little boy. Holly, the altered form of his last name, would later result from a misspelling in his first recording contract. Holly learned to play piano and fiddle at an early age, while his older brothers taught him the basics of guitar.


    In early 1956, Holly and his band began recording demos and singles in Nashville under the name Buddy Holly and the Three Tunes, but the group's lineup was later revised and dubbed The Crickets. Holly wrote and recorded his breakthrough hit, That'll Be the Day, with The Crickets in 1957. The song's title and refrain are a reference to a line uttered by John Wayne in the 1956 film The Searchers. Between August 1957 and August 1958, Holly and the Crickets charted seven different Top 40 singles.


    Composer and singer John Fogerty, of Creedence Clearwater Revival fame, inducted Buddy Holly into the Rock And Roll Hall of Fame at the 1986 Hall of Fame induction ceremony. What Buddy Holly meant to him, Fogerty said, was destiny calling. Fogerty, 12, bought That'll Be The Day and soon began dreaming of forming his own combo, like the group of musicians - The Crickets - he saw on the album cover. And in Liverpool, England, the same thing was going on with four other guys. They named their group The Beatles, because Buddy Holly's group was called The Crickets.


    We are, each of us, made up of the people we love and the people we admire, Fogerty, said. We take those reflections, and hopefully, grow.


    Holly's talented life was cut short in a plane crash on Feb. 3, 1959, that also claimed the lives of Ritchie Valens and J.P. The Big Bopper Richardson. This album is a tribute to what was, and what might have been a lengthy pioneering musical career.


    This title is not eligible for discount.

    1. Oh, Boy!
    2. Not Fade Away
    3. You've Got Love
    4. Maybe Baby
    5. It's Too Late
    6. Tell Me How
    7. That'll Be The Day
    8. I'm Looking For Someone To Love
    9. An Empty Cup (And A Broken Date)
    10. Send Me Some Lovin'
    11. Last Night
    12. Rock Me My Baby
    Buddy Holly
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Don't Smoke In Bed Don't Smoke In Bed Quick View

    $34.99
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    Don't Smoke In Bed

    Multiple Styles Displayed On Holly Cole's 1993 Sophomore Album


    Mastered By Bernie Grundman From The Original Master Tapes


    Plating And 200-Gram Vinyl Pressing By Quality Record Pressings!


    Old-Style Gatefold Tip-On Jacket By Stoughton Printing


    Holly Cole brings her own dimension to the tradition of cabaret, a strong voice that's still capable of nuance, an ear for quirky repertoire, and a light touch that keeps some of these performances floating just at the edge of irony.


    On her second album, 1993's Don't Smoke in Bed, Cole explores varied musical styles, adding pop, blues, country and a French ballad to her standard, low-key jazz. It's a favorite of ours, which is why for this Analogue Productions reissue we've given it the reissue treatment it deserves. Bernie Grundman did the mastering, from the original analog tapes, at his Los Angeles studio, giving this release a spectacular foundation. Plating and pressing on 200-gram heavyweight vinyl was done by Gary Salstrom and crew at Quality Record Pressings, makers of the world's finest-sounding LPs. Lastly, we wrapped up the whole package in a premium gatefold tip-on jacket from Stoughton Printing. There's nothing but aces in this smokin' hot reissue and the quality shines through.


    Holly's delivery of more traditional fare shines on Cole Porter's witty Get Out of Town and Kurt Weill's torchy Je Ne T'aime Pas, while she brings clarity, power, and anthemic passion to the surprising treatment of Johnny Nash's I Can See Clearly Now. She's generally well supported in this intimate set by pianist Aaron Davis and bassist David Piltch, while there's sparing and effective use of strings. There are fine guest spots by tenor saxophonist Joe Henderson, on Everyday Will Be Like a Holiday, and David Lindley, whose steel guitar contributes to the strange country music of Don't Let the Teardrops Rust Your Shining Heart.


    This title is not eligible for discount.

    1. I Can See Clearly Now
    2. Don't Let the Teardrops Rust Your Shining Heart
    3. Get Out Of Town
    4. So and So
    5. The Tennessee Waltz
    6. Everyday Will Be Like A Holiday
    7. Blame It On My Youth
    8. Ev'rything I've Got
    9. Je Ne T'Aime Pas
    10. Cry (If you Want To)
    11. Que Sera Sera
    12. Don't Smoke In Bed
    Holly Cole Trio
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale Quick View

    $34.99
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    Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale


    The Famed Recording Returns In A Premier Vinyl Reissue From Analogue Productions!


    Mastered From The Original Tapes By Ryan Smith At Sterling Sound


    Plated And Pressed At Quality Record Pressings On 200-gram Vinyl!


    Deluxe Old-style Tip-on Gatefold Jacket With Additional Photos From The Sony Music Archives!


    Bruno Walter helped shape the very essence of interpretive style among conductors. Walter's rendition of Beethoven's sixth symphony is perhaps the greatest ever recorded - his reading of the score comes off sounding like a piece of literature or poetry, but that is a great thing and perfectly blends with the music to create a benchmark recording.


    And here, once again, Analogue Productions has taken a classic and shaped it to make the premier reissue of this famed LP. Ryan Smith at Sterling Sound mastered this album from the original analog tapes. The cut lacquers were plated and pressed to 200-gram vinyl by our own Quality Record Pressings. The Stoughton Printing old-style tip-on gatefold jacket has been upgraded handsomely by a series of rarely-seen photos of Walter from the Sony Music Archives. Everything about this reissue radiates quality.


    Written in 1808, Beethoven's Symphony No. 6 in F Major (Pastoral), Op. 68, is deemed one of the most influential by the famed composer. Unlike the vast majority of assumed names by which his works have become known, Beethoven directed from the very outset that his sixth symphony be titled Pastoral Symphony, or a recollection of country life. It was a musical approach to the forces of nature that inspired Beethoven.


    Walter's late life was marked by stereo recordings with the Columbia Symphony Orchestra, an ensemble of professional musicians assembled by Columbia Records for recordings.


    Originally released in 1958, this recording still sounds fresh, with a broad soundstage, persuasive depth, and a remarkable sense of air and presence. Simply because of Walter's vibrant, fluid interpretation, taking into account both variable tempi and heightened accents, the result is one of the most passionate, awe-inspiring recorded versions of this symphony that's ever been recorded.


    This title is not eligible for discount.

    1. I. Allegro ma non troppo (The awakening of joyful feelings upon arrival in the country)
    2. II. Andante molto moto (The Brook)
    3. III. Allegro (Village Festival)
    4. IV. Allegro (The Storm)
    5. V. Allegretto (Shepherd's Song)
    Bruno Walter
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Getz and Gilberto (45 RPM) Getz and Gilberto (45 RPM) Quick View

    $49.99
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    Getz and Gilberto (45 RPM)

    Ranked 447/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Mastered by George Marino at Sterling Sound


    The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed.


    Astrud Gilberto says that her husband, Joao, informed Stan Getz that she could sing at the recording. Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes Ahhh!


    Originally released in 1963.


    This title is not eligible for discount.

    1. The Girl from Ipanema
    2. Doralice
    3. P'ra Muchucar
    4. Desafinado
    5. Corcovado
    6. So Dance Samba
    7. O Grande Amor
    8. Vivio Sonhando
    Getz Gilberto
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Toto IV (Speakers Corner) Toto IV (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Toto IV (Speakers Corner)

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



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



    Musicians:



    • Steve Porcaro, David Paich (keyboard, vocal)

    • Steve Lukather (guitar, vocal)

    • Bobby Kimball (vocal)

    • David Hungate (bass)

    • Jeff Porcaro (drums, percussion)





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

    Production: Toto




    About Speakers Corner



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



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



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



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



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



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



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

    Toto
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gold: Their Great Hits Gold: Their Great Hits Quick View

    $34.99
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    x

    Gold: Their Great Hits


    Single 33 1/3 RPM LP Includes Poster Insert


    Gatefold Jacket


    Mastering By Kevin Gray At Cohearent Audio


    Mastered From The Original Analog Tapes


    200-Gram Plating And Pressing By Quality Record Pressings


    Get your motor runnin' baby - Steppenwolf's Gold: Their Great Hits took its title literally. The towering rock album success rang in at No. 24 on the Billboard Pop Albums chart and became certified gold for record sales in excess of 500,000 units by the Record Industry Association of America (RIAA) in April 1971.


    AllMusic praised the production and engineering of most of the tracks and called it a nearly perfect introduction to the band. Acoustic Sounds and Analogue Productions want to introduce you to the most sonically perfect version of this historic album you've ever heard on vinyl. Our 200-gram 33 1/3 RPM reissue was remastered from the original analog tapes by Kevin Gray at Cohearent Sound and plated and pressed by Gary Salstrom and his crew at Quality Record Pressings, makers of the world's finest-sounding LPs.


    The Canadian-American rock band, named for Hermann Hesse's mystical novel, rocketed to worldwide fame after their third single Born to Be Wild dropped in 1968. The song and Steppenwolf's version of Hoyt Axton's The Pusher figured prominently in the 1969 counterculture cult film Easy Rider, and both show up on Gold's track list. Two other singles on this stunning album compilation also cracked the Top 10 on the charts: Magic Carpet Ride and Rock Me.


    Magic Carpet Ride was released in 1968 on the album The Second. It was written by band members John Kay and Rushton Moreve, peaked at No. 3 in the U.S. and stayed on the charts for 16 weeks, longer than any other Steppenwolf song.


    You also get the Don Covay soul cover Sookie, Sookie, which got airplay on some soul stations nationwide, as well as rock 'n' roll radio. Gold also includes Hey Lawdy Mama the hit studio single from Steppenwolf Live.


    Steppenwolf enjoyed worldwide success from 1968 to 1972, when clashing personalities ultimately broke up the core group after a farewell concert in Los Angeles on Valentine's Day, 1972. Today, John Kay remains as the only original Steppenwolf member.


    This title is not eligible for discount.

    1. Born to Be Wild
    2. It's Never Too Late
    3. Rock Me
    4. Hey Lawdy Mama
    5. Move Over
    6. Who Needs Ya
    7. Magic Carpet Ride
    8. The Pusher
    9. Sookie, Sookie
    10. Jupiter's Child
    11. Screaming Night Hog
    Steppenwolf
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ballads By Cobb Ballads By Cobb Quick View

    $34.99
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    Ballads By Cobb

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    Originally released in November 1960, Ballads by Cobb, as its title suggests, is all slow ballads, putting the emphasis on the Texas tenor's warm tone. Cobb spent most of the 1960s playing back in his native Texas but he returned to the national scene in 1973 and during his final 15 years engaged in many exciting tenor battles, showing that there were few tougher Texas tenors than the legendary Arnett Cobb.


    This title is not eligible for discount.

    1. Hurry Home
    2. Willow Weep for Me
    3. And Sentimental
    4. Darn that Dream
    5. Why Try to Change Me Now
    6. P.S. I Love You
    7. Your Wonderful Love
    Arnett Cobb
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Otis Blue Otis Blue Quick View

    $54.99
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    Otis Blue

    Ranked 74/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Remastered By Kevin Gray At Cohearent Audio From The Original Analog Tapes


    200-Gram 45 RPM Double LP Plated And Pressed At Quality Record Pressings!


    Tip-On Gatefold Jacket From Stoughton Printing


    Otis Redding's third album presents his talent unfettered, his direction clear and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding's version of songs by Sam Cooke, his idol, who had died the previous December.


    Otis Redding Sings Soul is considered by many critics to be Redding's first great album. Recorded in April and July of 1965, it was released September 15th of that same year. The styles of Cooke and Redding couldn't have been more different; Cooke smooth and sure, Redding raw and pleading. But Redding's versions of Shake and A Change Is Gonna Come show how Cooke's sound and message helped shape Redding's Southern soul sound. Redding's singing reaches a new level of expressiveness with this as well as with covers of B.B. King's Rock Me Baby and the Motown hit My Girl.


    This great album receives the full Analogue Productions reissue treatment here, starting with Kevin Gray's remaster from the original analogue tapes. Then we back that up with 200-gram plating and pressing on super-silent vinyl by our own Quality Record Pressings. Finally it's all housed in a tip-on gatefold jacket from Stoughton Printing. Deluxe all the way; you'll be estatic with the results!


    This title is not eligible for discount.

    1. Ole Man Trouble

    2. Respect
    3. Change Gonna Come
    4. Down In The Valley
    5. I've Been Loving You Too Long
    6. Shake
    7. My Girl
    8. Wonderful World
    9. Rock Me Baby
    10. Satisfaction
    11. You Don't Miss Your Water
    Otis Redding
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Dark Side Of The Moon Dark Side Of The Moon Quick View

    $30.99
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    x

    Dark Side Of The Moon

    Ranked 43/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Remastered From The Original Analogue Tapes By James Guthrie, Joel Plante, And Bernie Grundman


    Pink Floyd's most successful and singularly defining album is here to stay. The Dark Side of the Moon has sold over 40 million copies worldwide since its release in 1973, and it shows no signs of letting up. With lush, immaculate production and sweeping instrumentals, The Dark Side of the Moon is unrivaled in sonic brilliance. The complex textures found within have captivated audiophiles for over thirty years.


    With lyrics about seemingly mundane details set against dreamy, atmospheric backdrops, the songs on The Dark Side of the Moon achieve a truly emotional response. Performances are not virtuosic, but they are brilliant nonetheless and were likewise brilliantly recorded. Abbey Road Studios engineer Alan Parsons and Pink Floyd made use of some of the most advanced techniques available at the time to craft a sound that was innovative yet entirely classic, by any sense of the word. Swirling organs, mellow drums, and spacious guitars are signature sounds that have been inextricably linked with Pink Floyd's magnificent songwriting.


    The Dark Side of the Moon is a peerless entry in the annals of classic rock history. No record collection should be without this multi-platinum masterpiece.

    1. Speak to Me
    2. Breathe in the Air
    3. On the Run
    4. Time
    5. The Great Gig in the Sky
    6. Money
    7. Us and Them
    8. Any Colour You Like
    9. Brain Damage
    10. Eclipse
    Pink Floyd
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Soulful Moods Of Gene Ammons The Soulful Moods Of Gene Ammons Quick View

    $34.99
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    x

    The Soulful Moods Of Gene Ammons

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    "One of the best efforts from Ammons' extensive catalog. A fat, warm, rich sax tone - you know, the one you immediately identify as Jug - is on display in all its glory on this great Moodsville release. Feeling tired and stressed out? Give Uncle Gene a spin. Besides perfect pitch, Ammons' other special gift was a melodic sense that allowed him to effectively convey feelings at slow tempos. Here is a great jazz ballad player given full scope to spin his charms. - Stereophile, February 1995


    This title is not eligible for discount.

    1. Two Different Worlds
    2. But Beautiful
    3. Skylark
    4. Three Little Words
    5. The Street Of Dreams
    6. You'd Be So Nice To Come Home To
    7. Under A Blanket Of Blue
    8. Three Little Words
    9. I'm Glad There Is You
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Julie Is Her Name Vol. 2 Julie Is Her Name Vol. 2 Quick View

    $34.99
    Buy Now
    x

    Julie Is Her Name Vol. 2


    Mastered By Kevin Gray At Cohearent Audio From The Original Analog Tapes


    200-Gram Gatefold LP plated And Pressed At Quality Record Pressings!


    She was the sultry film starlet-turned-torch singer-come-TV actress whose dusky alto captivated a generation. Julie London was discovered while running a department store elevator in Hollywood.


    Just three years earlier the bountiful 15 year old, born Julie Peck to her parents, a song-and-dance duo of the vaudeville era, was singing on her parents' radio show. When she started working in the movies in the 1940s, she changed her name to London. During the course of a celebrated career in acting and music, she made more than 30 albums.


    The sultry-voiced actress, who was once married to Dragnet producer-star Jack Webb, had a hit record with the 1950s single Cry Me a River. The single debuted in 1955, sold three million copies and remained in demand into the 1960s.


    Analogue Productions has brought back Julie Is Her Name Volume 2, making it an undeniable classic in every sense of the word. Remastered by Kevin Gray at Cohearent Audio, and plated and pressed on 200-gram vinyl at Quality Record Pressings, the result is a memory-stirring masterpiece.


    Julie Is Her Name - Volume Two, has all the sincerity and warmth of her professional album debut, the best-selling Julie Is Her Name, from Liberty. An untested singer with uncompromising musical faith, an unknown record company, sophisticated, tastefully presented standards presented simply backed by just a bass and guitar - Julie Is Her Name faced long odds of success. Yet it soared to become a best-selling hit. Julie London rose to the Top 10 of every list of female vocalists.


    And as to the cover, expect only top-notch reproduction for our Analogue Productions reissue. Originally a single LP jacket, we've upgraded to a gatefold incorporating more original photographs provided by Universal.


    London appeared in nearly two dozen motion pictures during the 1940s and '50s; she was best known to TV audiences as nurse Dixie McCall on the 1970s hospital drama Emergency! She was hired on Emergency! by Webb, her then-former spouse, to co-star with her second husband, jazz musician Bobby Troup. Troup, who composed the iconic musical hit Route 66 played a doctor on the show and it was he who helped sign Julie to the Liberty record label.


    Describing her smoky vocal style, London once said, It's only a thimbleful of a voice, and I have to use it close to a microphone. But it is a kind of over-smoked voice, and it automatically sounds intimate. A style inimitable, in our estimation.


    This title is not eligible for discount.

    1. Blue Moon
    2. What Is This Thing Called Love
    3. How Long Had This Been Going On
    4. Too Good To Be True
    5. Spring Is Here
    6. Goody Goody
    7. The One I Love Belongs To Somebody Else
    8. If I'm Lucky
    9. Hot Toddy
    10. Little White Lies
    11. I Guess I'll Have To Change My Plan

    12. I Got Lost In His Arms
    Julie London
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Shostakovich - Symphony No. 5 (Speakers Corner) Shostakovich - Symphony No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Shostakovich - Symphony No. 5 (Speakers Corner)

    One of the most fascinating aspects of Dmitri Shostakovich's music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin's regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood.



    Skrowacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. His well-balanced conducting, combined with the wonderfully transparent recorded sound creates an ideal basis for identifying all the details which Shostakovich composed 'between the lines of the staff'.




    Recording: March 1961 at Northrop Memorial Auditorium, Minneapolis, USA, by C.R. Fine and Robert Eberenz

    Production: Wilma Cozart Fine




    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.



    Stanislaw Skrowaczewski
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    It's Monk's Time (Speakers Corner)

    With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.


    Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    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.



    1. Lulu's Back In Town
    2. Memories Of You
    3. Stuffy Turkey
    4. Brake's Sake
    5. Nice Work If You Can Get It
    6. Shuffle Soil
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Byrd At The Gate Byrd At The Gate Quick View

    $49.99
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    x

    Byrd At The Gate

    To a great many people, the name of Charlie Byrd and the updated samba beat known as bossa nova will always be intertwined. The guitarist did play a most important role in the introduction into this country of the compelling Brazilian rhythm-first on that major hit with Stan Getz and then on his own Bossa Nova Pelos Passaros. But before, during, and after the craze, Byrd was capable of much more-a remarkable impoviser and a richly versatile in-person performer. This 1963 live session at a celebrated New York club, the Village Gate, offers a little South American flavor and a lot of other jazz elements, including the guest appearance of trumpet great Clark Terry.


    This title is not eligible for discount.

    1. Shiny Stockings

    2. More (theme from Mondo Cane)

    3. Blues For Night People

    4. Butter and Egg Man

    5. Ela Me Deixou

    6. Broadway

    7. I Left My Heart In San Francisco

    8. Some Other Spring

    9. Where Are The Hebrew Children?

    10. Let's Do It

    11. Jive at Five

    The Charlie Byrd Trio
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Artistry Of Freddie Hubbard The Artistry Of Freddie Hubbard Quick View

    $49.99
    Buy Now
    x

    The Artistry Of Freddie Hubbard

    Trumpeter Freddie Hubbard leads a particularly talented sextet (with trombonist Curtis Fuller, a rare outing away from Sun Ra for tenor-saxophonist John Gilmore, pianist Tommy Flanagan, bassist Art Davis and drummer Louis Hayes) on three of his originals and strong versions of Summertime and Caravan.


    This title is not eligible for discount.

    1. Caravan
    2. Bob's Place
    3. Happy Times
    4. Summertime
    5. The 7th Day
    Freddie Hubbard
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Mobley's Message (Mono) Mobley's Message (Mono) Quick View

    $34.99
    Buy Now
    x

    Mobley's Message (Mono)

    Hank Mobley's 1956 Prestige release Mobley's Message features six recordings from the legendary tenor saxophonist in three different settings including one cut with a quartet, four with a quintet and one with a sextet. Players such as Donald Byrd (trumpet), Jackie McLean (alto sax), Barry Harris (piano), Doug Watkins (bass) and Art Taylor (drums) offer their support here in disparate incarnations. Contains a quintet reading of Charlie Parker's Au Privave and a quartet take on the Rodgers & Hart standard Little Girl Blue with Mobley being the sole horn.


    This title is not eligible for discount.

    1. Bouncing With Bud
    2. 52nd Street Theme
    3. Minor Disturbance
    4. Au Privave
    5. Little Girl Blue
    6. Alternating Current
    Hank Mobley
    $34.99
    200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Takes To The Hills (Pure Pleasure) Takes To The Hills (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Takes To The Hills (Pure Pleasure)

    The incomparable and profoundly influential pianist/singer-songwriter Mose Allison - who's inspired everyone from Georgie Fame, The Who and The Clash to Van Morrison and Pixies - developed his own unique, idiosyncratic style that melded an ironic sense of wit and humour with country-blues inflections and a bebop-esque vocabulary. Besides cool playing and his uniquely smoky singing, has great taste in material. Hey Good Lookin' fits right in with revisited versions of I Love the Life I Live, I Ain't Got Nobody and Baby Please Don't Go, complete with what the singer himself calls his distinctive 'involuntary groan' during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio.



    Musicians:



    • Mose Allison (piano, vocals)

    • Addison Farmer, Henry Grimes, Aaron Bell (bass)

    • Jerry Segal (drums)

    • Paul Motian, Osie Johnson (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. V-8 Ford Blues
    2. Please Don't Talk About Me When I'm Gone
    3. Baby, Please Don't Go
    4. Hey, Good Lookin'
    5. I Live The Life I Live
    6. I Ain't Got Nobody (And Nobody Cares For Me)
    7. Back On The Corner
    8. Life Is Suicide
    9. 'Deed I Do
    10. Ask Me Nice
    11. You're A Sweetheart
    12. Mad With You
    Mose Allison
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rimsky-Korsakov: Scheherazade Rimsky-Korsakov: Scheherazade Quick View

    $34.99
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    Rimsky-Korsakov: Scheherazade

    RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!


    Remastered And Cut At 33 1/3 RPM By Ryan Smith At Sterling Sound


    Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!


    Grade A+. Another one of HP's favorites, this LP (at least in its earliest pressings) is famously wonderful sounding, and the Analogue Productions version certainly lives up to the hype. Once again string tone - and this disc is celebrated for its string tone - is ravishingly beautiful. The bass is astonishingly deep and authoritative. And the dynamics are tremendous. In sum, I highly recommend all of these celebrated RCAs in their Analogue Productions reissues. They will cost you $30 a disc, which is a more-than-fair price considering that they are, IMO, uniformly superb (yes, better than the Classic Record versions). - Jonathan Valin, The Absolute Sound.com, June 11, 2013


    We compared this new 200-gram, 33 RPM LP from Analogue Productions with the original RCA Living Stereo issue and Classic Records' 33 RPM version, and were surprised at the outcome. Why? Because to these ears, the new Analogue Productions version was the more relaxed and natural sounding of the bunch. The sound is as it should be, inviting the listener into the music and entirely constant with Reiner's readings. ... If ever there were a must-have LP in the recent wave of audiophile vinyl reincarnations, this is it. Treat yourself and thank (Analogue Productions' Chad) Kassem for doing it the justice it deserves. - Harry Pearson, HP Soundings, May 2013.


    Without a doubt, the AP pressing sounds much more natural than the Classic Records reissue; the sound is simply less forced, as if the notes and rhythms have more air to explore, more ambient Hall to reverberate, and more of the acoustic envelope to reveal. ... the vinyl is so damn quiet, you can turn it up without any hesitation ... The solo violin is the heart of this recording and it's supposed to sound seductive, and on this reissue, it does. One thing if for certain, there is a lot more information coming through than on the original. The AP pressing takes the simplistic approach of the Chesky, but with a more developed sound, making the Chesky appear a bit more subdued by comparison. ... If you are interested in hearing this classic RCA in all of its natural glory, you needn't look any further than Chad Kassem's latest offering. If this is any indication of Analogue Production's current batch of RCA reissues (approximately 24 more on the way), it just may be a new golden age for the modern vinyl listener. - Joey Weiss, HP Soundings, May 2013


    The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let is just be said that, after you hear this, no other Scheherazade will ever replace it in your affections. HP's The Golden Dozen LPs - Harry Pearson, The Absolute Sound, June/July 2007


    The jewel in the Living Stereo crown. This, like the Respighi, is considered one of the very best LPs by Reiner, the Chicago Symphony Orchestra and RCA's crew. Another Mohr and Layton classic.


    This title is not eligible for discount.

    1. The Sea And Sinbads Ship
    2. The Story Of The Kalender Prince
    3. The Young Prince And The Young Princess
    4. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior
    Fritz Reiner with the Chicago Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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