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  • Christmas Island Christmas Island Quick View

    $18.99
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    Christmas Island

    Christmas Island, the 5th album proper from Phoenix, Arizona's Andrew Jackson Jihad, is a little bit silly, a little bit serious. It's a
    record that's irreverent yet somber, full of humor and full of pathos, its
    twelve songs combining the two to create a record that truly cuts right
    to the bone of the human condition. They've built a signicant cult
    following since their inception in 2004, one that knows just how heart
    breaking, heart warming, and inspiring their shambolic songs can be.
    The tension between fury and forgiveness, between anger and calm,
    between love and hate and life and death, isn't just thematic, but
    weaved into in the sonic fabric of these songs. Christmas Island - it's
    far from a random title, but it's also kind of a secret - is simultaneously
    ridiculous and sublime in the way that Andrew Jackson Jihad always
    have been. It's a record absolutely in keeping with their bold and
    brilliant past - the one their cult following has been following for
    years - but it's also a bold and brilliant step forward.
    1. Temple Grandin
    2. Children of God
    3. Do, Re, and Me
    4. Co n Dance
    5. Getting Naked, Playing with Guns
    6. I Wann Rock Out in My Dreams
    7. Kokopelli Face Tattoo
    8. Best Friend
    9. Linda Ronstadt
    10. Deathlessness
    11. Temple Grandin Too
    12. Angel of Death
    Andrew Jackson Jihad
    $18.99
    Vinyl LP - Sealed Buy Now
  • Candy Cigarettes Capguns Issue Problems And Such (Discontinued) Candy Cigarettes Capguns Issue Problems And Such (Discontinued) Quick View

    $16.99
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    Candy Cigarettes Capguns Issue Problems And Such (Discontinued)

    Candy Cigarettes Capguns Issue Problems And Such is a compilation of all of this Phoenix, AZ band's out of print 7s and unreleased material, clocking in at 20 tracks in just over 43 minutes of folky punk that's similar to Frank Turner, Against Me! and Mountain Goats.
    1. Smokin'
    2. Jesus
    3. Darling, I Love You
    4. Scenesters
    5. Daddy
    6. FWP
    7. God Made Dirt
    8. Ladykiller
    9. Love Song
    10. Cigarette
    11. Dylan Cook's Theme Song
    12. Brave As A Noun
    13. Survival
    14. Bad Stuff
    15. People
    16. Randall's House
    17. Powerplant
    18. I'm Going To Love My Children
    19. David J Is A Siccness
    20. Pacific To Be Specific (Keep Downtown Ruff remix)
    21. Little Brother
    22. The Freedom Tickler
    Andrew Jackson Jihad
    $16.99
    Vinyl LP - Sealed Buy Now
  • Elysium Elysium Quick View

    $22.99
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    Elysium

    Neil Tennant and Chris Lowe recorded 'Elysium' in Los Angeles in early 2012, the first time they have recorded an album in America. They co-produced the record with US producer Andrew Dawson, who has won three Grammys for his work on Kanye West's albums.


    'Elysium' features twelve new songs which display a warm, deep electronic sound, and includes orchestral arrangements by Joachim Horsley, Andrew Dawson, and Ben Leathers. Backing vocals are provided on many of the tracks by veteran singers Oren, Maxine and Julie Waters (whose long career spans sessions with The Jackson Five to Adele), and singer/songwriter James Fauntleroy.


    Pet Shop Boys said: It was inspiring to make an album in Los Angeles, and to work with a producer from a different musical genre, who has brought a new dimension to our music.

    LP 1
    1. Leaving

    2. Invisible

    3. Winner

    4. Your Early Stuff

    5. A Face Like That

    6. Breathing Space

    7. Ego Music

    8. Hold On

    9. Give It A Go

    10. Memory Of The Future

    11. Everything Means Something

    12. Requiem In Denim And Leopardskin


    LP 2
    1. Leaving (Instrumental)
    2. Invisible (Instrumental

    3. Winner (Instrumental)

    4. Your Early Stuff (Instrumental)
    5. A Face Like That (Instrumental)

    6. Breathing Space (Instrumental)

    7. Ego Music (Instrumental)

    8. Hold On (Instrumental)

    9. Give It A Go (Instrumental)

    10. Memory Of The Future (Instrumental)
    11. Everything Means Something (Instrumental)

    12. Requiem In Denim And Leopardskin (Instrumental)

    Pet Shop Boys
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Total Explosion (Pure Pleasure) Total Explosion (Pure Pleasure) Quick View

    $34.99
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    Total Explosion (Pure Pleasure)

    During his eight-year stint with Hi Records, Syl Johnson was in the shadows of both Al Green and Ann Peebles. His albums never flew off the shelves but he could be trusted to release two or three good singles a year. By 1975, Johnson's partnership with Hi Records started to yield even more success. As this album's predecessors had Johnson vacillating between being a romantic and a wretch, Total Explosion explores his unrepentant side with good results. I Only Have Love for You is a classic Memphis shuffle and finds Johnson all but boasting about his lack of financial savvy, as he sings, »all I got to give is me«. With all of the ill will and venom spewed on Total Explosion, the innocent Star Bright, Star Lite just still doesn't ring true. Johnson comes back to his senses on Steppin' Out. The dramatic, hard-edged track is all anger and domestic unrest as he sings, »excuse me, excuse me while I get dressed«; you get the feeling he won't be back anytime soon. The album's biggest single was Johnson's slowed-down take on Green's Take Me To The River. Although the religious/sexual imagery is lost in the translation, Johnson does a good job with it. The best track, the brilliantly arranged Watch What You Do to Me has Johnson playing the role of cuckold, and as he sings »I carry my piece, everywhere I go«, it certainly made him more a menace than romantic balladeer. Total Explosion was Johnson's most successful album at Hi Records and was one of the best in the label's catalog.



    Musicians:



    • Syl Johnson (vocal)

    • Wayne Jackson (trumpet)

    • Andrew Love, Lewis Collins (tenor saxophone)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Archie Turner & Earl Randle (piano)

    • Charlie Hodges (organ, piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)




    Recording: 1973 by Willie Mitchell at Royal Recording Studios, South Lauderdale, Memphis, Tennessee

    Production: Willie Mitchell




    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. I Only Have Love
    2. Bustin' Up Or Bustin' Out
    3. Star Bright Star Lite
    4. Whatch What You Do To Me
    5. Steppin' Out
    6. Take Me To The River
    7. It Ain't Easy
    8. 'Bout To Make Me Leave Home
    9. That's Just My Luck
    Syl Johnson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Al Green Explores Your Mind (Pure Pleasure) (Awaiting Repress) Al Green Explores Your Mind (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Al Green Explores Your Mind (Pure Pleasure) (Awaiting Repress)

    By the time of 1974's Al Green Explores Your Mind, this version of the Memphis sound was the production style for only a handful of artists. Producer Willie Mitchell used a lighter touch for his most famous artist, and it's all but crafted into the Al Green sound. Despite his skills, Green never falls into mannerism here and gives heartfelt and cogent vocals rooted in intelligence and technique. Sha-La-La (Make Me Happy), although lyrically slight, has the artist's charisma and Mitchell's pop chops. Take Me to the River, with perfect backing from Hi Rhythm and a horn and string arrangement, finds Green at his most persuasive. The last track, School Days, has Green longing for a school girlfriend and despite the potentially sappy sentiment, it works like a charm. The greatness of Al Green Explores Your Mind comes from a collective effort, including James Mitchell's dreamlike string arrangements and the always skilled backing vocals of Rhodes, Chalmers & Rhodes. But the biggest draw here is Green's phrasing and intimate vocals, making the record an extremely strong effort.



    Musicians:



    • Al Green (vocal)

    • Wayne Jackson (trumpet)

    • Andrew Love (tenor saxophone)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Charles Hodges (keyboards)

    • Archie Turner( piano)

    • Mabon Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Howard Grimes (drums, percussion)




    Recording: 1974 at Royal Recording Studios, South Lauderdale, Memphis, Tennessee by Willie Mitchell

    Production: Willie Mitchell & Al Green




    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. Sha-La-La (Make Me Happy)
    2. Take Me To The River
    3. God Blessed Our Love
    4. The City
    5. One Nite Stand
    6. I'm Hooked On You
    7. Stay With Me Forever
    8. Hangin' On
    4. School
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Call Me (Speakers Corner) Call Me (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Call Me (Speakers Corner)

    What connects celebrity chefs and pop stars is their fine nose for ingredients, especially when hot and spicy ones are mixed with milder elements to create an aromatic result. A combination of 'sweet' and 'funky' is the secret of Al Green's gloriously sentimental and sensual pop songs, which in the sexually free Seventies were often referred to as »songs to make love by«. What swings along gently is, however, Al Green's subtly controlled falsetto, which he can tone right to the threshold of audibility. But watch out! This music belts out some fiery sounds right from the very first number. The sinuous, swinging request in the brilliant hit single Call Me, the relaxed and groovy Stand Up, with its sharp wind interjections which demand one's unerring attention, are typical for Green's style, just as is his almost disturbing capability to gain comfort from loneliness (I'm So Lonesome, I Could Cry). This rhythmically powered music can best be described as light, intensive, dynamic but never flashy (Your Love Is Like The Morning Sun). It finds its earthly culmination in soul (I'm Waiting) and spiritual depth.



    Musicians:



    • Al Green (vocal)

    • James Mitchell (bassoon, arranger)

    • Andrew Love (tenor sax)

    • Jack Hale (trombone)

    • Wayne Jackson (trumpet)

    • Mabon Hodges (guitar)

    • Charles Hodges (keyboards)

    • Archie Turner (piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)

    • The Memphis Strings



    Recording: 1973 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Al Green and Willie Mitchell




    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. Call Me (Come Back Home)
    2. Have You Been Making out O.K.
    3. Stand Up
    4. I'm So Lonesome I Could Cry
    5. Your Love Is Like the Morning Sun
    6. Here I Am (Come and Take Me)
    7. Funny How Time Slips Away
    8. You Ought to Be with Me
    9. Jesus Is Waiting
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • X-Communicate X-Communicate Quick View

    $16.99
    Buy Now
    x

    X-Communicate

    Sometimes you have to rip it up and start again. It was a tough
    call for Dee Dee. Dum Dum Girls was her guise for most of a
    decade, an outlet through which she's crafted a resonant,
    instantly-identifiable body of work. Over the course of three
    albums, four EPs, and an array of singles, Dum Dum Girls
    morphed from the girl-group-gone-bad moves of their 2010
    debut, I Will Be, to the plush noir-pop of 2014's Too True, a dark
    heart burning bright. But as her music evolved, she found that for
    many she would be forever refracted through the prism of Dum
    Dum Girls' early work: retro-leaning female harmonies, a
    backdrop of lo-fi, fuzzed up guitars.


    In 2015, she decided to shed her skin, ditching Dee Dee for her
    real name, Kristin, and adding Kontrol. It was a spontaneous idea
    that resonated. The challenge was to start fresh, go further back
    into her relationship to music. Sweep all her loves together into
    one genreless experience. "The first music I felt was mine was
    classic 80s pop and 90s R&B, from Tiffany, Janet Jackson and
    Madonna to TLC, SWV, and Aaliyah," she says. "But for years I
    was hellbent on the rock'n'roll thing, revering Joan Jett, Patti
    Smith, Chrissie Hynde, -- a rebellion against her classical vocal
    training -- but I was like, fuck it, I'm just going to try it all. I'm
    going to pretend I'm Kate Bush covering Mariah.


    Refocused and inspired, Kristin wrote 62 songs, whittled the list
    to ten for X-Communicate, and finished the album with the help
    of new producers Kurt Feldman (who had produced her Christmas
    single a few years back) and Andrew Miller (who played
    guitar on the first Dum Dum Girls album and had joined the band
    in its last incarnation).


    Arguably the biggest shift, beyond the music itself, is that as
    Kristin Kontrol she tells her stories using a sonic palette splashed
    with bold pop melodies, her vocals showcasing a range hitherto
    unexplored on record. The songs that emerge from Kristin's
    universe -- a menagerie of new wave and R&B, European synth
    pop, and experimental disco -- are both familiar and unique,
    using genre rather than adhering to it, with a distinct nod to the
    present. It may be a leap into the unknown, but "little risk means
    little reward," as Karen O once counseled her. I feel free. I kind
    of excommunicated myself. Even if I have to rebuild my whole
    career, I'd rather work hard than feel stagnant. I feel excited
    again, and that's priceless.

    1. Show Me
    2. White Street
    3. (Don't) Wannabe
    4. X-Communicate
    5. Skin Shed
    6. Drive the Night
    7. What is Love
    8. Face 2 Face
    9. Going thru the Motions
    10. Smoke Rings
    Kristin Kontrol
    $16.99
    Vinyl LP - Sealed Buy Now
  • For True For True Quick View

    $19.99
    Buy Now
    x

    For True

    Since the release of their Grammy-nominated 2010 debut album, Backatown, Trombone Shorty & Orleans Avenue have grown creatively while winning hordes of new fans performing nonstop on five continents. Their new Verve Forecast album, For True, offers substantive proof of their explosive growth, further refining the signature sound Troy Trombone Shorty Andrews has dubbed Supafunkrock.


    The band: Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion, Dan Oestreicher on baritone sax and Tim McFatter on tenor sax, stirs together old-school New Orleans jazz, funk and soul, laced with hard-rock power chords and hip-hop beats, and they've added some tangy new ingredients on For True as they keep pushing the envelope, exploring new musical territory.


    Andrews wrote or co-wrote all 14 tracks on the new album, including collaborating with the legendary Lamont Dozier on Encore, while this time playing as much trumpet as trombone, as well as organ, drums, piano, keys, synth bass and percussion. Indeed, he played every part on the swaying, Latin-tinged Unc. He's also come into his own as a singer, honoring the hallowed legacy of the great soul men of the 1960s and '70s. Like its predecessor, the new album turns on a rare combination of virtuosity and high-energy, party-down intensity.


    Among the special guests are longtime NOLA cohorts like Ivan and Cyril Neville (who bring their trademark sound to Nervis); Galactic's Ben Ellman, reprising his producer's role on Backatown (percussion on opener Buckjump, harmonica on Big 12) and Stanton Moore (drumming on Lagniappe Part 1 and Part 2); bounce rapper 5th Ward Weebie and the Rebirth Brass Band (who team up on Buckjump) and Troy's longtime friend Charles Smith (who adds percussion to the same track).


    The album also bears the fruit of more recent relationships Lenny Kravitz (who plays bass on Roses), has the longest-standing bond with Andrews, discovering the then-teenage prodigy in 2005 and taking him on tour with his band. Kid Rock (whose vocal is featured on Mrs. Orleans) came out to see Trombone Shorty & Orleans Avenue at an outdoor show early this year in NOLA, and a month later Troy joined the star onstage at Jazz Fest.


    Andrews played with Warren Haynes (whose eruptive solo further heats up Encore) at his annual benefit and again at the guitarist's Mahalia Jackson Theatre all-star event during this year's Jazz Fest. Ledisi (who sings on Then There Was You), met Troy at the 2010 Grammys, later came out to see him in New Orleans and was later featured in a segment for the landmark Red Hot + New Orleans at the Brooklyn Academy of Music, for which Andrews served as musical director. His relationship with Jeff Beck (check out his blistering solo on Do to Me) has also blossomed since the guitar legend came to Troy's late-night post-Jazz Fest show at Tipitina's in 2010.

    1. Buckjump
    2. Encore
    3. For True

    4. Do To Me
    5. Lagniappe (Part 1)
    6. The Craziest Thing
    7. Dumaine St.
    8. Mrs. Orleans
    9. Nervis
    10. Roses
    11. Big 12
    12. Unc
    13. Then There Was You
    14. Lagniappe (Part 2)
    Trombone Shorty
    $19.99
    Vinyl LP - Sealed Buy Now
  • Straight From The Heart (Speakers Corner) Straight From The Heart (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Straight From The Heart (Speakers Corner)

    Ann Peebles' climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song I Can't Stand The Rain.



    Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.
    Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart (Slipped, Tripped And Fell In Love). The beat is powerful, throbbing, young and fresh (What You Laid On Me) or surging and groovy (How Strong Is A Woman?). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven (Somebody's On Your Case), while a fusion of soft swing and snappy acerbity (I Pity The Fool) rounds off this album which is filled with pure emotion, heart and soul.



    Musicians:



    • Ann Peebles (vocal)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Andrew Love, Ed Logan (tenor saxophone, vocals)

    • Charles Hodges (organ, piano)

    • Wayne Jackson (trumpet)

    • Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)



    Recording: August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Willie Mitchell





    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. Slipped, Tripped and Fell In Love
    2. Trouble, Heartaches & Sadness
    3. What You Laid On Me
    4. How Strong Is A Woman
    5. Somebody's On Your Case
    6. I Feel Like Breaking Up Somebody's Home Tonight
    7. I've Been There Before
    8. I Pity The Fool
    9. 99 Pounds
    10. I Take What I Want
    Ann Peebles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sound Of Wilson Pickett (Speakers Corner) The Sound Of Wilson Pickett (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Sound Of Wilson Pickett (Speakers Corner)

    Wilson Pickett's best years were those when he recorded for Atlantic Records, and he remained convinced of this even after changing to other labels in his later career. Atlantic boss Jerry Wexler took the promising young Gospel singer under his wing and launched him on his rapidly developing career as an unruly soul man. Pickett's aggressiveness, which in his mature years occasionally resulted in him having backstage fights with musicians and managers, are expressed here in strong words and are given further bite by his antagonistic band. Although he lashed out to the full in his emotional, crackling vocal attacks, he never lost control and even his strongest outbursts remained highly musical. His unique, breathless sound and his ferocious efforts to express himself succinctly do not make for easy listening on this superb hit record and for white people, who according to Pickett would never understand soul music anyway, could well present a real challenge. Is this such fascinating music that you become dumbstruck? Very possibly, as critic Joachim von Mengershausen writes: »His voice is hard, aggressive and strained; it hardly binds the tones together, chops up the phrases, blurts out the essentials - Pickett has eliminated all the Uncle-Tom warmth in soul and has virtually rocked it away.«

    Musicians:



    • Wilson Pickett (vocal)

    • Spooner Oldham (piano, organ)

    • Andrew Love (tenor saxophone)

    • Floyd Newman (bassoon)

    • Gene Miller, Wayne Jackson (trumpet)

    • Jimmy R. Johnson, Chips Moman (guitar)

    • Junior Lowe (bass)

    • Roger Hawkins (drums)





    Recording: 1967 at Fame Recording Studios, Muscle Shoals (Alabama, USA), by Rick Hall & Tom Dowd

    Production: Jerry Wexler





    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. Soul Dance Number Three

    2. Funky Broadway
    3. I Need A Lot Of Loving Every Day
    4. I Found A Love, Part 1
    5. I Found A Love, Part 2
    6. You Can't Stand Alone
    7. Mojo Mamma
    8. I Found The One
    9. Something Within Me
    10. I'm Sorry About That
    11. Love Is A Beautiful Thing
    Wilson Pickett
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Masterpieces (Pure Pleasure) Masterpieces (Pure Pleasure) Quick View

    $34.99
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    x

    Masterpieces (Pure Pleasure)

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


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


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

    Musicians:



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




    About Pure Pleasure



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



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



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



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



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



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



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