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  • Baby Blue Eyes Baby Blue Eyes Quick View

    $34.99
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    Baby Blue Eyes

    Frank Sinatra's daughter Tina has curated a collection of some of his most fondly-loved recordings for a special compilation for children and parents alike. The title of the album is a play on Sinatra's familiar salute to his audience at the end of his performances, "May you live to be a hundred and the last voice you hear be mine." The compilation has been envisioned by Tina as a child's first musical library, carefully selected from songs of Frank's.
    LP 1
    1. Yes Sir, That's My Baby
    2. Ain't She Sweet
    3. It's A Wonderful World
    4. Isn't She Lovely
    5. I've Got My Love To Keep Me Warm
    6. Pocketful Of Miracles
    7. I Believe
    8. It's Only A Paper Moon
    9. High Hopes
    10. Jeepers Creepers


    LP 2
    1. Pennies From Heaven
    2. How Cute Can You Be?
    3. A Baby Just Like You
    4. Bein' Green
    5. Hush-A-Bye-Island
    6. Fairy Tale
    7. Young At Heart
    8. Dream
    9. Put Your Dreams Away
    10. Cradle Song (Brahms Lullaby)

    Frank Sinatra
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Alaska 127 Alaska 127 Quick View

    $18.99
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    Alaska 127

    A rare gem of early '80s pop punk, digitally remastered to the highest sonic quality with meticulously restored artwork and full liner notes!


    This is the second of the "reunion" albums released in 1984 and contains the all-time Vibrators classics "Baby Blue Eyes," "Flying Home," "Amphetamine Blue" and more!

    1. Amphetamine Blue
    2. Somnambulist
    3. Baby Blue Eyes
    4. Peepshow
    5. 4875
    6. 3-D Jesus
    7. Jesus Always Lets You Down
    8. Flying Home
    9. Shadow Love
    10. MX America
    11. Flash, Flash, Flash
    12. Punish Me With Kisses
    Vibrators, The
    $18.99
    Vinyl LP - Sealed Buy Now
  • New York In LA 1989 New York In LA 1989 Quick View

    $37.99
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    New York In LA 1989


    Limited Edition 140 Gram Vinyl


    Lou Reed's 15th solo album, New York, released early in 1989, was universally praised by critics and fans alike and became Reed's must successful album since 1974's Sally Can't Dance, reaching No. 40 on Billboard and No. 14 in the UK. On 22nd April Lou played the Gibson Amphitheatre in Universal City, a performance which was the subject of a live FM broadcast by local radio - the results of which can now be heard on this release. Featuring 10 of New York's 14 cuts, plus a smattering of oldies and a somewhat unusual choice of cover in Ol' Blue Eyes' 'One For My Baby' - this recording is a delightful artefact for fans of the late Lou Reed and a nice reminder of what this often misrepresented albeit legendary artist was capable of.

    LP 1
    1.Romeo Had Juliette
    2.Halloween Parade
    3.Dirty Blvd.
    4.Endless Cycle
    5.There Is No Time
    6.Last Great American Whale
    7.Beginning Of A Great Adventure


    LP 2
    1.Busload Of Faith
    2.Strawman
    3.Dime Store Mystery
    4.I Love You Suzanne
    5.One For My Baby
    6.Doing The Things That We Want To
    7.Rock And Roll
    8.Video Violence

    Lou Reed
    $37.99
    140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Blowin' Your Mind Blowin' Your Mind Quick View

    $32.99
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    Blowin' Your Mind

    Import

    Blowin' Your Mind, the first album by Van Morrison, is generally regarded as the warming up round to Astral Weeks (1968), a critically acclaimed masterpiece by this Northern Irish blues singer. But Blowin' Your Mind really is a masterpiece in its own right, containing truly epic tracks such as the megahit Brown Eyed Girl, the somewhat funky Goodbye Baby (Baby Goodbye) and Midnight Special, a traditional with a contemporary groove and infectious bass line.


    T.B. Sheets, one of the most real songs about death you'll ever hear, is a 10-minute organ packed blues jam about a dying girlfriend and one of the sweatiest and claustrophobic tunes to come out of the sixties. The latter song has been used to good effect as the sole soundtrack song to the highly recommended Nicholas Cage & Patricia Arquette movie Bringing Out The Dead (1999), and was also covered by John Lee Hooker.

    1. Brown Eyed Girl
    2. He Ain't Give You None
    3. T. B. Sheets
    4. Spanish Rose
    5. Goodbye Baby (Baby Goodbye)
    6. Ro Ro Rosey
    7. Who Drove The Red Sports Car
    8. Midnight Special
    Van Morrison
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Soul Deep Soul Deep Quick View

    $34.99
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    Soul Deep

    Import

    Soul Deep is an essential compilation of The Box Tops' best tracks. Hailing from 1960's Memphis, The Box Tops are best known for the hits The Letter, Cry Like a Baby and Soul Deep, and are considered a major blue-eyed Soul group of the period.


    They performed a mixture of current Soul music songs by artists such as James & Bobby Purify and Clifford Curry, Pop tunes such as A Whiter Shade of Pale by Procol Harum, and songs written by their producers, Dan Penn, Spooner Oldham, and Chips Moman.


    Their records are prime examples of the styles made popular by Moman and Penn at American Sound Studio in Memphis. Many of their lesser known Top 40 hits, including Neon Rainbow, I Met Her in Church, and Sweet Cream Ladies, Forward March, are considered minor classics.

    1. The Letter
    2. Neon Rainbow
    3. Happy Times
    4. Cry Like A Baby
    5. Fields Of Clover
    6. Choo Choo Train
    7. She Shot A Hole In My Soul
    8. People Gonna Talk
    9. I Met Her In Church
    10. Sweet Cream Ladies, Forward March
    11. Together
    12. I Must Be The Devil
    13. Soul Deep
    14. I Shall Be Released
    15. (the) Happy Song
    16. Turn On A Dream
    17. I See Only Sunshine
    18. You Keep Tightening Up On Me
    The Box Tops
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tyranny And Mutation (Speakers Corner) Tyranny And Mutation (Speakers Corner) Quick View

    $34.99
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    Tyranny And Mutation (Speakers Corner)

    Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.


    After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?

    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal, keyboards)

    • Albert Bouchard (drums, vocal)



    Recording: 1972 at Columbia Studios, New York City, by Tim Geelan

    Production: Murray Krugman and Sandy Pearlman




    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. The Red & The Black
    2. O.D.'d On Life Itself
    3. Hot Rails To Hell
    4. 7 Screaming Diz-Busters
    5. Baby Ice Dog
    6. Wings Wetted Down
    7. Teen Archer
    8. Mistress Of The Salmon Salt (Quicklime Girl)
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Original King Bee (The Best Of Slim Harpo) The Original King Bee (The Best Of Slim Harpo) Quick View

    $34.99
    Buy Now
    x

    The Original King Bee (The Best Of Slim Harpo)

    The Original King Bee (The Best Of Slim Harpo) - On 200-Gram LP From Analogue Productions


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


    Plated And Pressed At Quality Record Pressings


    Old-Style Tip-On Jacket By Stoughton Printing


    What's the point in listening to us doing 'I'm A King Bee when you can hear Slim Harpo do it? - Mick Jagger, 1968


    Slim Harpo died in 1970. Better known by his stage name than his given, James Isaac Moore, he epitomized the swamp blues style, and at the time of his passing he was at the brink of enjoying the kind of fame he'd deserved since the release of his first single, the infectious King Bee 13 years earlier.


    Harpo was just beginning to play for urban, white audiences when he succumbed to an unexpected heart attack. There were plenty of people who were aware of Slim and not all of them were young British musicians who knew a good tune when they heard it. Pete Welding, writing in Rolling Stone, described Harpo as a stylist who's carved out his own niche, and within the relatively narrow confines of that approach he's unbeatable - and of course, immediately recognizable ... the emphasis is on forceful, direct rhythm, tight and simple arrangements (even when horns are used) that work beautifully with Slim's sly, laconic singing and harmonica playing and, above else, feeling.


    What an iconic performer - perfect for the full Analogue Productions reissue treatment. The Best of Slim Harpo (The Original King Bee) has his iconic hits from a formidable career: I'm A King Bee, Got Love If You Want It, Baby Scratch My Back, Shake Your Hips, Te Ni Nee Ni Nu, Mohair Sam and more. They're included on an incredibly silent and rich-sounding 200-gram LP pressed by Quality Record Pressings. Mastering from the original analog tapes was by Kevin Gray at Cohearent Audio. Finally, it's all contained in a old-style tip-on heavyweight cardboard jacket from Stoughton Printing. Spectacular sound and an eye-catching package. That's the Analogue Productions difference.


    Just up the Mississippi from Baton Rouge, on February 11, 1924, James Isaac Moore was born. He would live in the area for practically all of his life. As a child he took up harmonica, and later, in adulthood, supported himself and his family as a laborer, as a gas station attendant, he hauled sugar cane, and did other odd jobs. He didn't become a professional musician until he began to record in the mid-'50s. In 1955, Moore began recording with Lightnin' Slim at J.D. Miller's studio in Crowley, Louisiana.


    Two years later Moore first recorded as a featured artist. The initial session at Miller's studio resulted in three completed masters, all originals: I'm A King Bee, Got Love If You Want It and This Ain't No Place For Me. Still, Slim, through his career, didn't tour much, and his record label - Excello - was a small independent with promotion and distribution problems typical for its size. Most of Slim's fame and fortune came second-hand.


    We're betting you'll enjoy this Slim Harpo compilation as much as we've enjoyed putting it together and bringing it to you. As Mick pointed out, there's nothing like the original. And Slim Harpo was original to the hilt. We're excited to honor his memory with this exceptional release.


    This title is not eligible for discount.

    1. Baby Scratch My Back
    2. I Got Love If You Want It
    3. I'm A King Bee
    4. Shake Your Hips
    5. Te Ni Nee Ni Nu
    6. I've Been A Good Thing (For You)
    7. Raining In My Heart
    8. The Music's Hot
    9. Mohair Sam
    10. Tip On In
    11. Moody Blues
    12. The Hippy Song
    13. Don't Start Crying Now
    14. Rock Me, Baby
    Slim Harpo
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • LaVern Baker Sings Bessie Smith (Speakers Corner) (Pre-Order) LaVern Baker Sings Bessie Smith (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    LaVern Baker Sings Bessie Smith (Speakers Corner) (Pre-Order)

    It was 1958 when a passably successful R&B singer entered the recording studio with an all-star band to tape a dozen songs from the global repertoire of a legendary blues vocalist. The old-fashioned style in LaVern Baker's tribute to Bessie Smith might seem somewhat strange in the midst of popular R&B numbers and the growing productivity of the Motown hit machines, but it certainly found favour with the public. And for a very good reason too! Right from the very first number, Gimme A Pigfoot, the snappy bass line conjures up the ballroom atmosphere of the Twenties. A bluesy dialogue with the trumpet (Baby Doll, I Ain't Gonna Play No Second Fiddle), alternating with robustly orchestrated swing rhythms (On Revival Day), and time and again cool, faltering blues (Black Water Blues) guarantee great listening and entertainment. The great names in the band read like a Who Is Who of outstanding musicians - Nat Pierce, Buck Clayton, Paul Quinichette, Urbie Green and Jimmy Cleveland, all who crown the fantastic sound of their performance with relaxed and easy-going solos and finely balanced background playing that would hardly be more authentic on a live stage. And by the way, fans of traditional big-band swing will love this album too.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:


    • LaVern Baker (vocals)

    • Paul Quinichette (tenor saxophone)

    • Jerome Richardson (bassoon)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Buck Clayton (trumpet)

    • Nat Pierce (piano)

    • Danny Barker (guitar)

    • Wendell Marshall (bass)

    • Joe Marshall (drums)



    Recording: 1958 by Tom Dowd

    Production: Nesuhi Ertegun


    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. Gimme A Pigfoot
    2. Baby Doll
    3. On Revival Day
    4. Money Blues
    5. I Ain't Gonna Play No Second Fiddle
    6. Backwater Blues
    7. Empty Bed Blues
    8. There'll Be A Hot Time In The Old Town Tonight
    9. Nobody Knows You When You're Down And Out
    10. After You've Gone
    11. Young Woman's Blues
    12. Preaching The Blues
    LaVern Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Elvis Is Back! (Speakers Corner) Elvis Is Back! (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis Is Back! (Speakers Corner)

    During the King's artistically unproductive period of military service, no costs or efforts were spared (e.g. A Date With Elvis, RCA LPM-2011), and no consolatory promises of things to come were left unsaid by the management in order to keep Elvis alive and well in the minds of his vast circle of fans. At last the great coup was landed: Elvis Is Back was what everyone was waiting to hear and American radio and television broadcasting stations made a gigantic medial feast of it.



    With the ink scarcely dry on his demobilization papers, Elvis entered the studio in March 1960 and recorded a whole series of numbers which later became worldwide hits, such as Are You Lonesome Tonight and It's Now Or Never. Released as singles, these tender ballads created a sensation, while the LP with numbers such as Dirty, Dirty Feeling, Like A Baby and The Thrill Of Your Love underlined Elvis's enhanced qualities as a rock, blues and gospel singer. That his voice - despite everyone's fears - had lost nothing of its erotic thrill is more than amply demonstrated in his rendering of Fever alone, which is accompanied merely by bass and percussion.



    With its amazing array of varying styles, this must surely be one of Elvis's most genial albums and was unrivaled right up until his great comeback in 1968 (From Elvis In Memphis, RCA LSP-4155).





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Floyd Cramer(piano)

    • Scotty Moore (guitar)

    • Boots Randolph (saxophone)

    • Hank Garland (bass, guitar)

    • Charlie Hodge (harmony)

    • Bob Moore (bass)

    • D.J. Fontana (drums)

    • Hoyt Hawkins, Neal Matthews, Gordon Stoker, Ray C. Walker (vocal)




    March 1960 at RCA Studios, Hollywood, CA. and April 1960 in Nashville, TS., USA,
    by Bill Porter

    Production: Chet Atkins





    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. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby

    12. Reconsider Baby
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Friends (Pure Pleasure) Friends (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Friends (Pure Pleasure)

    Friends is the accurate and revealing title for New York bluesman Eric Bibb's tenth album since 1997. The cuts here feature rootsy folk and blues collaborations with different 'friends' in differing small group settings. The set starts with a killer acoustic slide duet between Bibb and Guy Davis on the nugget 99 ½ Won't Do. The contrast between Davis' sweet and smoky delivery and Bibb's husky wail - akin to Blind Willie Johnson's in places - offers a double-sided dimension in interpretation for the listener, as well. Elsewhere, Charlie Musselwhite gives a killer snaky harmonica performance on Six O' Clock Blues. Taj Mahal makes two appearances; one in a duet on Goin' Down Slow, and one in a trio with Bibb and Malian guitarist Djelimady Tounkara on a medley of the traditional Kulanjan and Bibb's own Sebastian's Tune. Speaking of Mali, and Mahal, Bibb also covers the elder bluesman's classic Lovin' in My Baby's Eyes, with the great kora player Mamadou Diabate that rivals the original. There's also a gorgeous version of Guy and Susanna Clark's The Cape, with guitarist Martin Simpson, Bibb's moving For You with Ruthie Foster, and Tain't No Such Thing, a bright new folk song written and sung with legendary folksinger Odetta. Mohan Veena ace Harry Manx performs with Bibb on the high lonesome, droning blues of Needed Time, and with Kristina Olsen on her If I Stayed. The set closes with the tender Dance Me to the End of Love, (an original, not the Leonard Cohen tune) with the Lovin' Spoonful Jerry Yester playing piano. Given that most records of this type are mixed bags at best, with 'star-studded' collabs serving to muck up or water down rather than enhance performances, Friends is an anomaly. There is nothing that's obvious or overblown here, everything is subtly shaded, and the performers serve the songs and not themselves. The listener gets no sense of back-patting or self-congratulation, only the great pleasure of hearing this music in a revealing, emotionally honest way. Bravo.



    Musicians:



    • Eric Bibb (arranger, guitar, vocal)

    • Odetta (vocal)

    • Ruthie Foster (vocal)

    • Guy Davis (arranger, harpsichord, vocal, guitar)

    • Taj Mahal (guitar, vocal, banjo)

    • Charlie Musselwhite (harpsichord)

    • Mamadou Diabate (kora)

    • Martin Simpson (guitar)

    • Michael Jerome Browne (fiddle, vocal, guitar, mandolin)





    Format: 2LPs 33rpm / gatefold sleeve



    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. 99 1/2 Won't Do
    2. Six O'Clock Blues
    3. Goin' Down Slow
    4. Lovin' In My Baby's Eyes
    5. For You
    6. The Cape
    7. 'Tain't Such A Much
    8. Needed Time
    9. If I Stayed
    10. Connected
    11. Ribbons And Bows
    12. Just Look Up
    13. Cowgirl Queen
    14. Kulanjan/Sebastian's Tune
    15. Dance Me To The End Of Love
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Some Girls Some Girls Quick View

    $24.99
    Buy Now
    x

    Some Girls

    Ranked 269/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Stones' Classic Remastered on 180 gram LP


    Universal Music Group and The Rolling Stones present the remastered version of their groundbreaking 1978 album, Some Girls, which introduced the band to a whole new generation of fans. Justly considered one of the finest works by Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Ronnie Wood, Some Girls topped the US charts over three decades ago and remains the best selling album of their storied career.


    Some Girls is the Rolling Stones' most direct and diverse collection of material from Mick Jagger's irresistible falsetto on the four-on-the-floor filler Miss You, their eighth U.S. #1, to the country-flavored Far Away Eyes via the Chuck Berry meets punk snarl of Respectable. And let's not forget the sensuous, Beast of Burden, one of Keith Richards' finest tunes, which reached #8 on the U.S. singles chart, the garage rocker Shattered, the albums' third U.S. Top 40 entry, and the soulful swagger of the group's version of The Temptations' Just My Imagination, another timeless offering in their canon of classic Stones Motown covers.


    Following the critical praise and commercial success afforded the re-mastered, expanded editions of Exile On Main Street, which matched the chart performance of the epochal 1972 album, and returned the Rolling Stones to their rightful place at the top of the British charts in 2010, the extensive reissue of Some Girls constitutes the next step in the band's ongoing relationship with Universal Music Group.


    Some Girls holds a special place in the history of the Rolling Stones and demonstrates why they remain one of the most thrilling and influential bands of all time. The 1978 album features the Keith Richards' classic Before They Make Me Run, a signature song he still performs defiantly to this day. Some Girls documented Mick Jagger's love of 1970's funk reflected in Miss You, the dance track that wrong footed many people, made the club and black charts, and made it okay for other mainstream acts at the time to 'go disco'.


    The 1978 album also courted controversy because of Jagger's tongue-in-cheek lyrics on the title track, on Miss You and on Respectable, perceived as a retort to the punk and new wave groups who had borrowed so much attitude and copped so many anti-establishment moves from the Rolling Stones. Ironically, the furor around the elaborate Some Girls package, designed by Peter Corriston and featuring the band members in drag, a nod in the direction of the picture on the 1966 single Have You Seen Your Mother, Baby, Standing in the Shadow? and likenesses of Lucille Ball, Farrah Fawcett, Raquel Welch, Judy Garland and Marilyn Monroe that hadn't been legally cleared, necessitating a swift withdrawal and rethink.


    Some Girls demonstrated the distinctive and definitive riffing from Keith Richards, with its abundance of unstoppable licks and majestic power chords driving the band into its brand new musical direction. This album not only defined him and his playing, but also defined a new era for the Rolling Stones, with Richards since described as a sense of renewal. Some Girls marks the only other time since recording Satisfaction where Richards used an effects pedal to 'elevate' the sound.


    The album cemented the position of guitarist Ronnie Wood, who had joined in 1975, and added his trademark slide and pedal steel playing to several of the album's most memorable tracks, including When the Whip Comes Down and Shattered. He also co-wrote the Shattered B-side Everything Is Turning To Gold. Some Girls also marked a move to the Pathe Marconi Studios in Paris for the Glimmer Twins production team of Jagger and Richards. These factors helped what is arguably the group's most focused and dynamic album, driven by the sans pareil rhythm section of drummer Charlie Watts and bassist Bill Wyman.


    Some Girls featured fewer guest musicians than any Rolling Stones album since 1971, but the contributions keyboard-player Ian McLagan, Wood's bandmate in The Faces, saxophone-player Mel Collins, and harmonica player Sugar Blue (discovered busking on the Paris metro), made Miss You in particular sound brighter than ever.


    Thirty-three years on from its original release, the re-mastered vinyl edition of Some Girls shows exactly why the 1978 album has often been hailed as the equal of Exile On Main Street. The album stands as both a time capsule and a timeless listen and it features the band at their tightest and toughest, at their most vibrant and vital.

    1. Miss You
    2. When the Whip Comes Down
    3. Just My Imagination (Running Away With Me)
    4. Some Girls
    5. Lies
    6. Far Away Eyes
    7. Respectable
    8. Before They Make Me Run
    9. Beast of Burden
    10. Shattered
    The Rolling Stones
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Some Girls: Super Deluxe Edition Some Girls: Super Deluxe Edition Quick View

    $179.99
    Buy Now
    x

    Some Girls: Super Deluxe Edition

    Ranked 269/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Includes the Original Album Remastered on CD, a Bonus CD with Extras Unearthed by Producer Don Was, a 7 Single, DVD, Unseen Photos by Helmut Newton and an Essay by Anthony DeCurtis


    Universal Music Group and The Rolling Stones present the remastered, expanded, Super-Deluxe edition of their groundbreaking 1978 album, Some Girls, which introduced the band to a whole new generation of fans. Justly considered one of the finest works by Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Ronnie Wood, Some Girls topped the US charts over three decades ago and remains the best selling album of their storied career.


    In addition to the remastered album on CD and some undiscovered gems recently unearthed from the Rolling Stones vaults by producer Don Was, the Super Deluxe Edition of Some Girls will include a stunning, previously unseen Helmut Newton photo session from 1978, an essay by esteemed author and journalist Anthony DeCurtis putting the album in its cultural context, a 7 vinyl single of Beast of Burden b/w When The Whip Comes Down in its banned sleeve and Ken Regan shots from the era.


    Some Girls is the Rolling Stones' most direct and diverse collection of material from Mick Jagger's irresistible falsetto on the four-on-the-floor filler Miss You, their eighth U.S. #1, to the country-flavored Far Away Eyes via the Chuck Berry meets punk snarl of Respectable. And let's not forget the sensuous, Beast of Burden, one of Keith Richards' finest tunes, which reached #8 on the U.S. singles chart, the garage rocker Shattered, the albums' third U.S. Top 40 entry, and the soulful swagger of the group's version of The Temptations' Just My Imagination, another timeless offering in their canon of classic Stones Motown covers.


    Following the critical praise and commercial success afforded the re-mastered, expanded editions of Exile On Main Street, which matched the chart performance of the epochal 1972 album, and returned the Rolling Stones to their rightful place at the top of the British charts in 2010, the extensive reissue of Some Girls constitutes the next step in the band's ongoing relationship with Universal Music Group.


    Some Girls holds a special place in the history of the Rolling Stones and demonstrates why they remain one of the most thrilling and influential bands of all time. The 1978 album features the Keith Richards' classic Before They Make Me Run, a signature song he still performs defiantly to this day. Some Girls documented Mick Jagger's love of 1970's funk reflected in Miss You, the dance track that wrong footed many people, made the club and black charts, and made it okay for other mainstream acts at the time to 'go disco'.


    The 1978 album also courted controversy because of Jagger's tongue-in-cheek lyrics on the title track, on Miss You and on Respectable, perceived as a retort to the punk and new wave groups who had borrowed so much attitude and copped so many anti-establishment moves from the Rolling Stones. Ironically, the furor around the elaborate Some Girls package, designed by Peter Corriston and featuring the band members in drag, a nod in the direction of the picture on the 1966 single Have You Seen Your Mother, Baby, Standing in the Shadow? and likenesses of Lucille Ball, Farrah Fawcett, Raquel Welch, Judy Garland and Marilyn Monroe that hadn't been legally cleared, necessitating a swift withdrawal and rethink.


    Some Girls demonstrated the distinctive and definitive riffing from Keith Richards, with its abundance of unstoppable licks and majestic power chords driving the band into its brand new musical direction. This album not only defined him and his playing, but also defined a new era for the Rolling Stones, with Richards since described as a sense of renewal. Some Girls marks the only other time since recording Satisfaction where Richards used an effects pedal to 'elevate' the sound.


    The album cemented the position of guitarist Ronnie Wood, who had joined in 1975, and added his trademark slide and pedal steel playing to several of the album's most memorable tracks, including When the Whip Comes Down and Shattered. He also co-wrote the Shattered B-side Everything Is Turning To Gold. Some Girls also marked a move to the Pathe Marconi Studios in Paris for the Glimmer Twins production team of Jagger and Richards. These factors helped what is arguably the group's most focused and dynamic album, driven by the sans pareil rhythm section of drummer Charlie Watts and bassist Bill Wyman.


    Some Girls featured fewer guest musicians than any Rolling Stones album since 1971, but the contributions keyboard-player Ian McLagan, Wood's bandmate in The Faces, saxophone-player Mel Collins, and harmonica player Sugar Blue (discovered busking on the Paris metro), made Miss You in particular sound brighter than ever.


    Thirty-three years on from its original release, the re-mastered expanded, Super Deluxe edition of Some Girls shows exactly why the 1978 album has often been hailed as the equal of Exile On Main Street. The album stands as both a time capsule and a timeless listen and it features the band at their tightest and toughest, at their most vibrant and vital.

    CD 1 (Some Girls Remastered)

    1. Miss You

    2. When the Whip Comes Down

    3. Just My Imagination (Running Away With Me)

    4. Some Girls

    5. Lies

    6. Far Away Eyes

    7. Respectable

    8. Before They Make Me Run

    9. Beast of Burden

    10. Shattered


    CD2 - Extras

    1. Claudine

    2. So Young

    3. Do You Think I Really Care?

    4. When You're Gone

    5. No Spare Parts

    6. Don't Be A Stranger

    7. We Had It All

    8. Tallahassee Lassie

    9. I Love You Too Much

    10. Keep Up Blues

    11. You Win Again

    12. Petrol Blues


    DVD


    7" Single

    A1. Beast of Burden

    B1. When the Whip Comes Down

    The Rolling Stones
    $179.99
    7 Vinyl LP + DVD + 2 CDs - Sealed Buy Now
  • Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis Presley: Gold Records Vol. 4 (Speakers Corner)

    At first sight, it does not look as though Elvis's 31st album was destined to be a hit. But if you take a look at his artistic biography in the year of its release - 1968 - then you will recognise the clever gimmicks that his wide-awake management employed to captivate rock 'n' roll fans when Elvis was somewhat 'stiff in the hips'. In this fourth Gold Edition, a tried and tested method was used to create a new LP: namely, a compilation of single hits from the years 1961 to 1967. The result was just what fans wanted! Alongside sentimental songs such as Love Letters, the tearjerker Lonely Man and the sobbing, heartstring tugging ballad It Hurts Me, we find spirited rock 'n' roll (Witchcraft, Ain't That Loving You Baby) and honky-tonk blues (A Mess Of Blues) in a toned-down 12-beat measure. In contrast, Don't Drag That String Around is cheerful, light and springy and, - for a change - not a blues number.
    Then we have the country song Devil In Disguise with its angry lyrics, and the soul title What'd I Say by Ray Charles with an electric sound that is lent by the Rhodes piano. All in all, this LP is a great collection from the grand old days of rock 'n' roll.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: Juyl 1960 - June 1966 at RCA Studio B in Nashville, Tennessee, RCA Studios and Radio Recorders in Hollywood

    Production: Steve Sholes, Chet Atkins, George Stoll, Felton Jarvis, a.o.


    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. Love Letters
    2. Witchcraft
    3. It Hurts Me
    4. What'd I Say
    5. Please Don't Drag That String Around
    6. Indescribably Blue
    7. You're The Devil In Disguise
    8. Lonely Man
    9. A Mess Of Blues
    10. Ask Me
    11. Ain't That Loving You Baby
    12. Just Tell Her Jim Said Hello
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • All Mitch Ryder Hits! All Mitch Ryder Hits! Quick View

    $29.99
    Buy Now
    x

    All Mitch Ryder Hits!

    As a very talented teenager playing in rock and soul bands across the Detroit area, future rock and roll legend Mitch Ryder was soon discovered by mega producer and label owner Bob Crewe (Frankie Valli & The Four Seasons). Having a knack for producing and writing many hit records, in 1966 Crewe recorded Mitch Ryder & The Detroit Wheels in the studio and cut what many believe to be one of the first rock meets blue eyed soul albums with the Take A Ride, which of course featured their first chart topper Jenny Take A Ride. From this moment on, the Mitch Ryder persona was born, becoming a hero to many rock and roll fans throughout the world.


    Mitch Ryders numerous appearances on national television shows, the concert circuit and continual airplay on all his records made him a fixture on the music charts. His next number of hit singles and albums truly impacted the way a lot of us listen to music to this day. The two and a half to three minute anthems like Devil With a Blue Dress On/Good Golly Miss Molly, Too Many Fish in the Sea/Three Little Fishes and the near riot pandemonium of Sock It to Me-Baby have all truly stood the test of time.


    Noting all of the chart successes and sales of the Mitch Ryder name brand, the good folks at New Voice Records honored this famed artist with his own greatest hits album, the magnificent All Mitch Ryder Hits in 1968. This original album has been out of print for many years and for several decades in the vinyl format, that is until now.


    Friday Music is proud to offer the original New Voice Records masterpiece, the All Mitch Ryder Hits for the first time on 180 Gram Audiophile Vinyl. Mastered impeccably from the original New Voice stereo tapes by Joe Reagoso at Friday Music Studios and at Capitol Records in Hollywood, California, this amazing album truly sounds incredible in the audiophile vinyl domain. It is also the first installment in Friday Music's Mitch Ryder Original Recording Masters series, which will feature ongoing reissues from his classic and most important recordings from the classic rock era.


    This greatest hits album features all of the Mitch Ryder & The Detroit Wheels original hit recordings mentioned above as well as more killer workouts like Little Latin Lupe Lu, Joy, Breakout, Id Rather Go to Jail and a super soul interpretation of Wilson Picketts classic In the Midnight Hour.


    Friday Music has also included the original rare album cover artwork featuring the hip full color live front cover photo and the live concert action shots on the back cover. Their All Mitch Ryder Hits LP also includes a poly bag to protect your album cover and a poly lined vinyl sleeve to protect your 180 Gram vinyl.


    1. Devil With a Blue Dress On/Good Golly Miss Molly
    2. Jenny Take a Ride
    3. Joy
    4. Breakout
    5. In the Midnight Hour
    6. Sock It To Me, Baby!
    7. Little Latin Lupe Lu
    8. Takin' All I Can Get
    9. Too Many Fish In the Sea/Three Little Fishes
    10. I'd Rather Go To Jail
    11. Shake a Tail Feather
    Mitch Ryder
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
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