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  • Beethoven: Symphony No. 5 Beethoven: Symphony No. 5 Quick View

    $21.99
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    Beethoven: Symphony No. 5

    Beethoven was Wilhelm FurtwÄngler's guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum - and a constant sense of imaginative freshness - through the interrelationship of form, harmony, texture, rhythm and tempo. No work appeared more frequently in FurtwÄngler's concert programmes than Beethoven's Fifth. Between 1918 and his death in 1954, he conducted more than a hundred performances, including a superbly realized 1937 HMV studio recording with the Berlin Philharmonic and this formidable studio remake with the Vienna Philharmonic, further proof of his astonishing ability to penetrate a work to its core yet preserve it as a living entity.
    1. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): I. Allegro con brio
    2. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): II. Andante con moto
    3. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): III. Allegro -
    4. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): IV. Allegro - Presto
    Wilhelm Furtwangler
    $21.99
    Vinyl LP - Sealed Buy Now
  • Rising Force Rising Force Quick View

    $39.99
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    Rising Force

    Import


    Limited Edition Of 1,000 Numbered Copies On 180 Gram Gold Vinyl, Black Vinyl Thereafter

    Ranked First In All-Time Top Ten List Of Shred Albums By Guitar World Magazine

    Rising Force is the first studio album by guitarist Yngwie Malmsteen, released on 5 March 1984 through Polydor Records. The album reached No. 14 on the Swedish albums chart, No. 60 on the US Billboard 200, and received a nomination for Best Rock Instrumental Performance at the 1986 Grammy Awards. It is regarded as a seminal release in the shred and neoclassical metal genres.

    Steve Huey at AllMusic gave Rising Force four stars out of five, calling it 'a revelation upon its release' and 'The true inauguration of the age of the guitar shredder'. He praised Malmsteen's technique and 'blinding virtuosity', as well as highlighting 'his obsessions with Bach, Beethoven, and Paganini'.

    In a 2009 article by Guitar World magazine, Rising Force was ranked first in the all-time top ten list of shred albums. The staff wrote: 'Yngwie J. Malmsteen was, is, and always will be the greatest shredder of all time. Hell, he invented the genre with his debut.'

    Black Star and Far Beyond the Sun have endured as two of Malmsteen's most popular songs, as well as being staples of his live setlist. In a 2008 Guitar World interview, Malmsteen said of the two songs: 'I'll probably play Far Beyond the Sun and Black Star until the day I die.'

    1. Black Star
    2. Far Beyond The Sun
    3. Now Your Ships Are Burned
    4. Evil Eye
    5. Icarus' Dream Suite Opus 4
    6. As Above, So Below
    7. Little Savage
    8. Farewell
    Yngwie Malmsteen
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Quick View

    $34.99
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    Beethoven: Emperor; Concerto No. 5 (Speakers Corner)

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



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



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



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





    Musicians:



    • Sir Clifford Curzon

    • Vienna Philharmonic Orchestra

    • Hans Knappertsbusch (conductor)




    Recording: June 1957, Sofiensaal, Vienna by Gordon Parry

    Production: Erik Smith




    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.


    1. First Movement - Allegro
    2. Second Movement: Adagio Un Poco Mosso
    3. Third Movement: Rondo (Allegro)
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner)

    Schoenberg, Zemlinsky, Korngold - Bruno Walter knew them all: musicians who sought refuge from the henchmen of the Nazi Party in the New World and found artistic fulfilment there. And they all knew him and his meteoric rise to success at all the great houses in Europe. Formed by working with Gustav Mahler in Hamburg, under whose wing he rose from rÉpÉtiteur to Chorus Director and then to Kapellmeister, Walter took on further posts as Chief Conductor in Vienna, Munich and Leipzig where the talented artist matured to become a true maestro.


    Just when the aged Walter was wanting to retire into private life, Columbia motivated him to record several symphonic works - including Beethoven's Symphonies - at a time when stereo recording, with its previously undreamt technical possibilities, was just dawning. Even without any knowledge of the still existent recordings of the rehearsals of the Fourth and Fifth Symphonies, the final recording reflects the lifelong experience and meticulousness of the great conductor. In a taut and relaxed manner, and certainly not mellowed with age, Walter brings the scores to glow. The players weave a web that holds the formal symphonic components together with sophistication and richly contrasted, whereby the conductor's love for tonal detail manifests itself in easily identifiable instruments.


    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:



    • Ludwig van Beethoven (composer)
    • The Columbia Symphony Orchestra conducted by Bruno Walter

    Recording: January and February 1958 at American Legion Hall, Hollywood, USA


    Production: John McClure


    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.

    Symphony No. 4 In B-flat Major, Op. 60
    1. Adagio; Allegro Vivace
    3. Adagio
    3. Allegro Vivace. Trio. Un Poco Meno Allegro
    4. Finale: Allegro Ma Non Troppo
    Symphony No. 5 In C Minor, Op. 67
    5. Allegro Con Brio
    6. Andante Con Moto
    7. Scherzo (Allegro Vivace)

    8. Finale: Allegro
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No.5 In C Minor, Op.67 Beethoven: Symphony No.5 In C Minor, Op.67 Quick View

    $25.99
    Buy Now
    x

    Beethoven: Symphony No.5 In C Minor, Op.67

    One of four legendary LP albums that represent Carlos Kleiber's entire orchestral output for Deutsche
    Grammophon, now available individually. These LPs were expertly produced from the recent 24-bit remastered
    recordings, which are as faithful to the original analogue sources as possible. Manufactured on 180-gram vinyl, each record comes with its original LP front and back covers.
    1. Allegro con briobr
    2. Andante con moto
    3. Allegro
    4. Allegro
    Carlos Kleiber
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven (Live) Beethoven (Live) Quick View

    $35.99
    Buy Now
    x

    Beethoven (Live)

    Evgeny Kissin Releases Beethoven Album To Launch New Exclusive Collaboration With Deutsche Grammophon After 25 Years


    Evgeny Kissin skyrocketed to international fame as a piano sensation in the 1980s.


    He entranced international audiences with captivating interpretations of Romantic masterworks during his teens, and has since flourished as one of the world's most charismatic and visionary performers. Today he is a living legend, one of the most iconic names and magnetic personalities in all of music..


    Kissin's discography so far contains landmark recordings for Deutsche Grammophon, critically acclaimed collaborations with the Berliner Philharmoniker, Herbert von Karajan and Claudio Abbado among them.


    Selected by the artist himself, this luxurious Beethoven double album represents Kissin's personal journey with the composer's solo work over the last decade and includes some of Beethoven's greatest and best-loved solo piano works such as the Moonlight Sonata or the Appassionata - most of them never released before.


    This album is a first in a series of releases renewing the relationship between Kissin and Deutsche Grammophon.

    LP 1
    1. Piano Sonata No.3 In C, Op.2 No.3
    2. Allegro Con Brio (Original Version)
    3. Adagio (Original Version)
    4. Scherzo Allegro (Original Version)
    5. Allegro Assai (Original Version)
    6. 32 Piano Variations In C Minor On An Original Theme, Woo 80 (Live At Le Corum, Montpellier / 2007)


    LP 2
    1. Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 -'Moonlight'
    2. Adagio Sostenuto (Original Version)
    3. Allegretto (Original Version)
    4. Presto Agitato (Original Version)
    5. 1. Allegro Assai (Original Version)
    6. Andante Con Moto (Original Version)
    7. Allegro Ma Non Troppo (Original Version)


    LP 3
    1. 1. Das Lebewohl Adagio - Allegro (Original Version)
    2. Abwesenheit Andante Espressivo (Original Version)
    3. Das Wiedersehen Vivacissimamente (Original Version)
    4. 1. Maestoso - Allegro Con Brio Ed Appassionato (Original Version)
    5. Arietta Adagio Molto Semplice E Cantabile (Original Version)

    Evgeny Kissin
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $29.99
    Buy Now
    x

    Beethoven: Symphony No. 9

    " undoubtedly a great performance: the power of this interpretation is so compelling, its beauty so moving, and the solo quartet is, I imagine, as good as you could find " - Gramophone

    A historic version of one of the most famous classical works ever, recorded at the occasion of the re-opening of the Bayreuth Festspielhaus in 1951.

    LP 1
    1. Symphony No. 9 in D Minor, Op. 125 'Choral': I. Allegro ma non troppo, un poco maestoso
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': II. Molto vivace - Presto - Molto vivace - Presto


    LP 2
    1. Symphony No. 9 in D Minor, Op.125 'Choral': III. Adagio molto e cantabile - Andante moderato
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': IV. Presto - Allegro ma non troppo - Allegro assai

    Wilhelm Furtwangler
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress) Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress)

    Possessing a complete recording of Beethoven's Cello Sonatas gives far more satisfaction than merely having the set to fill the shelves. On the one hand it offers one the opportunity to compare Beethoven's art of composition at various stages in his life. And on the other hand one can already recognise in the early Opus 5 how he breaks with the traditional sonata in which the solo instrument merely provides an accompaniment and treats the two instruments as equal partners in the creation of the movements.



    Richter and Rostropovich devote themselves to their task with verve and freshness. The two early works are marked by the rich and full sound of the cello and an elegantly performed piano part, while the two Russian musicians foster a contemplative, introverted style in the A major Sonata. This respectful approach also lends itself well to the C major Sonata where the free, fantasia-like character with wide-ranging shading is shown off to advantage. Beethoven's break with the traditional sonata-form layout is carried to extremes in the D major Sonata, where the cello ignores the powerful theme on the piano in the first movement. The work's brittleness is effectively revealed by the two musicians in the transition from the sensitive Adagio to the austere, freely worked final Fugato, while their resolute and analytical approach to the work and technical prowess on their instruments is highly rewarding.



    Musicians:



    • Mstislav Rostropovich (cello)

    • Sviatoslav Richter (piano)



    Recording: June 1962 at RosenhÜgel Studios, Vienna, and July 1961 at Walthamstow Assembly Hall, London, by C.R. Fine

    Production: Harold Lawrence



    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. Sonata for Cello & Piano No. 1 in F, Op. 5 No. 1

    2. Sonata for Cello & Piano No. 2 in G minor, Op. 5 No.2
    3. Sonata for Cello & Piano No. 3 in A, op. 69
    4. Sonata for Cello & Piano No. 4 in C, op. 102 No. 1
    5. Sonata for Cello & Piano No. 5 in D, op. 102 No. 2
    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Beethoven: Violin Concerto In D, Op. 61/ Kogan Beethoven: Violin Concerto In D, Op. 61/ Kogan Quick View

    $34.99
    Buy Now
    x

    Beethoven: Violin Concerto In D, Op. 61/ Kogan


    Full Analog Mono Production


    Recorded June 29 and 30, 1957, originally by EMI Music France. Leonid Borisovich Kogan was born on Nov. 14, 1924, in the Ukraine. His father played the violin as an amateur and the sound so fascinated the boy that by age 3 he would not go to sleep unless he had the fiddle beside him. After age 5 he began taking lessons on the instrument. He made his first public appearance playing, at age 10. His official concert debut came playing the Brahams Concerto with the Moscow Philharmonic in 1941. For the celebrated violinist, his interpretation of the Beethoven Concerto was one of the glories of his era; none of his contemporaries played it with such consistent stylistic command or such intellectual and spiritual penetration.

    1. Violin Concerto in D, Op.61
    2. I Allegro ma non troppo
    3. II Larghetto
    4, III Rondo (Allegro)
    Andre Vandernoot
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Beethoven: Sonatas Nos. 30-32 (Speakers Corner) (Awaiting Repress) Beethoven: Sonatas Nos. 30-32 (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Sonatas Nos. 30-32 (Speakers Corner) (Awaiting Repress)

    Ludwig van Beethoven: Piano Sonatas No. 30 in E major op. 109, No. 31 in A-flat major op. 110, No. 32 in C minor op. 111


    Myths abound when it comes to the late works of important composers. It is debatable as to whether this is due to their timelessness, or their often extensive form, which makes great demands on the listener, or simply the supreme skill with regard to the composer's own musical language, which is demonstrated in mature works. It is commonly understood that a performer of late works should treat them with due respect and possess an exceptional command of his instrument. But not so with Glenn Gould, who at the tender age of 23, shortly after his recording debut for the Columbia label of Bach's Goldberg Variations, dared to perform Beethoven's last three Piano Sonatas.


    Gould, as always analytical, yet supremely flowing, carves out the tightly-knit contrapuntal structure of the fast movements. The slow movements are finely perceived though free of contemplative sentiment and waft gently through the air, here somewhat drily dabbed at, then again singing and full of round, melodious piano sound. Bar for bar it is noticeable that the young Gould knows exactly what he is doing and with whom he is dealing. Here in the hands of this young maestro Beethoven's spirit is certainly compelling and intoxicating.

    Musicians:



    • Ludwig van Beethoven (composer)

    • Glenn Gould (piano)




    Recording: June 1956 at Columbia 30th Street Studio, New York, by Fred Plaut in mono

    Production: Howard H. Scott




    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. Sonata No. 30 In E Major, Op. 109 - Vivace, Ma Non Troppo, Sempre Legato
    2. Sonata No. 30 In E Major, Op. 109 - Prestissimo
    3. Sonata No. 30 In E Major, Op. 109 - Andante Molto Cantabile Ed Espressivo; Variations I-VI
    4. Sonata No. 31 In A-Flat Major, Op. 110 - Moderato Cantabile Molto Espressivo
    5. Sonata No. 31 In A-Flat Major, Op. 110 - Allegro Molto
    6. Sonata No. 31 In A-Flat Major, Op. 110 - Adagio No Non Troppo (Beginning)
    7. Sonata No. 31 In A-Flat Major, Op. 110 - Fuga (Conclusion)
    8. Sonata No. 32 In C Minor, Op. 111 - Maestoso; Allegro Con Brio Ed Appassionato
    9. Sonata No. 32 In C Minor, Op. 111 - Arietta (Adagio Molto Semplice E Cantabile)
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Our Beloved Revolutionary Sweetheart Our Beloved Revolutionary Sweetheart Quick View

    $22.99
    Buy Now
    x

    Our Beloved Revolutionary Sweetheart


    25th Anniversary Reissue


    Featuring New Liners And Photos


    When indie superstars Camper Van Beethoven signed with Virgin Records in the late 1980s, it seemed inconceivable. How could that band move to a
    major label without "selling out" and sacrificing all that made them great?


    The first three tracks on Our Beloved Revolutionary Sweetheart were a pop song, an instrumental and an adaptation of a folk dirge about death. Heck, the
    release even had a love song for Patty Hearst. No, Camper Van Beethoven didn't sell out. They just had better distribution now.


    Omnivore Recordings is proud to take everyone back to 1988, when musical worlds collided and Camper Van Beethoven helped break the mold and blur
    the lines between indie rock and "alternative." Suddenly, it was an even playing field and Our Beloved Revolutionary Sweetheart found itself in the bins
    next to Chicago and Cinderella. Produced by Dennis Herring (Elvis Costello, Counting Crows), the 25th anniversary of this landmark album finds it
    reissued for the first time since its original issue.


    Featuring new liners and photos, Our Beloved Revolutionary Sweetheart is being reissued in tandem with its acclaimed follow up
    Key Lime Pie, with full cooperation and input from the band themselves. These are the releases CVB fans have been dreaming of.


    It's been a few years since the end of the 1980s, but Camper Van Beethoven has always been timeless. Our Beloved Revolutionary Sweetheart proves
    that. It's even spelled out in the title: beloved, revolutionary and a real sweetheart.

    1. Eye Of Fatima (Pt. 1)
    2. Eye Of Fatima (Pt. 2)
    3. O Death
    4. She Divines Water
    5. Devil Song
    6. One Of These Days
    7. Turquoise Jewelry
    8. Waka
    9. Change Your Mind
    10. My Path Belated
    11. Never Go Back
    12. The Fool
    13. Tania
    14. Life Is Grand
    Camper Van Beethoven
    $22.99
    Vinyl LP - Sealed Buy Now
  • Key Lime Pie Key Lime Pie Quick View

    $34.99
    Buy Now
    x

    Key Lime Pie


    Includes 45 RPM Bonus Track "Closing Theme!" On Side D (Plays From The Center Groove)


    Includes New Liners And Photos


    Camper Van Beethoven signed with Virgin Records in 1988 and delivered a record that defied those who thought the band might "sell out." The band
    returned the following year with what most deem their masterpiece- Key Lime Pie.


    Omnivore Recordings is excited to reissue Camper Van Beethoven's Virgin Records output, including 1989's classic, Key Lime Pie.


    Once again produced by Dennis Herring (Elvis Costello, Counting Crows), Key Lime Pie continued the journey into the world of CVB, but with higher
    production value and sound than had been heard before. From a track about Jack Ruby to a cover of Status Quo's "Pictures Of Matchstick Men", Key
    Lime Pie was a slice above the rest and a fitting dessert for the 1980s.


    The nearly hourlong album was originally pressed on one LP, but Omnivore has expanded it to two LPs
    (for better sound) and added a bonus track to Side D.


    Includes new liners and photos. Presented as they should be, they will delight fans and educate those who have only read about the
    importance of this record. Key Lime Pie is both sweet and tart, but Key Lime Pie is an essential component to any musical meal.

    LP 1
    Side A
    1. Opening Theme
    2. Jack Ruby
    3. Sweethearts
    4. When I Win The Lottery
    Side B
    1. (I Was Born In A) Laundromat
    2. Borderline
    3. The Light From A Cake
    4. June
    5. All Her Favorite Fruit


    LP 2
    Side A
    1. Interlude
    2. Flowers
    3. The Humid Press Of Days
    4. Pictures Of Matchstick Men
    5. Come On Darkness
    Side B - 45 RPM - Plays From The Center Groove, So Be Sure To Put The Needle In The Right Place!
    1. Closing Theme

    Camper Van Beethoven
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Happy Jawbone Family Band Happy Jawbone Family Band Quick View

    $15.99
    Buy Now
    x

    Happy Jawbone Family Band


    Limited, Hand Numbered First Edition LP


    Recorded With Travis Taverniere (Woods And Meneguar)


    Art By Rob Carmichael/Seen Studio (Animal Collective, Cloud Nothings, Etc )


    Freewheeling Brattleboro, VT rock/folk wonderments the Happy Jawbone Family Band bring their latest full-length to Mexican Summer. What they've entrusted us to give to you represents their nest and most directly fullling effort to date. The energy and humor of early releases remains; that band you may have loved before has grown even stronger and more potent, its songs now monuments to individualism, to longing, to happier endings resulting from imperfect circumstances. Binding folk, indie rock and pop forms together is easy enough; it's what this band does with them, how it builds its sentiments and bursts preconceptions, that put them in a place where these musicians can rest, comfortably above and apart from almost every band working in this same terrain today. We're hearing the trippiest moments of the Beatles, Lindsey Buckingham at the peaks he reached on Tusk, and both poles of American post-punk songwriting royalty, Camper Van Beethoven at one end and Thinking Fellers Union Local 282 at the other. Try it on.

    1. Everybody Knows About Daddy
    2. I Have to Speak With Rocky Balboa
    3. D-R-E-A-M-I-N'
    4. That Green Light
    5. Hans Christian Andersen's "The Little Mermaid"
    6. Stay-at-Home Soldier
    7. Can't Hear Me Ticking
    8. Do You Want Me
    9. Mr. Clean
    10. I'll Never Go Skin Deep Again
    11. I Don't Wanna Dance Tonight
    Happy Jawbone Family Band
    $15.99
    Vinyl LP - Sealed Buy Now
  • Uncharted Uncharted Quick View

    $38.99
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    Uncharted

    Import

    The Piano Guys have become a YouTube sensation with their clever and inspiring takes on popular music and creative videos that accompany them. From Beethoven to Adele, their eclectic mix of Classical, film score, Rock and Pop favorites resonate with audiences across generations and from all walks of life. Their 2012 debut album The Piano Guys [MOVCL020] reached No. 1 on the Billboard New Age Albums and Classical Albums charts.


    Several of the group's YouTube videos have over 20 million views. As of October 2016 The Piano Guys' YouTube channel had more than a billion total video views and over five million subscribers. In June 2011, The Piano Guys won the Most Up-and-Coming Channel award in the YouTube On the Rise contest with Michael Meets Mozart with Schmidt and Nelson.


    The latest album by the trio Uncharted includes the classical versions of Hello (AdÉle), The Jungle Book, Indiana Jones And The Arabian Night as well as the never heard before tracks Pirates Of The Caribbean, Holding On and Okay.

    1. Fight Song / Amazing Grace
    2. A Sky Full of Stars
    3. Hello / Lacrimosa
    4. Okay
    5. Themes from Pirates of the Caribbean
    6. Celloopa
    7. The Jungle Book / Sarabande
    8. Holding On
    9. Can't Stop the Feeling
    10. Tour de France
    11. Uncharted
    12. Indiana Jones and the Arabian Nights
    The Piano Guys
    $38.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Berlioz: Symphonie Fantastique (Speakers Corner) Berlioz: Symphonie Fantastique (Speakers Corner) Quick View

    $34.99
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    Berlioz: Symphonie Fantastique (Speakers Corner)

    Beethoven had just finished writing his symphonies when - in 1830 - a young Frenchman created a sensation with his completely novel and exuberant orchestral music. Based on classical music form, Berlioz composed his »massive instrumental composition« as a five-movement musical drama. Such a stroke of genius, in which the ego and grief thereof are described, had never been heard before in the French Romantic period.


    Berlioz employs a very large orchestra with a big timpani section, four bassoons and military brass to present the young artist - an autobiographically motivated character - who dreams his way through the various episodes, hallucinating and frenzied. Here it is clear that it is Berlioz' declared intention to express the artist's visions radically and unmistakably in music - beginning with the ever-recurring delusional 'idÉe fixe' via a terrifying opium intoxication and ending up with the nightmare of his own burial.


    Of the many high-quality, often highly impassioned performances, this particular one by Dimitri Mitropoulos is certainly a benchmark recording. The great conductor makes the rhythms pulsate; he skilfully mixes the wealth of sound colouring, and blends the orchestral instruments so subtly that one notices previously unheard details with every listening.


    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:



    • Hector Berlioz (composer)
    • The New York Philharmonic Orchestra conducted by Dimitri Mitropoulos



    Recording: February 1957 in New York




    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. I - Reveries; Passions
    2. II - Un Bal
    3. III - ScÉne Aux Champs
    4. IV - Marche Au Supplice
    5. V Songe D'Une Nuit Du Sabbat
    Hector Berlioz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Complete Concerto Recordings (Box-Set) The Complete Concerto Recordings (Box-Set) Quick View

    $109.99
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    The Complete Concerto Recordings (Box-Set)

    With this special LP limited edition box set, Deutsche Grammophon pays tribute to an extraordinary musical
    partnership. The 6LP set collects all the concerto recordings made by pianist Martha Argerich with conductor
    Claudio Abbado over more than 45 years, covering works by Beethoven, Chopin, Prokofiev, Tchaikovsky and many others. "Between them Argerich and Abbado generate a heady world of romance and electricity," BBC Music Magazine 2014.
    LP1
    PROKOFIEV Piano Concerto No. 3 | RAVEL Piano Concerto in G
    Berliner Philharmoniker


    LP2

    CHOPIN | LISZT Piano Concertos No. 1

    London Symphony Orchestra


    LP3
    TCHAIKOVSKY Piano Concerto No. 1
    Berliner Philharmoniker


    LP4
    BEETHOVEN Piano Concertos Nos. 2 & 3
    Mahler Chamber Orchestra


    LP5
    MOZART Piano Concertos Nos. 20 & 25
    Orchestra Mozart


    LP6
    RAVEL Piano Concerto in G | RAVEL Gaspard de la nuit
    London Symphony Orchestra

    Martha Argerich and Claudio Abbado
    $109.99
    Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Chopin - Scherzo No. 3 / Brahms -  Rhapsodies (Speakers Corner) Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner) Quick View

    $34.99
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    Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner)

    The debut recording by the Argentinian pianist Martha Argerich took the public by the storm all over the world - and the applause has still not subsided! A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages - and Martha Argerich proves herself a master of them all! The demonic opening of the Scherzo in C sharp minor gives way to an iridiscent dialogue which sings and sparkles beyond compare. The Barcarolle rocks gently along; Prokofiev's Toccata is filled with dynamic force and nervous agitation; Ravel's Jeux d'eau is pensive and introverted, with the water rippling in a circular motion. As a contrast, the two famous Brahms Rhapsodies are performed with passion, impetuosity and occasionally the required heaviness.



    This recording is surely one of the brightest candles to burn anew on Deutsche Grammophon's birthday cake.



    This record was part of the 3-LP Set "The Conductors" and is now available again.



    Musicians:



    • Martha Argerich (piano)




    Recording: July 1960 at Beethoven-Saal, Hannover by Heinz Wildhagen

    Production: Prof. Elsa Schiller





    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    1. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp
    2. Minor, Op.39
    3. Rhapsody, Op.79: No.1 Agitato In B Minor
    4. Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
    5. Toccata, Op. 11
    6. Jeux D'Eau: Tres doux
    7. Barcarole In F Sharp Major, Op. 60
    8. Hungarian Rhapsody No.6:
    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Carnegie Hall (Pure Pleasure) At Carnegie Hall (Pure Pleasure) Quick View

    $34.99
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    x

    At Carnegie Hall (Pure Pleasure)

    When Paul Robeson took the stage at Carnegie Hall in May of 1958, it had been 11 years since he had previously concertized freely in the United States. Blacklisted from the entertainment industry at home, and with the State Department unwilling to issue him a passport, he had fallen into eclipse as a singer and actor over the previous eight years. The concert recorded here, one of two at Carnegie Hall in May of 1958, marked his return. The performances on this record would also be his only stereo recordings -- all were, naturally enough, the work of Vanguard Records, the New York-based record company that was also the home to fellow blacklistees The Weavers.


    The singing legend is in excellent voice throughout, his rich bass-baritone reveling in performances of a repertory that encompassed Bach, Mussorgsky, Schubert, Dvorák, Beethoven, traditional gospel, Russian and Chinese folk songs, Old Man River from Show Boat, and monologues from Shakespeare and the opera Boris Godunov. With a piano accompaniment by Alan Booth, Robeson ranged across a huge part of his own performing history. The 60-year-old singer, despite the decade of artificially imposed inactivity, still had much of his vocal power intact and all his dramatic instincts, and makes every moment count in his performance, investing immense power in every note and nuance.


    Sadly, his Vanguard performances were to be his only work captured on modern recording equipment -- because of the blacklist, everything else predated the arrival of recording tape and the long-playing record. But the performance captured here, and those represented on Vanguard's The Essential Paul Robeson, show a man still capable of moving huge numbers of people with his voice -- and equally important, even at this late date, who had not lost the ability to walk a crowd through a vast and difficult range of repertory; his performances, even after ten years of professional exile, were also learning experiences, and consciousness-raising, which is why reactionaries in the United States were so afraid of him in the first place. And none of it has lost any of its power in the five decades since the actual event.


    Musicians:



    • Paul Robeson (vocals)

    • Alan Booth (piano)




    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. Every Time I Feel the Spirit
    2. Balm In Gilead
    3. Volga Boat Song
    4. Monologue From Othello (Shakespeare)
    5. O Thou Silent Night (Alexadnrov)
    6. Chinese Children's Song
    7. My Curly Headed Baby (G.H. Clutsam)
    8. Old Man River
    9. Going Home (Dvorak, arr. Fisher)
    10. Monologue from Boris Godunov (Mussorgsky)
    11. The Orphan (Mussorgsky)
    12. Christ lag in Todesbanden (J.S. Bach)
    13. Didn't My Lord Deliver Daniel
    14. Lullaby (Franz Schubert)
    15. O No John
    16. Joe Hill
    17. Jacob's Ladder
    Paul Robeson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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