Authorized & Certified VPI Dealer

A World of Vinyl

Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Begin To Hope

'
Results per page:
  • Begin To Hope Begin To Hope Quick View

    $19.99
    Buy Now
    x

    Begin To Hope

    Regina Spektor's last album, 2004's Soviet Kitsch, garnered praise from Time, Rolling Stone, Spin, Vanity Fair, The New York Times and many others. But this Russian-born, Bronx-bred singer-songwriter-pianist, who emerged from the NYC cafÉ circuit, continues to expand her vision. On Begin To Hope, produced by David Kahne (The Strokes, Sublime, Sugar Ray), she broadens here palette with electric guitar, drum machines and seductive electronic loops, finding new canvases for her provocative vocal style. Hope for pop has arrived with Regina Spektor.
    1. Fidelity
    2. Better
    3. Samson
    4. On the Radio
    5. Field Below
    6. Hotel Song
    7. Apres Moi
    8. 20 Years Of Snow
    9. That Time
    10. Edit
    11. Summer In The CIty
    Regina Spektor
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Hunt Begins The Hunt Begins Quick View

    $18.99
    Buy Now
    x

    The Hunt Begins

    2007: The cover art of the first record Sacred Bones ever released depicted an
    androgynous wild banshee wearing warpaint, clad all in leather and animal
    bones, holding a sacrificial knife pointed at the sky. This debut single was The
    Hunt's lone statement. The songs were a visceral pulsation, etched in echo.
    The band appeared veiled in black scarves, painted faces bringing in devotees of
    the waves of old: post punk, darkwave, deathrock and the like. The sick fiends
    that followed, followed to the end; as bright as their flame shone, as dark was
    their demise. London, structure fires, and mental institutions all played a part in
    the downfall of the originators of 21st century redskin darkwave.


    2009: After multiple tumultuous attempts at recording a full length The Hunt
    decamped to their collective hometown, Boston, to record the ultimate
    document of their time on earth. Buses begat buses, couches begat couches, and
    slowly the songs began to come together as they should have all these passing
    years. On the edge of perfection their time was cut short and this document sat
    for years, untouched by human hands.


    2013: The Hunt lives on. In honor of both the first and one hundredth release,
    we will finally see and hear the toils of New York's most enigmatic post
    punk band of recent. Ian Danger, percussive wunderkind; Mike O'Brien, whose
    four strings drew blood nightly; Christian Kount, master of negative space;
    and Jasper McGandy, the man who's hopes for a darker future led them towards
    a reality we only now have the honor of witnessing. After all these years the
    time has come. The Hunt Begins.

    1. Mountains
    2. Fifteen Minutes
    3. Summer of Hate
    4. Set the Rising Sun
    5. Black and White
    6. Scripts
    7. Trainwreck
    8. When The Sky Turns Black
    9. One Thousand Nights
    The Hunt
    $18.99
    Vinyl LP - Sealed Buy Now
  • In The Beginning In The Beginning Quick View

    $75.99
    Buy Now
    x

    In The Beginning

    Hand-Numbered Slipcase With An 8-Panel Booklet With Notes By Ashley Kahn, Quincy Jones, Pete Townshend & Others


    Collector Postcards Of Never-Before-Published Photos


    Pressed By Record Technology Incorporated


    Mastered By Engineering Legend, Bernie Grundman


    Newly Discovered Live & Studio Recordings From 1949-1958


    In the Beginning features recordings of Wes Montgomery spanning the years from 1949 to 1958, the formative years when the six-string virtuoso was honing his craft in Southern Indiana. Since Wes Montgomery's passing in 1968, only two other albums of predominantly unreleased material have been released Willow Weep For Me (Verve 1968) and Echoes of Indiana Avenue (Resonance 2012). Resonance Records is pleased to introduce the third such archival offering with In the Beginning.
    The project began life in the wake of Echoes of Indiana Avenue. Even before that release, Buddy Montgomery's widow Ann approached Feldman and Resonance founder George Klabin with the Turf Club, Missile Lounge, and jam session recordings, looking for a respectful home for this never-released music. Philip Kahl, a 22 year old Butler College student had access to the brothers and recorded them at the before mentioned places with a portable tape recorder. 'In the Beginning started out early as a project exclusively focusing on the recordings received from Ann & Buddy Montgomery and evolved into an early years collection. There hasn't been a release like this in Wes's discography until now', says producer Zev Feldman.
    The 26-track collection will be available as 2-CD and 3-LP sets. These newly discovered live & studio recordings from 1949-1958, include a complete never-before-released 1955 Epic Records session produced by Quincy Jones, licensed from Sony Music Entertainment, newly discovered 78 RPM sides with Wes as a sideman recorded for Spire Records (1949), a live recording from the home of Ervena Montgomery, Indianapolis (1956), live recordings from the Turf Club (1956), the Missile Lounge (1958) in Indianapolis, and the C&C Music Lounge in Chicago (1957).


    This is presented on 180-gram vinyl mastered by engineering legend, Bernie Grundman, & pressed on 12inch LPs at 33 1/3 RPM by Record Technology Incorporated (R.T.I.) in a hand-numbered slipcase with an 8-panel booklet, and collector postcards of unpublished photos. In the Beginning features extensive liner notes, and meticulously designed artwork that have become the label's trademarks. The release is attractively designed by Burton Yount. This release is made possible with the help of Robert Montgomery, Wes's youngest son, and the head of the Wes Montgomery Estate who signed on as associate producer for the project. Feldman says, 'This is another chapter of previously undiscovered Wes, one which aficionados couldn't have even hoped existed a few short years ago. Resonance is proud to present another chapter in the legacy of Wes Montgomery.'

    LP1
    1. After You've Gone
    2. Fascinating Rhythm
    3. Brazil
    4. What Is There to Say?
    5. Four
    6. Wes' Tune
    7. My Heart Stood Still
    8. How High the Moon
    9. Django


    LP2
    1. Going Down to Big Mary's
    2. I Should Care
    3. Caravan
    4. Six Bridges to Cross
    5. Ralph's New Blues
    6. Soft Winds
    7. Robbins Nest


    LP3
    1. A Night in Tunisia
    2. Love for Sale
    3. Leila
    4. Blues
    5. Undecided
    6. Far Wes
    7. All the Things You Are
    8. King Trotter
    9. Carlena's Blues
    10. Smooth Evening

    Wes Montgomery
    $75.99
    200 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Remember Us To Life Remember Us To Life Quick View

    $26.99
    Buy Now
    x

    Remember Us To Life

    Regina Spektor returns with her seventh album Remember Us To Life out on Sire/Warner Bros. Records.


    The new LP marks Spektor's first outing since 2012's What We Saw From The Cheap Seats, which debuted at #3 on the Billboard Album Chart and her Grammy-nominated theme song "You've Got Time" for the hit Netflix show Orange Is The New Black.


    Remember Us To Life is composed entirely of all new songs recently written by Spektor, a change from past albums when she would record songs written throughout her career. Spektor gave birth to her first child in 2014 and she spent considerable time writing during and after her pregnancy. Says Spektor "I made more art and felt more inspired than I had in a long time."


    Spektor recorded with producer Leo Abrahams (David Byrne/Brian Eno, Frightened Rabbit, Paolo Nutini) in Los Angeles at The Village Studios. Says Spektor of Abrahams, "he is such a kind and talented musician. And person! I felt very grateful to work with him."


    Born in the Soviet Union, Spektor began studying classical piano when she was six. Her family emigrated in 1989, landing in New York City, where she continued her classical training. Spektor eventually studied composition at the Conservatory of Music at Purchase College where she graduated with honors. She began writing pop songs in her late teens and made her recorded debut in 2001 with the self-released 11:11, a collection of songs heavily influenced by jazz and blues. Songs followed in 2002 and Soviet Kitsch in 2004. Spektor's commercial breakthrough came in 2006 on her fourth LP, Begin to Hope. The gold-certified album included the singles "On the Radio," "Better" and "Fidelity," which climbed the Billboard Hot 100 singles chart. Spektor's fifth album, Far released in 2009, and sixth album, What We Saw From the Cheap Seats released in 2012, both debuted at No. 3 on the Billboard 200 albums chart.

    1. Bleeding Heart
    2. Older And Taller
    3. Grand Hotel
    4. Small Bill$
    5. Black And White
    6. The Light
    7. The Trapper And The Furrier
    8. Tornadoland
    9. Obsolete
    10. Sellers Of Flowers
    11. The Visit
    Regina Spektor
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Soul To Soul (Pure Pleasure) Soul To Soul (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Soul To Soul (Pure Pleasure)

    The acclaimed composer, jazz vocalist, producer, arranger and educator Carmen Lundy believes in honesty and sincerity in music. Her artistic passion has guided her around the world, working with numerous musicians such as Geri Allen, Patrice Rushen, Teri Lynne Carrington and many others. So it should come as no surprise that her fervent new song cycle, titled Soul To Soul, features an array of award-winning musicians that help her realize the next chapter in her critically acclaimed career.


    Soul To Soul is Carmen Lundy's 14th album and features 13 songs, 11 of which Carmen composed and arranged. She plays guitar on all tracks, piano on "Kindred Spirits", the electric Rhodes on "Don't You Know How I Feel", and the drums/percussion on "Sardegna" and also provides backing vocals on "Grace". The Los Angeles-based vocalist opens the program with "Kindred Spirits", a song that explores the concept of 'you reap what you sow' and the way you play the game of life. Next is "Life Is A Song In Me", during which Lundy's lyrics benefit from the synergy of her multi-octave range and vocalese, Rushen's Rhodes solo, Jamison Ross' exemplary drumming and the balanced backing vocals.


    Carmen Lundy continues to find new connections between the jazz elements used by vocalists and instrumentalists on the title track, "Soul To Soul". She adds the stellar accompaniment of trumpeter Randy Brecker, tenor saxophonist Ada Rovatti and piano chops of Patrice Rushen to underline her musical persona and vocal technique. The sound motion inherent in that song has great tone that many people will feel instantly and submit it to their memory and recall abilities. That is what makes a song a hit with people - its sound motion.


    Her great ballad, "When Will They Learn", is absolutely beautiful with its string arrangements for harpist Carol Robbins and the serene brushwork of Jamison Ross. Here Carmen delivers the song in her vocals lower octaves which make this moving song one of the best on the recording. You can hear that she has internalized the music, allowing it to flow in her veins and transferring it directly to the listener.
    Overall, Soul To Soul is among Carmen Lundy's best recordings. She understands that those notes she puts down on paper are important and have their place. But when it comes to delivering those notes, her vocal acumen and virtuosity proves that she has the right balance, the right accompaniments, the right musical formats and the right synergy, artistry and jazz sensibilities to make those inspired notes accessible to her worldwide fans. Check it out.


    Musicians:



    • Carmen Lundy (vocal, keyboard, guitar, drums, percussion)

    • Bennie Maupin (tenor saxophone, soprano saxophone)

    • Randy Brecker (trumpet, fluegel horn)

    • Patrice Rushen (keyboard)

    • Carol Robbins (harp)

    • Simphiwe Dana (vocals)

    • Darryl Hall (bass)

    • Mayra Casales (conga, percussion)

    • Jamison Ross (drums, percussion)



    Recording: 2014 at Firehouse Recording Studios, Pasadena (CA), by Don Murray
    Production: Elisabeth Oei & Carmen Lundy


    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. Kindred Spirits
    2. Life Is a Song in Me
    3. Soul to Soul
    4. When Will They Learn
    5. Daybreak
    6. Between Darkness and Dawn
    7. Grace
    8. Grateful, Pt. 1
    9. Grateful, Pt. 2
    10. Everything I Need
    11. Don't You Know How I Feel
    12. Sardegna
    13. What's Your Story, Morning Glory
    Carmen Lundy
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Ode To Billie Joe (Pure Pleasure) Ode To Billie Joe (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Ode To Billie Joe (Pure Pleasure)

    Gentry's first 1967 album is a masterpiece, it's a simple as that. An album of hauntingly beautiful songs penned by Bobbie herself bar one track. The album is an uncluttered, straight down the line collection of smoky voiced gems, mostly with the simplest guitar accompaniment, but with a quirky, almost psychedelic twist on each track. The album is in a very similar vein and feel to Rodiguez's stunning Cold Fact which came out three years later, and side by side you would imagine the later album may have been inspired by Bobbie's seminal Ode To Billy Joe. This album can also easily compare with Dusty's In Memphis for it's sheer intimacy and soulful feel and is certainly in the same league musically.



    After this first album, Bobbie moved into a more MOR groove, which in a way makes this such a stand out and important album. Very, very highly recommended especially as it has now been re-mastered at Abbey Road Studios by Sean Magee.



    Musicians:



    • Bobbie Gentry (vocal, guitar)

    • Jimmie Haskel, Shorty Rogers (arranger)




    Recording: 1967

    Production: Kelly Gordon



    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. Mississippi Delta
    2. I Saw an Angel Die
    3. Chickasaw County Child
    4. Sunday Best
    5. Niki Hoeky
    6. Papa, Woncha Let Me Go to Town With You?
    7. Bugs
    8. Hurry, Tuesday Child
    9. Lazy Willie
    10. Ode To Billie Joe
    Bobbie Centry
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Takes To The Hills (Pure Pleasure) Takes To The Hills (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Takes To The Hills (Pure Pleasure)

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



    Musicians:



    • Mose Allison (piano, vocals)

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

    • Jerry Segal (drums)

    • Paul Motian, Osie Johnson (drums)



    About Pure Pleasure



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



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



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



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



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



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

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

    $34.99
    Buy Now
    x

    Back To The Blues (Pure Pleasure)

    Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material. During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death.


    The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire--Big Bill Broonzy, Leroy Carr and Lil Green being represented--and there is a nine-minute Nobody Knows The Way I Feel This Morning that is unique in her discography.

    Musicians:



    • Dinah Washington (vocals)
    • Illinois Jacquet, Eddie Chamblee (tenor saxophone)
    • Jack Wilson, Patti Bown (piano)
    • Jimmy Sigler (organ)
    • Everett Barksdale, Billy Butler (guitar)
    • George Duvivier (bass)
    • Jimmy Thomas, Osie Johnson (drums)



    Recording: March - November 1962 at Bell Sound Studios, New York

    Production: Henry Glover


    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. The Blues Ain't Nothin' But A Woman Cryin' For Her Man
    2. Romance In The Dark
    3. You've Been A Good Old Wagon
    4. Let Me Be The First To Know
    5. How Long, How Long Blues
    6. Don't Come Running Back To Me
    7. It's A Mean Old Man's World
    8. Key To The Highway
    9. If I Never Get To Heaven
    10. Duck Before You Drown
    11. No Hard Feelings
    12. Nobody Knows The Way I Feel This Morning
    Dinah Washington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • To Bonnie From Delaney (Speakers Corner) To Bonnie From Delaney (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    To Bonnie From Delaney (Speakers Corner)

    The married couple and musical duo Delaney & Bonnie ignited critics, fans and famous musical colleagues to veritable bursts of exultation. Mick Jagger of the Rolling Stones talked matter-of-factly of »convincing white gospel song«, while Eric Clapton regarded the duo as the »best pop band in the world«. Clapton's enthusiasm went so far that he invited the pair to accompany him on a peaceful tour of Europe and was booed by German fans because he stood in the background as a mere accompanist and did not play any solos. The master of the guitar may have had good reasons for staying out of the limelight, if one is to believe the Chicago Daily News, who declared that Delaney & Bonnie were better than Aretha Franklin and Ray Charles together.


    Indeed the combined voices in the arrangements are so closely knit that there is not a millimeter of space between the singer and backing. In Hard Luck And Troubles, a dry cantankerous groove, the vocals cling to a sinewy bass line, crisscrossed by short chords on the organ. Gospel is celebrated spiritually, yet not too much so, in a rocking, rhythmic and dense interplay between the soloist and chorus. And what is more: the great ballad, hovering above a vibrating carpet of sound on the organ (The Love Of My Man) and crisp, firm winds (Alone Together) are included in this exquisite collection of great and even great songs.


    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:



    • Delaney Bramlett (guitar, vocals)

    • Bonnie Bramlett (vocals)

    • Duane Allman (guitar)

    • Little Richard (piano)

    • Jim Gordon (keyboard)

    • Tommy McClure (bass)

    • Sammy Creason (drums)

    • Sam Clayton (conga)

    • Alan Estes (conga, percussion)

    • Jerry Jumonville (alto saxophone)

    • King Curtis (tenor saxophone) & The Memphis Horns




    Recording: 1970 at Decca Studios, New York, by Don Casale, and Atlantic South-Criteria Studios, Miami Fl., by Ron Albert & Chuck Kirkpatrick

    Production: Delaney Bramlett, Jerry Wexler and Tom Dowd





    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. Hard Luck And Troubles
    2. God Knows I Love You
    3. Lay Down My Burden
    4. Medley: Come On In My Kitchen / Mama, He Treats Your Daughter Mean / Going Down The Road Feeling Bad
    5. The Love Of My Man
    6. They Call It Rock & Roll Music
    7. Soul Shake
    8. Miss Ann
    9. Alone Together
    10. Living On The Open Road
    11. Let Me Be Your Man
    12. Free The People
    Delaney & Bonnie & Friends
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • From A Whisper To A Scream (Pure Pleasure) From A Whisper To A Scream (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    From A Whisper To A Scream (Pure Pleasure)

    One of Esther Phillips finest '70s releases, From A Whisper To A Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him!, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto Home Is Where The Hatred Is, Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (It's meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive From A Whisper To A Scream (Allen Toussaint) and a staggering Baby, I'm for Real (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.



    Musicians:



    • Esther Phillips (vocal)

    • Pee Wee Ellis (arranger, conductor)

    • Hank Crawford (alto saxophone)

    • David Liebman (bassoon, flute)

    • Eric Gale (guitar)

    • Gordon Edwards (bass)

    • Airto Moreira (percussion)

    • Bernard Purdie (drums)




    Recording: December 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Home Is Where The Hatred Is
    2. From A Whisper To A Scream
    3. To Lay Down Beside You
    4. That's All Right With Me
    5. 'tTll My Back Ain't Got No Bone
    6. Sweet Touch Of Love
    7. Baby, I'm For Real
    8. Your Love Is So Doggone Good
    9. Scarred Knees
    Esther Phillips
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Going Back To Acoustic (Pure Pleasure) (Awaiting Repress)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    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.



    and that the lacquer discs are newly cut.


    1. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Al Green Gets Next To You (Pure Pleasure) (Awaiting Repress) Al Green Gets Next To You (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Al Green Gets Next To You (Pure Pleasure) (Awaiting Repress)

    After the shaky start of Green Is Blues, Al Green and producer Willie Mitchell established their classic sound with Green's second album, Gets Next to You. The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke's croon and Otis Redding's shout, Green develops his own distinctive style, and Gets Next To You only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell's reinterpretation of the Temptations' I Can't Get Next to You, which turns the original inside out.



    Musicians:



    • Al Green (vocal)

    • Wayne Jackson (trumpet)

    • Ed Logan (tenor saxophone)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Charles Hodges (keyboards)

    • Mabon Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Al Jackson (drums)



    About Pure Pleasure



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



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



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



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



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



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



    1. I Can't Get Next To You
    2. Are You Lonely for Me, Baby
    3. God Is Standing By
    4. Tired of Being Alone
    5. I'm a Ram
    6. Driving Wheel
    7. Light My Fire
    8. You Say It
    9. Right Now, Right Now
    10. All Because
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Unforgettable: A Tribute To Dinah Washington (Speakers Corner) Unforgettable: A Tribute To Dinah Washington (Speakers Corner) Quick View

    $44.99
    Buy Now
    x

    Unforgettable: A Tribute To Dinah Washington (Speakers Corner)

    These recordings were made before Aretha Franklin was honoured with such names as 'Lady Soul' or 'Soul Sister No. 1'. That the young, talented singer already possessed one of the most outstanding voices was confirmed by the great Dinah Washington who stated concisely but decisively: The girl has got soul.



    The present tribute album was recorded just a few months after Washington's death and presents her most important and successful numbers, sung by her 23-year-old successor, who obviously feels quite comfortable when treading in the great singer's footsteps. In Unforgettable, a laid-back number with a string background, Aretha captivates the listener with her ever-changing vocal colouring and gospel-like ballad feeling. In the second number, Cold, Cold Heart, there is already evidence of a shimmering, subliminal blues nuance which is shot through with pointed harp phrases and the 'sucking' sound of the Hammond organ. While an old-fashioned bluesy style supported by a powerful bigband is characteristic of Evil Gal Blues, unconventional arrangements using obbligato trombone (Don't Say You're Sorry Again) are also found in this fascinating and highly varied line-up of numbers. Now, more than 40 years after its release, this album pays tribute to two unforgettable interpreters of black music.



    Musicians:



    • Aretha Franklin (piano, vocals)

    • Buddy Lucas (harmonica, tenor saxophone)

    • Ernie Royal (trumpet)

    • Bob Asher

    • Teddy Charles (vibraphone)

    • Ernie Hayes (organ, piano)

    • Paul Griffin (organ)

    • George Duvivier (bass)

    • Gary Chester (drums)




    Recording: August 1964 in New York

    Production: Robert Mersey




    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. Unforgettable
    2. Cold, Cold Heart
    3. What a Diff'rence a Day Made
    4. Drinking Again
    5. Nobody Knows the Way I Feel This Morning
    6. Evil Gal Blues
    7. Don't Say You're Sorry Again
    8. This Bitter Earth
    9. If I Should Lose You
    10. Soulville
    Aretha Franklin
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Far Far Quick View

    $20.99
    Buy Now
    x

    Far

    Far is the highly anticipated follow-up to Regina Spektor's gold album Begin to Hope. Far continues to reveal new layers in Spektor's songwriting as she pursues the next level in her inimitable musical style. With her uninhibited imagination and her hands-on approach in the studio, Far not only succeeds with 13 impressive and accessible tracks, but it spotlights Spektor's remarkable gift to craft intelligent and refreshingly honest odes to life. Four exceptional producers collaborated with Spektor on Far: Jeff Lynne (ELO, The Traveling Wilburys), Mike Elizondo (Dr. Dre, Eminem), David Kahne (Paul McCartney, The Strokes) and Garret Jacknife Lee (Weezer, R.E.M.).


    Spektor's ability to explore rich soundscapes and combine them with her evocative and intricately structured melodies and lyrics has grown tremendously on Far. From the gripping lyrics of the first single, Laughing With to the intoxicating beat of The Calculation, from the multi-layered vocal work on Blue Lips to the rocking Eet, Far is the work of a talented, daring and important artist.


    Captivating audiences with songs that are distinctively her own, Begin to Hope allowed Spektor to go from hypnotizing small crowds to selling out 3,000 capacity venues worldwide with what Rolling Stone praised as one of the most intensely joyful rock shows we've seen. Begin to Hope also spent five weeks in a row at #1 on the Billboard new artists chart before moving to #20 on the Billboard Top 100 and one million copies worldwide (gold or platinum in seven countries).

    1. The Calculation
    2. Eet
    3. Blue Lips
    4. Folding Chair
    5. Machine
    6. Laughing With
    7. Human of the Year
    8. Two Birds
    9. Dance Anthem of the 80s
    10. Genius Next Door
    11. Wallet
    12. One More Time With Feeling
    13. Man of a Thousand Faces
    Regina Spektor
    $20.99
    Vinyl LP - Sealed Buy Now
  • Is Forever No Way Is Forever No Way Quick View

    $27.99
    Buy Now
    x

    Is Forever No Way

    Hope I Die Virgin have, with their chaste and low key mix of rainy British indie and Dischord sound, been a cult band reserved for a few seeking souls. Two self released EP's, the most recent produced by Emil Nikolaisen of Serena Maneesh, received nods of approval from besserwissers. Still the band with the strange name have been walking by themselves in the murky mud on the banks of Oslo's underground, barely visible for the past two years.


    Hope I Die Virgin let the world be and created an alternate reality in Harrys Gym studio through innumerable sessions in 2009 and 2010. Is Forever No Way was from the beginning a megalomaniac project, a fantasy of a record so extensive, so deep and discomposing that the world had never heard anything like it. The more time the band spent in the studio, the more self-exhausting their ambitions became. Every bass note, every last beating of the cymbals have been subjected to infinite interpretation and association processes. Every chord shift has been analysed with astrological and scientifical intent.

    1. Intro

    2. Panther Streams
    3. Acid Lake
    4. Anders Giæver (Interstellar Duke)
    5. Cogs
    6. Wolf Head Dress
    7. (Soon) Into Heavens
    8. No Dwelling
    9. At Crude Garbage Falls
    Hope I Die Virgin
    $27.99
    Vinyl LP - Sealed Buy Now
  • What We Saw From The Cheap Seats What We Saw From The Cheap Seats Quick View

    $24.99
    Buy Now
    x

    What We Saw From The Cheap Seats

    What We Saw From The Cheap Seats is the much-anticipated new studio album from Regina Spektor which will be released on Sire/Warner Bros. Records. The album reunites Spektor with production partner Mike Elizondo (Eminem, Fiona Apple, Dr. Dre) and is her first album of new material since 2009's Far. The all original 11-song set will be preceded by the lead single All The Rowboats.

    What We Saw From The Cheap Seats was recorded over an eight week period in the summer of 2011 in Los Angeles. She arrived at the session with a collection of new compositions, but others were pulled from earlier periods. She and Elizondo fleshed out instrumentation and sought to make each of the songs stand alone sonically. Most of the songs were recorded live with Spektor on piano and vocals, while additional instrumentation was added to these original takes.


    Of working with Spektor, Elizondo says Regina Spektor is that rare artist that continues to surprise. Just when you think you have her figured out, she knocks you out with something completely different. It's that spirit that drives this record. Each song takes you on a journey that only Regina is capable of providing. She has truly outdone herself.


    Spektor studied classical piano and garnered a loyal live following in New York before self-releasing two albums. Her breakthrough album Soviet Kitsch was released by Sire Records in 2004 followed by Begin to Hope in 2006. The album included worldwide fan favorites Fidelity, Samson, On The Radio and Better and is certified gold in the U.S. Spektor followed up with Far (2009) and Live from London (2010), which was recorded at the Hammersmith Apollo Theater during the Far tour.

    1. Small Town Moon
    2. Oh Marcello
    3. Don't Leave Me (Ne Me Quitte Pas)
    4. Firewood
    5. Patron Saint
    6. How
    7. All The Rowboats
    8. Ballad of a Politician
    9. Open
    10. The Party
    11. Jessica
    Regina Spektor
    $24.99
    Vinyl LP - Sealed Buy Now
  • Eternally Even Eternally Even Quick View

    $19.99
    Buy Now
    x

    Eternally Even

    In regards to his second full-length, Jim James says I wanted to make an album that hopefully speaks to the issues of the day, many of which, sadly, are issues we have been dealing with since the beginning of time. Most of what I think about right now is how so many things in the world are SO fucked up- our political system is broken and corrupt...our earth is being destroyed by climate change...people are not treating each other with equality and respect... and I think- are we going to make it? Are we going to figure it out and fix it before it's too late? Can we ever truly open our hearts and embrace love in all its beautiful forms? I think it's still possible. I still have hope in humanity. I'm just trying to be a part of the discussion and encourage people to speak out for equality, to not be afraid to speak out for peace and love. All of us feel afraid at times in these absolutely insane times, but it's important we speak our minds, cast our votes, and do not give in to fear and hatred.
    1. Hide In Plain Sight
    2. Same Old Lie
    3. Here In Spirit
    4. The World's Smiling Now
    5. We Ain't Getting Any Younger Pt. 1
    6. We Ain't Getting Any Younger Pt. 2
    7. True Nature
    8. In The Moment
    9. Eternally Even
    Jim James
    $19.99
    Vinyl LP - Sealed Buy Now
  • Out of All This Blue Out of All This Blue Quick View

    $29.99
    Buy Now
    x

    Out of All This Blue

    Produced by Mike Scott and recorded in Dublin and Tokyo , Out Of All This Blue is The Waterboys most exploratory recording yet, comprising 23 songs with Mike Scott's trademark sharp lyrics set to pop music with echoes of classic R&B, country, soul and funk and underpinned by modern hip hop production values and rhythms. String & brass sections were arranged and conducted by Trey Pollard of The Spacebomb Collective.

    Mike Scott says of the record: Out Of All This Blue is 2/3 love and romance, 1/3 stories and observations. I knew from the beginning I wanted to make a double album, and lucky for me - and I hope the listener - the songs just kept coming, and in pop colours.

    LP 1
    1. Do We Choose Who We Love
    2. If I Was Your Boyfriend
    3. Santa Fe
    4. If the Answer Is Yeah
    5. Love Walks In
    6. Hiphopstrumental 4 (Scatman)
    7. New York I Love You
    8. The Connemara Fox
    9. The Girl in the Window Chair
    10. Morning Came Too Soon


    LP 2
    1. The Hammerhead Bar
    2. Mister Charisma
    3. Nashville, Tennessee
    4. Man, What a Woman
    5. Kinky's History Lesson
    6. Monument
    7. Girl in a Kayak
    8. Rokudenashiko
    9. Didn't We Walk on Water
    10. The Elegant Companion
    11. Skyclad Lady
    12. Yamaben
    13. Payo Payo Chin

    The Waterboys
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Out of All This Blue (Deluxe) Out of All This Blue (Deluxe) Quick View

    $35.99
    Buy Now
    x

    Out of All This Blue (Deluxe)

    Deluxe 3 LP With Bonus Tracks

    Produced by Mike Scott and recorded in Dublin and Tokyo , Out Of All This Blue is The Waterboys most exploratory recording yet, comprising 23 songs with Mike Scott's trademark sharp lyrics set to pop music with echoes of classic R&B, country, soul and funk and underpinned by modern hip hop production values and rhythms. String & brass sections were arranged and conducted by Trey Pollard of The Spacebomb Collective.

    Mike Scott says of the record: Out Of All This Blue is 2/3 love and romance, 1/3 stories and observations. I knew from the beginning I wanted to make a double album, and lucky for me - and I hope the listener - the songs just kept coming, and in pop colours.

    LP 1
    1. Do We Choose Who We Love
    2. If I Was Your Boyfriend
    3. Santa Fe
    4. If the Answer Is Yeah
    5. Love Walks In
    6. Hiphopstrumental 4 (Scatman)
    7. New York I Love You
    8. The Connemara Fox
    9. The Girl in the Window Chair
    10. Morning Came Too Soon


    LP 2
    1. The Hammerhead Bar
    2. Mister Charisma
    3. Nashville, Tennessee
    4. Man, What a Woman
    5. Kinky's History Lesson
    6. Monument
    7. Girl in a Kayak
    8. Rokudenashiko
    9. Didn't We Walk on Water
    10. The Elegant Companion
    11. Skyclad Lady
    12. Yamaben
    13. Payo Payo Chin


    LP 3
    1. The Memphis Fox
    2. If the Answer Is Yeah (Alternate Version)
    3. If I Was Your Boyfriend (Zeenie Mix)
    4. Epiphany on Mott Street
    5. Didn't We Walk on Water (JessKav Mix)
    6. Santa Fe (Instrumental)
    7. Payo Payo Chin (Tokyo Hotel)
    8. Return to Roppongi Hills
    9. Nashville, Tennessee (Live)
    10. Mister Charisma (Alternate Version)
    11. So in Love with You

    The Waterboys
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Against Love Against Love Quick View

    $16.99
    Buy Now
    x

    Against Love

    For their latest outing, Windsor For The Derby began with a set of seemingly infinite drones and loops inspired by their early beginnings as a band. As those recordings were passed back and forth, the sounds were further sculpted by Dan Matz and Jason McNeely into their own left field brand of pop song. This became Against Love.


    While they experimented with more formalized rock structures on their past few albums, Against Love finds the balance between experimentation and rock traditionmore heavily skewed toward the former. The songs are filled with tried & true conventions; some with pedal steel and acoustic guitar (Dull Knives, After Love), and others in waves of warm feedback and synth (Queen of the Sun, Autumn Song). Lyrically the songs are about how the modern world is changing the human condition, how we decide to land when the floor is pulled out from under us, and how hope is born from loss. The songs were shaped over months in backstage rooms, hotels, vans, and wherever else Matz and McNeely found time during WFTDs European and American tours of the past two years. Tracks were finalized in Matzs haunted Hope Union Studio, where disengaged clock chimes, spectral taps, and mysterious footsteps are a constant cause for another take; some left in the mix.

    1. Against Love
    2. Autumn Song
    3. After Love
    4. Queen Of The Sun
    5. Singer 1968
    6. Moon Shadows
    7. Our Love's A Calamity
    8. Alex Lucero
    9. Dull Knives
    10. Hips
    11. Cursed Ages
    12. Tropical Depression
    Windsor For The Derby
    $16.99
    Vinyl LP - Sealed Buy Now
  • A Thousand Suns A Thousand Suns Quick View

    $24.99
    Buy Now
    x

    A Thousand Suns

    For months, we'd been destroying and rebuilding our band. The experiments that resulted filled the studio hard drive with diverse, abstract sounds. Amorphous echoes, cacophonous samples, and handmade staccato merged into wandering, elusive melody. Each track felt like a hallucination.


    We didn't know if any of those unorthodox ideas could be incorporated into a traditional album, but we knew we didn't want our next album to be predictable. Sitting together in the same studio where we made our first album, all six of us voiced a commitment to going out on a limb, to making something truly daring. We asked ourselves: were we all earnestly willing, more than ever before, to abandon the precepts of commercial ambition in pursuit of what we believe to be honest art?


    The inclination to begin writing conventional songs for a conventional album came and went. The temptation to adjust our creative vision to fulfill expectations beyond our studio walls yielded to the audacious ambition of what he hoped to achieve as a band. The two years of making A Thousand Suns marked our exhilarating, surrealistic, and often challenging journey into the creative unknown.


    On the eve of its completion, this body of work, assembled through unconscious inspiration and unmitigated exertion, has revealed to us notions both stirring and surprising. The album's personified imagery is neither dogma nor political premeditation. The emergent themes and metaphors illuminate a uniquely human story.


    A Thousand Suns grapples with the personal cycle of pride, destruction, and regret. In life, like in dreams, this sequence is not always linear. And, sometimes, true remorse penetrates the devastating cycle. The hope, of course, springs from the notion that the possibility of change is born in our most harrowing moments. - Linkin Park

    1. The Requiem
    2. The Radiance
    3. Burning In The Skies
    4. Empty Spaces
    5. When They Come For Me
    6. Wretches And Kings
    7. Wisdom, Justice, And Love
    8. Iridescent
    9. Robot Boy
    10. Jornada Del Muerto
    11. Waiting For The End
    12. Blackout
    13. Fallout
    14. The Catalyst
    15. The Messenger
    Linkin Park
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Lamp Lit Prose (Pre-Order) Lamp Lit Prose (Pre-Order) Quick View

    $21.99
    Buy Now
    x

    Lamp Lit Prose (Pre-Order)

    Release Date: July 13, 2018*


    'Lamp Lit Prose' arrives just over a year after 2017's self-titled 'Dirty Projectors.' Here David Longstreth's band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors' world, intricate and gorgeous vocal harmony too. The album begins with "Right Now," David singing, "there was silence in my heart, but now I'm striking up the band." In addition to the core musicians and guests, LA string group the Calder Quartet, and The Brass Players of Los Angeles both appear on several songs. 'Lamp Lit Prose' is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band's trademarks while pushing forward the sonic envelope.


    Lamp Lit Prose will be the ninth release for Dirty Projectors and comes with collaborations from HAIM, Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora. Lamp Lit Prose was recorded at Ivo Shandor in Los Angeles.


    *Please note that release dates are subject to change.

    1. Right Now (feat. Syd)
    2. Break-Thru
    3. That's A Lifestyle
    4. I Feel Energy (feat. Amber Mark)
    5. Zombie Conqueror (feat. Empress Of)
    6. Blue Bird
    7. I Found It In U
    8. What Is The Time
    9. You're The One (feat. Robin Pecknold & Rostam)
    10. (I Wanna) Feel It All (feat. Dear Nora)
    Dirty Projectors
    $21.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • My Wild West My Wild West Quick View

    $19.99
    Buy Now
    x

    My Wild West

    My Wild West is Lissie's 3rd studio album and a fitting tribute to her life in California, from her arrival as a fresh-faced singer-songwriter til now, leaving for the Midwest wiser and more self-assured. Bookended by the songs "Hollywood" and "Ojai", it brings out the two extremes of the past decade - the dashed hopes and heartbreak of the former and the "stability, joy and peace" of the latter. My Wild West represents both a new beginning and a return to Lissie's Midwestern roots.
    1. My Wild West Overture
    2. Hollywood
    3. Wild West
    4. Hero
    5. Sun Keeps Risin'
    6. Don't You Give Up On Me
    7. Stay
    8. Daughters
    9. Together or Apart
    10. Shroud
    11. Go for a Walk
    12. Ojai
    Lissie
    $19.99
    Vinyl LP - Sealed Buy Now
  • Tchaikovsky - Nutcracker (Speakers Corner) Tchaikovsky - Nutcracker (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Tchaikovsky - Nutcracker (Speakers Corner)

    When the evenings grow longer, the autumn leaves begin to fall and Jack Frost calls during the night, then it is time to conjure up the magic world of Tchaikovsky's Nutcracker while relaxing in front of a crackling fire.



    In this double album you will hear the delightfully varied ballet music in its entirety and not just the usual highlights. Each and every one of the highly individual numbers, be it a dance, a march or a waltz, is enchanting with its ever varying orchestral colouring, here merry and impudent and tripping along lightly without a care in the world, there sturdy and vigourous, even coarse.



    The Orchestre de la Suisse Romande, led by its conductor of many years standing, Ernest Ansermet, is very much at home in Russian repertoire and masters the occasional immense difficulties of the score with bravado. The DECCA team has once again proved its worth and leaves any nuts which still need to be cracked to the hi-fi equipment - the airy strings, the delicate triangles, the thrill of cymbals clashing, and the wooden clack of the castanets. And if, by an amazing coincidence, the heating should fail when you are listening to this record, there is no reason to worry - this music is guaranteed to warm the cockels of your heart and keep Jack Frost from the door.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October / November 1958 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker




    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.



    Pyotr Ilich Tchaikovsky
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Go to top