Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
15% Off Vinyl - LP15
Home > Products for: '

Blue Cheer

'
  • 1
Results per page:
  • Blue Cathedral Blue Cathedral Quick View

    $16.99
    Buy Now
    x

    Blue Cathedral

    This is the Bay Area band's third album and first for Sub Pop; it's also their most varied and richly textured. On Blue Cathedral, their trademark modern psychedelic sound is enriched by more structured, keyboard-driven jams, churning out Blue Oyster Cult-ish chooglers and slow burners reminiscent of Harvest-era Pink Floyd. Comets On Fire deserve our gratitude...for their distillation of all the best rock riffs since High Rise's take on Blue Cheer...--Julian Cope.
    1. The Bee and the Cracking Egg
    2. Pussy Foot the Duke
    3. Whiskey River
    4. Organs
    5. The Antlers of the Midnight Sun
    6. Brotherhood of the Harvest
    7. Wild Whiskey

    8. Blue Tomb
    Comets On Fire
    $16.99
    Vinyl LP - Sealed Buy Now
  • Red Weather Red Weather Quick View

    $24.99
    Buy Now
    x

    Red Weather

    After leaving Blue Cheer in 1969, guitarist Leigh Stephens, whose pulverizing roar was an essential element of the band's original sound, made his solo debut with Red Weather. In contrast to his former band's stripped-down metallic blast, Stephens spread his musical wings to explore new musical territory. Although Stephens' trademark guitar sound is still prominent, it's featured in a more eclectic context that encompasses elements of avant-psychedelia and electric blues. Also featured is stellar piano work by legendary English pianist Nicky Hopkins.

    1. Another Dose of Life
    2. Drifting
    3. Indians
    4. I Grow Higher
    5. Red Weather
    6. If You Choose Too
    7. Joannie Mann
    8. Chicken Pot Pie
    Leigh Stephens
    $24.99
    Vinyl LP - Sealed Buy Now
  • Better Living Better Living Quick View

    $15.99
    Buy Now
    x

    Better Living

    'Better Living' features twelve brand new tracks including current single 'Country'/ 'Moonwalk' and their cover of Hellhammer's 'Crucifixion'.


    The album marks a progression from the bands early material and takes influence from a wide range of 'heavy' guitar music with nods towards the likes of Black Sabbath, Napalm Death, Blue Cheer, Crass, Heresy, Saint Vitus, Darkthrone, Anthrax and Discharge.

    1. Foxtrot
    2. Tango
    3. Shuffle
    4. Country
    5. Frostbite
    6. Fast
    7. Slam
    8. Crucifixion
    9. Moonwalk
    10. Macabre Unit
    11. Buzz
    12. Mambo
    Flats
    $15.99
    Vinyl LP - Sealed Buy Now
  • InnerSpeaker InnerSpeaker Quick View

    $19.99
    Buy Now
    x

    InnerSpeaker

    Tame Impala are a rainbow sandstorm of stoned riffage, mindbending melody and blissed out adventurism from the most isolated city in the world who echo the lighter side of Cream, Blue Cheer and Kyuss. This is the long-awaited fully distributed release of their debut album, Innerspeaker in North America.


    Innerspeaker is Tame Impala's chance to paint a far more extensive picture, and sure enough it redrafts the entire Tame Impala world as we knew it into an explosive, cosmic wonderland of ecstatic harmony and perfectly accessible journeys into inner space.


    Recorded and produced by the bands own Kevin Parker with Death In Vegas Tim Holmes on the engineer duties, in an enormous mansion with 180 degree views of the Indian Ocean. It was then mixed in upstate New York, by renowned sonic maverick Dave Fridmann (MGMT/Flaming Lips).

    1. It Is Not Meant To Be

    2. Desire Be Desire Go
    3. Alter Ego
    4. Lucidity
    5. Why Won't You Make Up Your Mind
    6. Solitude Is Bliss
    7. Jeremy's Storm
    8. Expectation
    9. Bold Arrow Of Time
    10. Runway Houses City Clouds
    11. I Don't Really Mind
    Tame Impala
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pusher Man Pusher Man Quick View

    $8.99
    Buy Now
    x

    Pusher Man

    Limited Edition Pressing


    Everybody's favourite band, Uncle Acid, release a new single, Pusher Man on Rise Above Records. The single is backed by Remember Tomorrow, an Iron Maiden cover, initially available on a Kerrang (legendary UK magazine) cover-mount CD.


    Pusher Man is taken from the bands fourth album, The Night Creeper, which was released to much acclaim in July of last year. The track was recorded as part of the album sessions at Toe Rag Studios in early 2015 with engineer Liam Watson (White Stripes, Tame Impala, Electric Wizard).


    They released their breakthrough album Blood Lust in 2011, a homage to British Hammer and folk horror films of the 1970s, a candle-lit head-trip of withered hands, ritual knives and gallows ropes. Mind Control (2013), their third album, looked further afield, to the post-Charles Manson US for inspiration: Jim Jones dosing the Kool-Aid. Blue Cheer, Blue Oyster Cult and B-movie biker movies. War, Watergate, serial killers and suicidal TV evangelists.

    1. Pusher Man
    2. Remember Tomorrow
    Uncle Acid & the Deadbeats
    $8.99
    7 Vinyl Single - Sealed Buy Now
  • Do What Comes Naturally Do What Comes Naturally Quick View

    $18.99
    Buy Now
    x

    Do What Comes Naturally

    Some people call it a vibe and some people call it a groove. We call it boogie soul. It's the sound of HANDSOME JACK on their new album "Do What Comes Naturally". Produced by Zachary Gabbard of the BUFFALO KILLERS and featuring Bob Nave (of the legendary Lemon Pipers) on hammond organ, among others, the music of this album seamlessly flows through deep dark mid-tempo boogies, smoky upbeat burners, and soulful feel-good rockers all with a natural ease. HANDSOME JACK hails from Buffalo NY and began as a blues garage rock band. After high school they moved out of the garage and developed their sound into a natural soulful boogie mthat remains rooted in raw blues. They've shared the stage with The Sheepdogs, Blue Cheer, Gov't Mule, J. Geils, The Hold Steady, and Robert Randolph to name a few.
    1. Echoes
    2. Creepin'
    3. Between The Lines
    4. Dead Tracks
    5. Leave it All Behind
    6. Right On
    7. Dry Spell
    8. Ropes and Chains
    9. You and Me
    10. Wasted Time
    Handsome Jack
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Tel-Star Sessions The Tel-Star Sessions Quick View

    $33.99
    Buy Now
    x

    The Tel-Star Sessions


    Limited-Edition White Vinyl With Special Art


    Newly Mixed & Mastered


    The Mule's previously unreleased original recordings from 1994 are coming!


    In early summer of 1994, while on break from Allman Brothers work, the original Mule line-up of Warren Haynes, Allen Woody, and Matt Abts assembled at Tel-Star Studios outside Sarasota, Florida, to lay down on tape their vision to exhume the rock power trio - their influences ranging from Cream and Jimi Hendrix Experience to Blue Cheer and ZZ Top.


    Says Warren, "Allen Woody had plenty of ideas in that department -- starting with simultaneously bringing back the 'rock bass' sound. Along with our discussions about the 'power trio' being missing from the current musical landscape were the discussions of how the sound of the bass guitar had gotten progressively 'cleaner' since the '80s (or late '70s), and how that affected the overall feeling of the music. So, when we went in to the studio to do our first recording sessions, part of our mission was to capture an old familiar sound as well."


    What resulted from those sessions was the key soundscape of the band's rawness and excitement that Mule fans will love: straight-ahead rock- and blues-based song structures, explorative but tight and tough as a clenched fist. And while their search for that old familiar sound bore great creative fruit, these recordings also reflect the times in which they were recorded: there are interesting Soundgarden- and Alice In Chains-like musical references to grunge and the alternative rock sound that emerged from the early and mid-'90s.

    1. Blind Man In The Dark
    2. Rocking Horse
    3. Monkey Hill
    4. Mr. Big
    5. The Same Thing
    6. Mother Earth
    7. Just Got Paid
    8. Left Coast Groovies
    9. World Of Difference
    10. BONUS TRACK: World Of Difference (Alternate Version/Original Mix)
    Gov't Mule
    $33.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Sleeping Through The War Sleeping Through The War Quick View

    $20.99
    Buy Now
    x

    Sleeping Through The War

    Produced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Rival Sons)
    and mixed/engineered by UK-bred young-gun Eddie Spear, All Them Witches'
    "Sleeping Through The War" is the quartet's most bold and well-crafted record
    to date. The album's creation marks the f irst time in the band's history that
    a record was written before entering the studio. This process allowed for an
    alignment of the band's art, desire and time. Convening in Nashville for only
    six days after a year of relentlessly touring their New West Records debut
    "Dying Surfer Meets Their Maker," the band's spirit coalesced in a rhythm of
    statement and melody that simply needs to be heard...repeatedly.


    With the guidance of Cobb and Spear, "Sleeping Through The War" captures the
    truest energy of the group, full blast, fun and contemplative. The record was
    made with volume in mind. "Sleeping Through The War" is meant to be played
    loud, cranked up and without reservation. Feel it live through your stereo
    system or listen to it speak in tongues through your headphones.


    The sounds are nothing without the songs and the songs are nothing without
    the lyrics. This record is a result of constant touring, world travel,
    overstimulated/divided humanity, and a learning of awareness and compassion.


    "They are the real deal - psychedelic blues-rock warriors who pray at the
    altar of Black Sabbath, space out like Pink Floyd and shred away their
    bummers like Blue Cheer." - Spin

    1. Bulls
    2. Don't Bring Me Coffee
    3. Bruce Lee
    4. 3-5-7
    5. Am I Going Up?
    6. Alabaster
    7. Cowboy Kirk
    8. Internet
    All Them Witches
    $20.99
    Vinyl LP - Sealed Buy Now
  • Die Screaming Die Screaming Quick View

    $34.99
    Buy Now
    x

    Die Screaming

    Something sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.


    Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.


    With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.


    This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.


    Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.

    1. Thumper's Theme
    2. Instruments of Hellfire

    3. Curse of the Corpse
    4. Black Souls
    5. Show Me Your Skull
    6. One By One
    7. Lucifer Lives
    8. Die Screaming
    Satan's Satyrs
    $34.99
    Vinyl LP - Sealed Buy Now
  • Seismic Seismic Quick View

    $23.99
    Buy Now
    x

    Seismic

    A good two decades after forming, Toronto ON's Sons of Otis have evolved but stayed true to their roots by keeping things simple, engaging and absolutely bone-crushing. Seismic is an album of solid, bombastic steamroller rock'n'roll - slow, but deadly to anything in its path. It's like Negative Reaction had a kid with Electric Wizard that was all heavy riffs and psychedelic psychosis, ready to rumble at the ring of the bell. Things even get Blue Cheer-y on the stomping, fuzz-laden rocker, "Never in My Life," and a bit of Led Zeppelin blues comes out in the closing "Cosmic Jam." Crack 'em open, light 'em up and brace yourself for the earthquake, because it's coming.


    -Chuck Foster

    April 2013 - Issue #72 - The Big Takeover

    1. Far From Fine
    2. Lessons
    3. Alone
    4. Guilt
    5. PK
    6. Never In My Life
    7. Cosmic Jam
    Sons of Otis
    $23.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Edgar Winter's White Trash (Speakers Corner) Edgar Winter's White Trash (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Edgar Winter's White Trash (Speakers Corner)

    Question: What is whiter than white? There's only one answer: Winter - Edgar Winter. While his equally pale-faced brother Johnny turned towards black music with a country-blues touch (Columbia KCS 9949 and CS 9826), Edgar was inspired by the traditional big-band sound. The brotherly link paid off, for it freed the talented Edgar from having to make strenuous appearances at night in clubs and gave him the chance to join his older brother in the recording studio.


    After his successful debut release Entrance, Winter gathered an all-star band around him and entered the studio to record White Trash, which landed a smash hit on the US charts. And no wonder - for these soul rockers give everything in a unique mixture of funk, blues and rock 'n' roll. Right from the first number Give It Everything You Got, a broadly striding rock title with brass, the whole album is bursting with energy and a great atmosphere. Wiry blues with meaty vocals enough to make your hair curl (I've Got News For You) is followed by the demand - in meaty, snapped phrases - for cheerful rock 'n' roll (Keep Playin' That Rock And Roll). And let's not forget the sometimes madly intertwined solo parts, where the musicians really let off steam. A true celebration of rock 'n' roll.

    Musicians:



    • Edgar Winter (vocal, piano, organ, alto saxophone)

    • Jerry laCroix (vocal, tenor saxophone, harp)

    • Floyd Radford (guitar)

    • Johnny Winter (guitar)

    • Rick Derringer (guitar)

    • Jon Smith (vocal, tenor saxophone)

    • Mike McLellan (vocal, trumpet)

    • George Sheck (bass)

    • Bobby Ramirez(drums)




    Recording: 1971 by Pete Weiss - Production: Rick Derringer

    Production: Bob Thiele




    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.


    This title is not eligible for discount.

    1. Give It Everything You Got
    2. Fly Away
    3. Where Would I Be
    4. Let's Get It On
    5. I've Got News For You
    6. Save The Planet
    7. Dying To Live
    8. Keep Playin' That Rock 'N' Roll
    9. You Were My Light
    10. Good Morning Music
    Edgar Winter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bashin' (Speakers Corner) Bashin' (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bashin' (Speakers Corner)

    Right up until today rumour has it that Creed Taylor enticed the organist Jimmy Smith to leave Blue Note and change to the Verve label by means of a very large fistful of dollars. One things is clear, however: that Jimmy Smith never revealed a single word about this delicate matter; but it is also clear that the whole concept of his music took on new dimensions when he changed over to his new backer. Recordings with Wes Montgomery were just the beginning; large ensembles, superb arrangements by Oliver Nelson, and fine contributions by his soloists created a magnificent background for the 'new' Jimmy Smith on this and subsequent LPs.



    Despite its title, Bashin', there is absolutely nothing to criticise on this LP. The A side presents the new concept: a wonderful, swinging background against which Jimmy Smith can develop his full potential. Oliver Nelson's light and airy arrangements further enhance the standard themes: soloists are never confined within set limits but are gently guided; the riffs are presently precisely and cleanly, without ever sounding overloaded.



    The use of the organ is also quite fascinating: beautifully relaxed in Beggar For The Blues which is arranged for a trio; swinging in the title number Bashin', and cheerful in the style of an old cowboy song - I'm An Old Cowhand, whereby this version has no need to stand in the shadow of Sonny Rollins's almost classical version.



    The old Hammond B3 organ has experienced a revival over the past few years. Jimmy Smith, on the other hand, can look back on a great musical and commercial success story ever since the Fifties - as with Bashin'!



    Musicians:



    • Jimmy Smith (organ)

    • Phil Woods (saxophone)

    • Ernie Royal, Doc Severinsen (trumpet)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Barry Galbraith (guitar)

    • George Duvivier (bass)

    • Ed Shaughnessy, Don Bailey (drums)




    Recording: March 1962 in New York by Rudy Van Gelder

    Production: Creed Taylor





    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.



    This title is not eligible for discount.

    1. Walk on the Wild Side

    2. Ol' Man River

    3. In A Mellow Tone

    4. Step Right Up
    5. Beggar for the Blues
    6. Bashin'
    7. I'm an Old Cow Hand (From the Rio Grande)
    Jimmy Smith
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • PHOX PHOX Quick View

    $16.99
    Buy Now
    x

    PHOX

    PHOX is a bunch of friends from the Midwestern circus hamlet, Baraboo, WI, a place where kids often drink poisoned groundwater and become endowed mutants. They make music that straddles Feist and Monty Python.


    It was in Baraboo that the six unlikely musicians attended high school together, some playing on the soccer field, others on video production sets. But in a town with a drive-your-tractor-to-school day, they didn't last.


    They did the thing that most people do when they are 18: they fled the coop, each going their separate ways (to film school, cosmetology school, a job with Homeland Security ). But promises were made that couldn't be kept, and as they fell in unrequited love and lost their respective jobs, in spite of themselves, each simultaneously pulled the ripcord and came home.
    The sextet promptly (-ish) got a house together in the Portland of the heartland, Madison, WI. As prolifically documented in their online video series, PHOX rekindled their onetime A/V production house while discovering how to live as a family (i.e. how not to berate each other about the hair in the sink).


    After two years of cohabiting, PHOX beheld a demo reel of bedroom-recorded music (and home movies) that made Bon Iver and The Fray recording engineer Brian Joseph blush. Donning his producer's cape (and occasional lab coat), Joseph cheer-led the band through its debut album at April Base Studios in Eau Claire, WI.


    Joseph's enthusiasm propelled the band through the production of more than a dozen songs that have been swimming in the think tank for two years.


    Mixed by Michael Brauer at Electric Lady in NYC, their debut album is a school of simple folk-pop songs swimming amidst a chaotic eddy of rock, psychedelia, and soul.


    If the goal here is friendship, PHOX is doing quite well. If the chosen path is blue collar pixel-pushing and church camp trust falls, they're on the way. And if their only coping mechanism is to lay down their arms and, for 30 or 45 minutes a day, shut up and listen to each other, you can't be too upset.

    1. Calico Man
    2. Leisure
    3. Slow Motion
    4. 1936
    5. Evil
    6. Laura
    7. Kingfisher
    8. Shrinking Violets
    9. Satyr and the Faun
    10. Noble Heart
    111. Raspberry Seed
    12. In Due Time
    Phox
    $16.99
    Vinyl LP - Sealed Buy Now
  • Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

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

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



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




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

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


    About Speakers Corner



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



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



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



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



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



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


    This title is not eligible for discount.

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

    $24.99
    Buy Now
    x

    What A Way To Die

    The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.


    The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
    Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"


    The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.


    That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."


    The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."


    "The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."


    Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."


    A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."


    Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."


    After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."


    The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.


    The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."


    - Mike & Anja Stax (Ugly Things magazine)

    1. Intro By DJ The Lord
    2. Gotta Get Away
    3. Never Thought You'd Leave Me
    4. Light Of Love
    5. Good Kind Of Hurt
    6. What A Way To Die
    7. Elevator Express
    8. Locked In Your Love
    9. White Pig Blues
    10. Brain Confusion
    11. Where Have You Gone
    12. Mr. Power
    The Pleasure Seekers
    $24.99
    Vinyl LP - Sealed Buy Now
  • Bull Of The Woods (Out of Stock) Bull Of The Woods (Out of Stock) Quick View

    $31.99
    x

    Bull Of The Woods (Out of Stock)

    Re-mastered edition of
    the band's 4th album plus the 'lost' third
    album, A Love That's Sound


    This 2LP set features the re-mastered stereo edition of the 13th Floor Elevators final release, 1968's 'Bull Of The Woods' plus the mono version of the Elevators' lost unfinished third album 'A Love That's Sound'.


    The recordings were re-mastered and remixed from the original tapes in 2007 by the original producer Walt Andrus and are presented on heavyweight vinyl in a gatefold sleeve.


    This album more than holds up against its predecessors: Sutherland's lovelorn songs inhabiting a bluesier cosmic sound reminiscent of The Grateful Dead, Moby Grape or Blue Cheer - for whom the Elevators were an undeniable inspiration.

    - Uncut


    The fearless trailblazers of psychedelia and one of the most kick-ass rock bands ever... For two or so years they burned with a flame so fierce that 40 years on they still remain an inspiration

    - Mojo

    LP1 - Bull Of The Woods (Stereo)
    1. Livin' On
    2. Barnyard Blues
    3. Till Then
    4. Never Another
    5. Rose & The Thorn
    6. Down By The River
    7. Scarlet & Gold
    8. Street Song
    9. Dr Doom
    10. With You
    11. May The Circle Remain Unbroken


    LP2 - A Love That's Sound (Mono)
    1. Wait For My Love
    2. It's You
    3. May The Circle Remain Unbroken
    4. Livin' On
    5. Never Another
    6. Dr Doom
    7. Someday My Love
    8. Sweet Surprise
    9. Moon Song

    13th Floor Elevators
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • Blues For The Red Sun (Out Of Stock) Blues For The Red Sun (Out Of Stock) Quick View

    $19.99
    x

    Blues For The Red Sun (Out Of Stock)

    Blues for the Red Sun is the second studio album by American stoner rock band Kyuss, released in 1992. Blues for the Red Sun incorporates acid rock, grunge, psychedelic rock, space rock, and doom metal, and has been compared to such acts as Black Sabbath, Hawkwind, Blue Cheer, and Alice in Chains. The album is considered a pioneer to the stoner metal genre.
    1. Thumb
    2. Green Machine

    3. Molten Universe

    4. 50 Million Year Trip (Downside Up)

    5. Thong Song

    6. Apothecaries' Weight

    7. Caterpillar March

    8. Freedom Run

    9. 800

    10. Writhe

    11. Capsized

    12. Allen's Wrench

    13. Mondo Generator

    14. Yeah
    Kyuss
    $19.99
    Vinyl LP - Sealed Temporarily out of stock
  • Graveyard (Out Of Stock) Graveyard (Out Of Stock) Quick View

    $15.99
    x

    Graveyard (Out Of Stock)

    This Swedish quartet's self-titled debut resurrects the sounds of 70s psychedelic rock. The clash of folk, psychedelic, and blues makes for a mind-bending trip back to the days of Cream, Sabbath, and Blue Cheer.
    1. Evil Ways
    2. Thin Line
    3. Lost in Confusion
    4. Don't Take Us For Fools
    5. Blue Soul
    6. Submarine Blues
    7. As the Years Pass by the Hours Bend
    8. Right Is Wrong
    9. Satan's Finest
    Graveyard
    $15.99
    Vinyl LP - Sealed Temporarily out of stock
  • Horror Xmas  (Out Of Stock) Horror Xmas (Out Of Stock) Quick View

    $9.99
    x

    Horror Xmas (Out Of Stock)


    Limited Edition 7-Inch Vinyl EP


    Metallic Silver Jacket


    Blind Assortment Variant B-Sides


    The legendary Misfits first holiday release (outside of Halloween of course), creeps down your chimney in the form of the Horror Xmas EP! Side one unwraps a fiendish cover of the Dr. Seuss classic, You're a mean one, Mr. Grinch. True to the original, yet fueled by the band's signature sound, Jerry Only's ominously melodic baritone lead vocals, and guest backing vox by John Cafiero ( Osaka Popstar), the 'fits slap devilocks on every Who down in Whoville...


    An infectious all-new original Misfits Xmas themed song (written by founding member Jerry Only) entitled Island of Misfit Toys debuts, and the band's long anticipated rendition of Blue Christmas surfaces in a full studio version that would even make the King himself snarl with holiday cheer. The Misfits serve up a nightmare before Xmas destined to become an annual tradition.

    1. You're A Mean One Mr. Grinch
    2. Island Of Misfit Toys -or- Blue Christmas (Variants Shipped At Random)
    Misfits
    $9.99
    7 Vinyl EP - Sealed Temporarily out of stock
  • 1
Go to top