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  • Sings Lonely And Blue Sings Lonely And Blue Quick View

    $54.99
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    Sings Lonely And Blue


    Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Roy Orbison's first album recorded for Monument was released in 1961 and features Come Back To me (My Love) and Only The Lonely.


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • Audiophile 180g, 45rpm Vinyl

    • Double LP

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Time and familiarity -- through multiple reissues -- may have muted the seeming significance of some of what's here, but in 1960 Sings Lonely and Blue was not only a breakthrough for Roy Orbison as his debut LP, but also for rock & roll. Up to that point, apart from Elvis Presley -- who was in a class by himself -- few white rock & rollers had even tried to make as bold a use of the LP as what we hear on this record. Orbison, his collaborator Joe Melson, and producer Fred Foster turned the singer's debut long-player into a huge canvas for a sound that combined rock & roll's beat, Nashville's countrypolitan sound, and the singer's unique multi-octave range and operatic intensity into something unique in music.


    The single Only the Lonely may have been the most accessible and commercial side of this new sound, but the whole album was packed with great moments and different permutations of that sound: the powerful lead vocal and the Boots Randolph sax break on I'll Say It's My Fault; the haunting Orbison-Melson Come Back to Me (My Love), which was like a mini-movie script, a vest-pocket romantic melodrama sung with operatic depth and played to a light rock & roll beat; Don Gibson's I'd Be a Legend in My Time, and I Can't Stop Loving You, both filled with larger-than-life musical attributes and emotions behind Orbison's extraordinary singing, Orbison treating the former almost like a Verdi aria while a sax solo, the Anita Kerr Singers, and a dense string section hold it in the realm of pop music; and Bye Bye Love given the new Orbison treatment and sounding like a country-pop symphony.


    The material was uniformly strong and consistent, probably due, in part, to the fact that Fred Foster was able to draw from nearly a year's worth of recording activity to assemble the contents of the album, and he also took advantage of the album's stereo release to devise a crisp, discreet, two-channel mix that brought out all of the details of this sound in notably sharp relief, creating one of the earliest stereo rock & roll albums that was actually superior to its mono equivalent. Indeed, Sings Lonely and Blue was among the first rock & roll LPs to attract the interest of serious audiophile enthusiasts.


    - Bruce Eder (All Music Guide)


    This title is not eligible for discount.

    1. Only the Lonely
    2. Bye Bye Love
    3. Cry
    4. Blue Avenue
    5. I Can't Stop Loving You
    6. Come Back To Me (My Love)
    7. Blue Angel
    8. Raindrops
    9. (I'd Be) A Legend In My Time
    10. I'm Hurtin'
    11. 22 Days
    12. I'll Say It's My Fault
    Roy Orbison
    $54.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Elvis Is Back! (Speakers Corner) Elvis Is Back! (Speakers Corner) Quick View

    $34.99
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    Elvis Is Back! (Speakers Corner)

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



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



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





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Floyd Cramer(piano)

    • Scotty Moore (guitar)

    • Boots Randolph (saxophone)

    • Hank Garland (bass, guitar)

    • Charlie Hodge (harmony)

    • Bob Moore (bass)

    • D.J. Fontana (drums)

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




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

    Production: Chet Atkins





    About Speakers Corner



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



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



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



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



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



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



    This title is not eligible for discount.

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

    12. Reconsider Baby
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Orange Blossom Special Orange Blossom Special Quick View

    $29.99
    Buy Now
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    Orange Blossom Special

    28pt. Gatefold Includes New Archived (Early 1960s Era) Photos Of Johnny Cash


    Box Car Numbered Edition


    Mastered By Kevin Gray At Cohearent Audio


    ''Johnny Cash transcends country music...he represents what American Music is all about!''


    Known throughout the world as one of the major figures of post-Hank Williams country music, Johnny Cash constantly sought to expand his musical horizons and avoid being pigeonholed. Cash was at his most engagingly eclectic on Orange Blossom Special, recorded in 1964.


    For starters, ''The Man In Black'' covered three tunes by Bob Dylan, then the most talked-about young singer-songwriter of the dawning folk-rock era. (''It Ain't Me Babe,'' ''Don't Think Twice, It's Alright,'' and ''Mama, You've Been On My Mind''), The Nashville musical establishment hardly embraced Dylan's mind-blowing lyrics, but Cash, knowing genius when he heard it, was the first major country star to cover Dylan's work. By the same token, he also rendered two numbers by A.P. Carter of the legendary Carter Family, who, along with Jimmy Rodgers, created the musical template that's still the model for ''traditional'' country, bluegrass, and some forms of folk. And Cash's unmistakable, tough-hewn baritone rendered the classic fiddle tune that is the title track, as well as ''Danny Boy'' (with a spoken word intro), the spiritual ''Amen'' and the traditional story-song ''The Long Black Veil.''. Cash's compositions include ''The Wall,'' one of the prison songs for which he is known, and the protest tune ''All Of God's Children Ain't Free.'' Orange Blossom Special (with liner notes by the artist and never-before seen archive photos) finds Cash backed by the Tennessee Two, his outstanding guitar/bass tandem of Luther Perkins and Marshall Grant and guest appearances by such Nashville aces as Boots Randolph on tenor sax, pianists Floyd Cramer and Bill Pursell, guitarist Norman Blake, and harmonica ace Charlie McCoy. And on Johnny Horton's ''When It's Springtime In Alaska (It's Forty Below),'' Cash is accompanied by the now-familiar female voice of June Carter.

    1. Orange Blossom Special
    2. The Long Black Veil
    3. It Ain't Me Babe
    4. The Wall
    5. Don't Think Twice It's All Right
    6. You Wild Colorado
    7. Mama, You Been On My Mine
    8. When It's Springtime In Alaska (It's Forty Below)
    9. All Of God's Children Ain't Free
    10. Danny Boy
    11. Wildwood Flower
    12. Amen
    Johnny Cash
    $29.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Orange Blossom Special (Speakers Corner) Orange Blossom Special (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Orange Blossom Special (Speakers Corner)

    Just like the often sung-about fellow locomotives 'Midnight Special' and the 'Chattenooga Choo Choo', the 'Orange Blossom Special' finds itself bathed in the very best tradition of American long-distance trains and memorable journeys. Puffing steam trains symbolise an atmosphere of departure, endurance and the mechanical pulse beat of profit-oriented industrialisation, while also conjuring up the spirit of down-and-outs who tramp from one end of the country to the other along the railtracks, dodging train fares.



    Almost guilelessly at first, the album number 20 forged ahead into the hearts and hips of Cash fans with old favourites and climbed to number three in the Country charts. If you listen carefully, you will notice that three top Bob Dylan songs have crept in - It Ain't Me Babe, Mama, You've Been On My Mind and Don't Think Twice, It's All Right. Dylan, who in his early years was far from enjoying cult status and was condemned a godless troublemaker, communist and traitor to folk music, found a perspicacious patron in Cash. In no uncertain terms, Cash demanded that Dylan's critics should »Shut up! ... and let him sing!« and even sang Dylan himself. This present LP is not merely a perfectly produced Country album by the Man In Black, but a traction engine for the work of his spiritual brother.



    Musicians:



    • Johnny Cash (vocals, guitar)

    • Charles R. Charlie McCoy (harpsichord)

    • Homer L. Boots Randolph (saxophone)

    • William K. Bill McElhiney (trumpet)

    • Luther Perkins (guitar)

    • Floyd Cramer (piano)

    • Marshall Grant (bass)

    • W.S. Holland (drums)




    Recording: 1964

    Production: Don Law, Frank Jones




    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. Orange Blossom Special
    2. The Long Black Veil
    3. It Ain't Me, Babe
    4. The Wall
    5. Don't Think Twice, It's All Right
    6. You Wild Colorado
    7. Mama, You Been On My Mind
    8. When It's Springtime In Alaska (It's Forty Below)
    9. All Of God's Children Ain't Free
    10. Danny Boy
    11. Wildwood Flower
    12. Amen
    Johnny Cash
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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