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  • Classic Lady Day Classic Lady Day Quick View

    $124.99
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    Classic Lady Day

    Part of the vinyl Verve collections, the Billie Holiday boxed set contains a selection of each artist's best-loved
    albums on 180g vinyl in sleeves that replicate the original artwork. Billie Holiday was an American jazz musician
    and singer-songwriter with a career spanning nearly thirty years. Nicknamed Lady Day by her friend and music
    partner Lester Young, Holiday had a seminal influence on jazz music and pop singing.
    Billie Holiday
    $124.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 5 LPs Sealed Buy Now
  • Lady Day (Pure Pleasure) Lady Day (Pure Pleasure) Quick View

    $34.99
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    Lady Day (Pure Pleasure)

    Excerpt from George Avakian's notes on the album sleeve:



    When planning this album, I had a hellish time trying to choose what I thought were the absolute cream of Billie Holiday. In the course of this wrestling, it struck me that not only were Billie's vocals incredibly perfect, but that I could not remember a single instance of anyone playing a bad solo or even a bad phrase among the hundred or more performances I had to choose from in the golden period of her work. Checking over records (which was almost unnecessary, because I could still remember them almost note for note) was a rather beautiful and somewhat shattering experience. Jazz, a product of so many things - musical evolution, the social scene of a particular time, the economic atmosphere of the moment, what somebody had for breakfast that day - and none of those tings will ever come together again as they did when these records were made.



    Musicians:



    • Billie Holiday (vocal)

    • Ben Webster, Lester Young (tenor saxophone)

    • Johnny Hodges (alto saxophone)

    • Roy Eldridge, Buck Clayton (trumpet)

    • Benny Goodman, Art Shaw (clarinet)

    • John Truehart (guitar)

    • Teddy Wilson (piano)

    • John Kirby (bass)

    • Cozy Cole, Joe Jones (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. Miss Brown To You
    2. I Wished On the Moon
    3. What A Little Moonlight Can Do
    4. If You Were Mine
    5. Summertime
    6. Billie's Blues
    7. I Must Have That Man
    8. Foolin' Myself
    9. Easy Living
    10. Me, Myself and I
    11. A Sailboat In the Moonlight
    12. I Cried For You
    Billie Holiday
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • My Fair Lady My Fair Lady Quick View

    $21.99
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    My Fair Lady

    Shelly Manne and his Friends bassist Leroy Vinnegar and the o nce and future classical pianist AndrÉ Previn had
    recorded a trio album before this one (Shelly Manne and Friends) but My Fair Lady was the first and biggest-selling
    of the jazz versions of Broadway shows, TV themes, and film soundtracks later recorded by the trio. It remains a
    true classic to this day.
    1. Get Me To The Church On Time
    2. On The Street Where You Live
    3. I''ve Grown Accustomed To Her Face
    4. Wouldn't It Be Loverly
    5. Ascot Gavotte
    6. Show Me
    7. With A Little Bit Of Luck
    8. I Could Have Danced All Night
    Shelly Manne & His Friends
    $21.99
    Vinyl LP - Sealed Buy Now
  • Any Day Now (Pure Pleasure) Any Day Now (Pure Pleasure) Quick View

    $49.99
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    Any Day Now (Pure Pleasure)

    The material - many of the Dylan classics - is unsurpassable. Her voice is at its zenith, young, supple - neither undisciplined (as in her 1st records) nor the later, low vibrato warble. There is none of the self-conscious and silly Dylan vocal imitation found in Baez's later recording. Where Dylan's own singing is wonderfully raw and rough, Baez is clear and pure. Both are great for me, but very, very different from each other. These lovely renditions are like no one else's. Just pure Joan in her finest voice.



    She is backed here by several of the very best of '70s Nashville session musicians (pickers). Some folks think of Nashville sidemen as inevitably bound up with Country Music. While this is not counter-country, it fits much more into folk - as the names Dylan and Baez rightly connote.



    One Too Many Mornings is too often overlooked among Dylan's compositions, and this is among the best renditions I've heard. The full-length, unhurried treatment Sad Eyed Lady of the Lowland is spell-binding and satisfying. Perhaps my favorite, though, is the subtle and poignant Spanish Boots of Spanish Leather. Dylan's lyrical genius is fully manifest, in his gorgeous melody and Joan Baez's a wonderful performance.
    For many of us who listened both then and recently, this pristine work inevitably reminds us how much has aged in the decades since this earlier era - also recaptured so vividly in Dylan's own Chronicles. These are timely works, both for reminiscence and to introduce newbies to the non-acid experiences that stirred an earlier generation. But regardless of any social import, this is simply beautiful poetry and music.



    Musicians:



    • Joan Baez (guitar, vocal)

    • Fred Carter (mandolin)

    • Hargus 'Pig' Robbins (keyboards)

    • Stephen Stills, Pete Drake, Harold Rugg (guitar)

    • Tommy Jackson, Johnny Gimble (violin)




    Recording: 1968 by Selby Cofeen

    Production: Maynard Solomon



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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


    1. Love Minus Zero/No Limit
    2. North Country Blues
    3. You Ain't Going Nowhere
    4. Drifter's Escape
    5. I Pity the Poor Immigrant

    6. Tears of Rage
    7. Sad-Eyed Lady of the Lowlands
    8. Love Is Just a Four-Letter Word
    9. I Dreamed I Saw St. Augustine

    10. The Walls of Redwing
    11. Dear Landlord
    12. One Too Many Mornings
    13. I Shall Be Released
    14. Boots of Spanish Leather
    15. Walkin' Down the Line

    16. Restless Farewell
    Joan Baez
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • G Funk Classics Volumes 1 & 2 G Funk Classics Volumes 1 & 2 Quick View

    $34.99
    Buy Now
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    G Funk Classics Volumes 1 & 2

    Nate Dogg is one of the greatest singers in hip-hop's history; his ultra-smooth, church-honed voice was the key ingredient in dozens of classic singles throughout the '90s and '00s.


    He apparently never got paid for many of his early Death Row hits, and he finally left the label to release this, his long-awaited debut solo album. Upon dropping independently in 1998, it never got much exposure. Yet years later, it still impresses with 31 tracks absolutely overflowing with Nate's inimitable vocals and top-notch G-funk production from the likes of Daz Dillinger, QD3, and Warren G, among others.


    The lyrics mostly concern ladies, homies, and the streets, with his uncanny ability to bounce between bravado and a sensitive lover-man style showcased throughout. Nate Dogg remains the soul of hip-hop, and his amazing music should live on forever. Highlights here include Because I Got a Girl, She's Strange, Friends, These Days, and Nobody Does It Better.

    LP 1 - Vol. 1: Ghetto Preacher
    1. Hardest Man in Town
    2. Intro to G-Funk (Comm. 1)
    3. G-Funk
    4. First We Pray (featuring Kurupt Tha Kingpin)
    5. My World
    6. Dangerous Crazy
    7. These Days (featuring Daz Dillinger)
    8. Bag O'Weed (featuring Tray Deee)
    9. Dirty Hoe's Draws (featuring Big Chuck)
    10. Scared of Love (featuring Danny 'Butch' Means)
    11. Me & My Homies (featuring Tupac Shakur)
    12. Because I Got a Girl
    13. My Money
    14. Never Leave Me Alone (featuring Snoop Dogg)
    15. Last Prayer (Comm. 2)
    16. Where Are You Going? (featuring Pamela Hale)


    LP 2 - Vol. 2: The Prodigal Son

    1. Dedication
    2. Who's Playin' Games?
    3. I Don't Wanna Hurt No More (featuring Danny 'Butch' Means)
    4. Just Another Day
    5. She's Strange (featuring Barbara Wilson)
    6. Almost in Love
    7. No Matter Where I Go
    8. Stone Cold
    9. Friends - (featuring Warren G and Snoop Dogg)
    10. Puppy Love (featuring Snoop Dogg, Kurupt Tha Kingpin and Daz Dillinger)
    11. It's Goin' Down Tonight (featuring Danny 'Butch' Means/Isaac Reese)
    12. Nobody Does It Better (featuring Warren G)
    13. Sexy Girl (featuring Big Skye)
    14. Dogg Pound Gangstaville (featuring Snoop Dogg/Kurupt Tha Kingpin)
    15. Never Too Late

    Nate Dogg
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • On This Winter's Night On This Winter's Night Quick View

    $19.99
    Buy Now
    x

    On This Winter's Night

    Lady Antebellum's Christmas album includes a mix of standards as well as contemporary Christmas classics. This is a Christmas album for the hustle and bustle of the holiday season, a soundtrack for days of shopping, present-wrapping, and parties filled with good cheer. Now on vinyl for the first time.
    1. A Holly Jolly Christmas
    2. Christmas (Baby Please Come Home)
    3. All I Want For Christmas Is You
    4. I'll Be Home For Christmas
    5. This Christmas
    6. The First Noel
    7. On This Winter's Night
    8. Let It Snow, Let It Snow, Let It Snow
    9. Have Yourself A Merry Little Christmas
    10. Silent Night (Lord Of My Life)
    11. Blue Christmas
    12. Silver Bells
    Lady Antebellum
    $19.99
    Vinyl LP - Sealed Buy Now
  • Callas Portrays Verdi Heroines (Studio Recital) Callas Portrays Verdi Heroines (Studio Recital) Quick View

    $21.99
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    Callas Portrays Verdi Heroines (Studio Recital)

    Coinciding with the new Callas Live Remastered Edition, the cataloger's 2017 priority, Warner Classics re-releases two of Maria Callas' legendary studio recitals on vinyl, using the state of the art remastering done in 2014.


    This recital brings together three operas from the earlier years of Verdi's career (Nabucco, Ernani and Macbeth) and one of his greatest mature masterpieces (Don Carlo). Callas sang all of them on stage apart from Ernani, and Lady Macbeth proved a triumph for her when she opened La Scala's season in December 1952.


    Gramophone greeted this recital by saying: Mme Callas has seldom had such a field day and her dramatic instinct is well-nigh perfect in interpreting these wonderful pages, each characterized convincingly - and differently.

    1. Macbeth, Act 1: Nel dì della vittoria ....Vienil t'affretta (Lady Macbeth, Chorus)
    2. Macbeth, Act 2: La luce langue (Lady Macbeth)
    3. Macbeth, Act 4: Una macchia è qui tuttora (Lady Macbeth, Doctor, Woman)
    4. Nabucco, Act 2: Ben io t'invenni ... Anch'io dischiuso un giorno (Abigaille)
    5. Ernani, Act 1: Surta è la notte .... Ernani! Ernani, involami (Elvira)
    6. Don Carlo, Act 5: Tu che le vanità (Élisabeth)
    Maria Callas
    $21.99
    Vinyl LP - Sealed Buy Now
  • Songs For Distingue Lovers Songs For Distingue Lovers Quick View

    $49.99
    Buy Now
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    Songs For Distingue Lovers

    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    It is undeniable that Billie Holiday's singing changed in her later years. Her voice darkened and shifted to a lower range. Her economy of means distilled her sound to its expressive essence - a kind of heightened speech. The classic LP Songs For Distingue Lovers has also deepened and become burnished with time. Maybe it's that still-arresting word, distingue; maybe it's that iconic, tinted image of Lady Day on the cover. But now that legendary LP, with the singer's best studio work of the Fifties, is available at 45 RPM!


    Originally released in 1957.


    This title is not eligible for discount.

    1. Day In Day Out
    2. A Foggy Day
    3. Stars Fell On Alabama
    4. One For My Baby (And One More For The Road)
    5. Just One Of Those Things
    6. I Didn't Know What Time It Was
    Billie Holiday
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Superions (Discontinued) The Superions (Discontinued) Quick View

    $10.99
    Buy Now
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    The Superions (Discontinued)

    Formed in Orlando, Florida in 2006, THE SUPERIONS are the most exciting group to hit the music scene since Elvis or Lady GaGa (or Susan Boyle for that matter). FRED SCHNEIDER (B-52s), NOAH BRODIE and DAN MARSHALL were just somewhat normal guys when their bodies, minds, and souls were taken over by alien beings from the planet Superion. Now real talented, they perpetrated magic with their first digital release, Totally Nude Island on October 31, 2008. Take soft tradewinds, a healthy dose of tropical passion, and a deadly volcano and voila!: an instant classic destined to sell millions, or a lot less, was born. Following on the heels of this multi-plat... er, real popular song, The Superions return with the new smash Who Threw That Ham At Me. Destined to be another hit (they hope). Ham is a cautionary tale about the serious crime of shoplifting, set to a bouncy disco beat. Their debut seven-track EP also includes the original version of Totally Nude Island, along with remixes by THE LOLLIGAGS and MARSHAMALLOW COAST, and a Ham remix by CASPER & THE COOKIES. No Export Outside of North America
    1. Those Sexy Saucer Gals
    2. Who Threw That Ham At Me
    3. Totally Nude Island [The Lolligags Remix]
    4. Who Threw That Ham At Me [Casper & The Cookies Remix]
    5. Totally Nude Island [Ursula 1000 Remix]
    6. Totally Nude Island [Marshmallow Coast Remix]
    7. Totally Nude Island
    The Superions
    $10.99
    Vinyl LP - Sealed Buy Now
  • A Meal You Can Shake Hands With In The Dark (Pure Pleasure) A Meal You Can Shake Hands With In The Dark (Pure Pleasure) Quick View

    $49.99
    Buy Now
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    A Meal You Can Shake Hands With In The Dark (Pure Pleasure)

    Pete Brown was a Londoner and a veteran of the underground scene. Born in 1940, he first came to prominence as a poet. He was just 14 when his first poem appeared in Evergreen Revue in the US. Then in the early sixties he worked alongside another British poet Mike Horowitz. His direct involvement with rock music came when he was asked to form a songwriting partnership with Jack Bruce to write lyrics for Cream and the partnership proceeded to produce the lyrics for many of their finest songs: Wrapping Paper, I Feel Free, Sunshine Of Your Love and White Room. After the demise of Cream, Brown continued to write with Bruce but also began his own recording career with The Battered Ornaments who included Chris Spedding. After an initial 45, which with its wailing saxes and effective vocals was underrated, the band recorded this album which was a mixture of jazz-rock and blues. Dark Lady, The Old Man and Station Song were among the fine tracks and the latter later got a further airing on the Before Singing Lessons compilation. Station Song and Dark Lady had earlier featured along with Travelling Blues on the ultra-rare promo-only Harvest Sampler in 1969.



    Brown then suffered the humiliation of being thrown out of the band the night before they had a Hyde Park gig with The Rolling Stones. Brown's response was to form a new band, Piblokto!



    This release breaks the long sides down to four sides of vinyl which enhances the sound quality considerably. Also of interest is that it has been mastered in the same studio at Abbey Road as was the initial release and from the same original analogue tape masters.




    Musicians:



    • Pete Brown (vocal, trumpet)

    • Nisar A. Khan (tenor saxophone)

    • Dick Heckstall-Smith (tenor saxophone)

    • Chris Spedding (guitar)

    • Charlie Hart (organ)

    • Butch Porter (bass)

    • Rob Tait (drums)

    • Pete Bailey (conga)




    Production: Andrew King and Dick Heckstall-Smith



    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.



    LP1
    1. Dark Lady
    2. The Old Man
    3. Station Song
    4. The Politician


    LP2
    1. Rainy Taxi Girl
    2. Morning Call
    3. Sandcastle
    4. Travelling Blues (Or The New Used Jew's Dues Blues)

    Pete Brown
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Cat Stevens - Collected Cat Stevens - Collected Quick View

    $42.99
    Buy Now
    x

    Cat Stevens - Collected

    Import


    180 Gram Audiophile Vinyl


    Gatefold Sleeve


    High-Quality PVC Protective Sleeve


    Includes Liner Notes


    Selection Of Classic Pop Songs Includes The Hits Matthew & Son, The First Cut Is The Deepest, Lady D'arbanville, Wild World, Morning Has Broken, His Work As Yusuf Midday (Avoid City After Dark) And Many More


    Cat Stevens grew from being a teen idol of the 60s into one of the most influential singer-songwriters of all time. In addition to his vast musical achievements, his lifelong spiritual quest has added intrigue and depth to a groundbreaking career.


    Cat, born Steven Demetre Georgiou, achieved early success in the mid-60s with I Love My Dog and Matthew and Son. He is a prolific songwriter writing songs such as Wild World and Lady D'Arbanville and The First Cut Is The Deepest the latter, in particular, would go on to become an international hit on multiple occasions for a variety of artists. Also included is Cat Stevens' version of Morning Has Broken a popular and well known Christian hymn which became one his biggest hits.


    The Collected collection by Cat Stevens is a 2LP gatefold album, largely chronological through Stevens' career, ranging from his hits Matthew & Son to Midday (Avoid City After Dark), credited to the singer's latter-day Yusuf Islam identity. Stevens remains one of the few early 70s singer-songwriters specialized in folk and pop-songs, whose oeuvre continues to attract new listeners with every passing generation. This Collected album will only add to their numbers.

    LP 1
    1. Matthew & Son

    2. I Love My Dog

    3. I'm Gonna Get Me A Gun

    4. The First Cut Is The Deepest
    5. A Bad Night

    6. Peace Train

    7. Where Do The Children Play?

    8. Hard Headed Woman

    9. Wild World

    10. Lady D'arbanville

    11. Father And Son

    12. Katmandu

    13. I Want To Live In A Wigwam

    14. Tuesday's Dead


    LP 2
    1. Morning Has Broken

    2. Moonshadow

    3. Sitting

    4. Can't Keep It In

    5. The Hurt

    6. Oh Very Young

    7. Banapple Gas

    8. Two Fine People

    9. Another Saturday Night

    10. (Remember The Days Of The) Old Schoolyard

    11. Child For A Day

    12. Yusuf - Midday (Avoid City After Dark)

    Cat Stevens
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Prevail II Prevail II Quick View

    $19.99
    Buy Now
    x

    Prevail II

    Kobra Paige and her motley crew kept their word and now they deliver the second part of their
    opus magnum one year after the release of Prevail I! Prevail II is the proverbial yang to the yin and
    continues right where Kobra And The Lotus left off in 2017. The opener 'Losing My Humanity' is
    an exemplary melodic feast of both guitar and vocal craftsmanship that anchors the Canadian
    five-piece firmly in between hard rock and heavy metal with a modern touch and the occasional
    classic rock! The catchy 'Let Me Love You' is another brick to this massive wall of sound, but
    a solemn intermezzo-like 'Ribe' and the elegiac 'White Water' attest to their musical virtuosity
    lending taste to the vulnerable and emotional side of the band. Kobra And The Lotus know
    perfectly well what it takes to cater to the needs of hard rock and metal fans in 2018 without
    losing touch with the essential roots (just check out 'Modern Day Hero')! " It was an immensely
    challenging experience but it pushed and pulled the best out of us", comments leading lady
    Kobra. Who could argue with her on that one?
    1. Losing My Humanity
    2. Let Me Love You
    3. Ribe
    4. My Immortal
    5. Human Empire
    6. Heartache
    7. Velvet Roses
    8. Modern Day Hero
    9. You're Insane
    10. White Water
    11. The Chain (Fleetwood Mac Cover)
    12. Let Me Love You (Acoustic) [Bonus Track]
    Kobra and the Lotus
    $19.99
    Vinyl LP - Sealed Buy Now
  • Aretha With The Ray Bryant Combo (Speakers Corner) Aretha With The Ray Bryant Combo (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    Aretha With The Ray Bryant Combo (Speakers Corner)

    As is well known, early relationships are not always blessed, and it is certainly no secret that the collaboration between Aretha Franklin and Columbia's record producer John H. Hammond did not last long. Hammond's later attempts to candy Franklin's irrepressible natural voice with sugary arrangements and studio gimmicks did not go down well with the public. On the first Franklin disc from Columbia, however, it was honeymoon all the way. With a successful mix of pop and jazz standards, the super talent - Aretha had just turned 18 years old - brought her vocal chords to vibrate. Fired on with youthful Élan, these evergreens sound so fresh, new and intoxicating that the question of their genre is quite irrelevant. From a seesawing R & B (Won't Be Long) via bell-like waves of melody (Over The Rainbow) right up to the freely styled, jazzy Gershwin classic It Ain't Necessarily So - everything is right there! The Ray Bryant Trio - augmented with winds - proves itself a formidable ensemble with true presence yet unobtrusive accompaniment. If you compare the mature performances of Aretha Franklin in her subsequent years with Atlantic, you will soon recognize that the later 'First Lady of Soul' was in full command of her profession right from the very beginning.


    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:

    Aretha Franklin(vocals, electric piano)

    Quentin Jackson, Tyree Glenn (trombone)

    Al Sears (tenor saxophone)

    Ray Bryant (piano)

    Lord Westbrook, Skeeter Best (guitar)

    Milt Hinton, Bill Lee (bass)

    Belton Evans, Sticks Evans, Osie Johnson (drums)


    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. Won't Be Long
    2. Over The Rainbow
    3. Love Is The Only Thing

    4. Sweet Lover

    5. All Night Long

    6. Who Needs You?

    7. Right Now

    8. Are You Sure

    9. Maybe I'm A Fool

    10. It Ain't Necessarily So

    11. (Blue) By Myself

    12. Today I Sing The Blues
    Aretha Franklin
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Masterpieces (Pure Pleasure) Masterpieces (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Masterpieces (Pure Pleasure)

    When Ellington went into the studio in 1950 to record the longer tracks on this LP, his orchestra was a bridge between its late-1940's configuration (the 5-man trumpet section) and its mid-1950's personnel. The sax section had settled into the form it would have for most of the ensuing two decades (old-timers Hodges and Carney and newcomers Procope, Hamilton and Gonsalves); the trombone section had long-timer Lawrence Brown as well as Tyree Glenn and newcomer Quentin Jackson; and the drummer was still Sonny Greer, who had anchored the rhythm section since the beginning.


    The arrangements and orchestrations all bear the hallmarks of Ellington's collaboration with Billy Strayhorn in the late 1940's: they are lush, symphonic, impressionistic, and densely (and adventurously) harmonic. Mood Indigo, in particular, is a 15-minute tone-poem with shifting colors and key relationships as Ellington and Strayhorn bring the melody through a wide variety of guises, from Glenn's wah-wah trombone solo to Shorty Baker's lyrical waltz to orchestral and piano passages which do homage to the influence which Ravel and Stravinsky had on both of them.


    The Tattooed Bride is the only new piece from the original Masterpieces by Ellington LP, and it is a beauty. The others of the original tracks -- Sophistocated Lady and Solitude -- are not laid out as inventively in their harmonics or structure. Of the group, Solitude is perhaps the weakest, but this is a relative term. Ellington would go on to pen many more extended, symphonic works, but none would have quite the multicolored, impressionistic tone-pallate that these do. And Strayhorn's presence would not be as pronounced in those future works as it is here: the orchestration and harmonies in particular bear his mark. These are masterpieces indeed: great works of art by two of our greatest composers/orchestrators, and played by one of the greatest orchestras in Afro-American music. - Andrew R. Weiss

    Musicians:



    • Duke Ellington, Billy Strayhorn (piano)
    • Cat Anderson, Clark Terry, Ray Nance (trumpet)
    • Quentin Jackson (trombone)
    • Johnny Hodges (reeds)
    • Mercer Ellington (french horn)
    • Russell Procope (clarinet, reeds)
    • Wendell Marshall (bass)
    • Louie Bellson (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. Mood Indigo
    2. Sophisticated Lady
    3. The Tattooed Bride
    4. Solitude
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Splinter (Songs From A Broken Mind) (Awaiting Repress) Splinter (Songs From A Broken Mind) (Awaiting Repress) Quick View

    $24.99
    Buy Now
    x

    Splinter (Songs From A Broken Mind) (Awaiting Repress)

    'Splinter' (Songs From A Broken Mind) is the inspired new album by pioneer, chart-topper and influential artist Gary Numan.'Splinter' features guitarist Robin Finck (Nine Inch Nails, Guns N Roses), is produced by long-standing collaborator Ade Fenton, and will be followed by a full national headline tour in November.


    The album finds Gary on fine dark electronic form; sounding both cutting-edge and classic Numan, it marks his best work since the late 70s, early 80s heyday.'Splinter''s opening gambit 'I Am Dust' is a statement of intent, combining heavy grind with his archetypal anthemic pop skills. The unsettling whispered verses, crunchy guitars and Hans Zimmer-esque strings on 'Here In The Black' create a sense of menace and drama, whilst more orchestral work adorns the cinematic 'The Calling'. Slower-burning ballads 'Lost', 'Where I Can Never Be' and 'My Last Day', highlight the album's broad palate, adding elements of subtlety and even beauty in contrast to the album's more aggressive moments.


    Gary's knack for sexy, idiosyncratic dancefloor killers is strongly evident on the pounding, growling throb of 'Love Hurt Bleed', whilst 'Who Are You' carries equal clout as-body-music-Numan-style - infectious, but sounding unlike anything else you might hear blasting from a soundsystem.
    Although Numan released a straight-to-the-fanbase album 'Dead Son Rising' in 2011, this is his first self-penned full album since 'Jagged' in 2006.


    In recent years he's been quoted as an influence by everyone from Lady Gaga to Kanye West, Matthew Dear to Queens Of The Stone Age, The Foo Fighters, Nine Inch Nails, Prince and J Dilla, to Boyz Noise, Richie Hawtin and Battles (they released a single 'My Machines' on Warp Records with Numan in 2011).
    But while Numan's unique style continues to connect with fans from the worlds of metal, hip hop, electronica, industrial and indie, he remains as focussed as ever in pursuing his own singular vision. 'Splinter' sounds unique, while also utilising new sounds and ideas.


    Perhaps it's the voice - one of the most distinctive in music and often associated with machines and icy alienation, but for those who are drawn to Numan's songs, his singing is strangely emotional, almost soulful in places. And if you like that side of his writing, you certainly won't be disappointed with the new album, where there are several tracks that set Numan's vocals against moody, atmospheric torch songs to stunning effect.


    - Contact Music

    1. I Am Dust
    2. Here in the Black
    3. Everything Comes Down to This
    4. The Calling
    5. Splinter
    6. Lost
    7. Love Hurt Bleed
    8. A Shadow Falls on Me
    9. Where I Can Never Be
    10. We're the Unforgiven
    11. Who Are You
    12. My Last Day
    Gary Numan
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure)

    This is a wonderful live album. Recorded toward the end of Ella's career, by concert's end it is apparent that she has about lost her voice, but not the audience's adoration. The album showcases her in various settings: with the (obviously) reconstituted Chick Webb Orchestra, with Ellis Larkins, with Joe Pass and with Tommy Flanagan (of course); the album also has some nods to the Webb Orchestra, noteworthy for late-career blowing by 'Lockjaw' Davis. Highlights: Nice Work If You Can Get It, Good Morning Heartache (an intended and most worthy tribute to Lady Day), Miss Otis Regrets, the first encore of Some of these Days, and intended set-ender of Ella doing what she does best, scatting through Lemon Drop.



    Musicians:



    • Ella Fitzgerald (vocal)

    • Chick Webb Orchestra




    Recording: July 1973 at Carnegie Hall, New York



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    1. I've Gotta Be Me
    2. Good Morning Heartache
    3. Miss Otis Regrets
    4. Medley: Don't Worry 'Bout Me/These Foolish Things
    5. Any Old Blues
    6. A-Tisket A-Tasket
    7. Indian Summer
    8. Smooth Sailing
    9. You Turned The Tables On Me
    10. Nice Work If You Can Get It
    11. I've Got A Crush On You
    12. Medley: I Can't Get Started/The Young Man With The Horn/'Round Midnight
    13. Star Dust
    14. C Jam Blues
    15. Medley: Taking A Chance On Love/I'm In The Mood For Love
    16. Lemon Drop
    17. Some Of These Days
    18. People
    Ella Fitzgerald
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Sings A Song With Mulligan (Pure Pleasure) Sings A Song With Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sings A Song With Mulligan (Pure Pleasure)

    Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass, and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on I've Grown Accustomed to Your Face, Give Me the Simple Life, How About You, and The Lady's in Love With You, but all 14 selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable.



    Musicians:



    • Annie Ross (vocal)

    • Gerry Mulligan (bassoon)

    • Chet Baker, Art Farmer (trumpet)

    • Henry Grimes (bass)

    • Dave Bailey (drums)




    Recorded December 1957 in New York and February and September 1958 in Los Angeles



    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. I Feel Pretty
    2. I've Grown Accustomed to Your Face
    3. All of You
    4. Give Me the Simple Life

    5. This Is Always
    6. My Old Flame
    7. This Time the Dream's on Me

    8. Let There Be Love
    9. Between the Devil and the Deep Blue Sea - Gerry Mulligan, Annie Ross,
    10. How About You?
    11. I Guess I'll Have to Change My Plan
    12. This Is Always [Alternate Version]
    13. It Don't Mean a Thing (If It Ain't Got That Swing)

    14. Lady's in Love with You
    15. You Turned the Tables on Me
    16. I've Grown Accustomed to Your Face [Alternate Version]
    Annie Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Breakfast At Tiffany's (Speakers Corner) Breakfast At Tiffany's (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Breakfast At Tiffany's (Speakers Corner)

    Long nights, dizzy parties, a variety of men-friends, and breakfast standing before the window display of the famed jewellery company govern the life of the dazzling Holly Golightly, who has in reality a very ordinary name and poverty-stricken background. All the more rich is the musical carpet that Henry Mancini lays beneath the feet of the exotic, wealthy-husband-seeking socialite. The tender, plaintive worldwide hit Moon River apart, Mancini and his Hollywood musicians mix a sugar-sweet sound with enough acrid elements to glaze over the capricious lady's character. The cool big band sound is spiced with a bold trumpet solo (The Big Blow Out) and mellow violins with a suspiciously tame male choir (Breakfast At Tiffany's). As is well known, there is a great deal of dancing in the film, including a number with a Latin-American rhythm (Latin Golightly), and a grooving mambo (Loose Caboose). At the end of the film even the Moon River swells to become a bubbling cha-cha, as though to say that a 'happy end' must in no way sound sentimental.



    A further Mancini mix -The Pink Panther soundtrack (RCA LSP 2795) - is also available from Speakers Corner.



    Musicians:



    • Henry Mancini (arranger, conductor, p) & orchestra



    Recording: 1961

    Production: Dick Pierce





    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. Moon River
    2. Something for Cat
    3. Sallys Tomato
    4. Mr Yunioshi
    5. The Big Blow Out
    6. Hub Caps and Tail Lights
    7. Breakfast at Tiffanys
    8. Latin Golightly
    9. Holly
    10. Loose Caboose
    11. The Big Heist
    12. Moon River Cha Cha
    Henry Mancini
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Follow The Rainbow (Speakers Corner) Follow The Rainbow (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Follow The Rainbow (Speakers Corner)

    The fusion movement has a lot in common with a tropical storm: it rages fiercely in its early phases but becomes less wild later on, yet still blows a gale. In the eye of the storm that tore its path through the various musical styles and genres as from 1960 is George Duke, who entered into creative and stormy partnerships with such artists as Frank Zappa, Miles Davis and Jean-Luc Ponty. The rainbow colours with which Duke chose to tint this album are taken less from the paintpots of fusion jazz and rock, and rather more from the black, natural colours of rhythm and blues. Next to a relaxed love groove (Say That You Will) we find a polyphonic vocal number with solos (Sunrise), which conjures up the nostalgic atmosphere of Motown, now on the decline. Then there is snappy funk in all manner of variations, such as Party Down, which swings trendily along but then comes over unfiltered and dry as a bone.
    In Follow The Rainbow, genial musicianship, expert arrangements and a special feeling for resonance amalgamate to create a tightly-knit sound which is ever fresh and easy-going.



    Musicians:



    • George Duke (vocal, keyboard)

    • Larry Williams (tenor saxophone, flute)

    • Eric Culver (trombone)

    • Charles Icarus Johnson (guitar)

    • Byron Miller (bass)

    • Leon 'Ndugu' Chandler (drums)

    • Sheila Escovedo (percussion, vocal)

    • Napoleon Murphy Brock (vocal)




    Recording: 1979 at Westlake Recording, Los Angeles, by Kerry McNabb and Electric Lady Studios, New York, by Dave Palmer

    Production: George Duke





    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. Party Down
    2. Say That You Will
    3. Funkin' For The Thrill
    4. Sunrise
    5. Festival
    6. I Am For Real (May The Funk Be With You)
    7. Straight From The Heart
    8. Corine
    9. Pluck
    10. Follow The Rainbow
    George Duke
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Splendido Hotel (Speakers Corner) Splendido Hotel (Speakers Corner) Quick View

    $64.99
    Buy Now
    x

    Splendido Hotel (Speakers Corner)

    Just how much creative gunpowder had Al Di Meola ignited in his early career? First of all there was the flamenco firework in the best-seller Elegant Gypsy, and secondly his mega-successful live album resulting from a summit meeting in San Francisco with Paco de Lucia and John McLaughlin. After this great start it was no wonder that such prominent colleagues as Jan Hammer, Chick Corea, Steve Gadd, Anthony Jackson and Les Paul were eager to participate in the present album Splendido Hotel.


    This great line-up of musicians produce a rich, saturated sound and create numerous 'flavours' in this cocktail of sounds, which - as a double LP - can be likened to a fantastic long drink, as it were. Di Meola's idea of fusion starts off in the opening number as a slow, sluggish oriental-like melody, which develops to take on a rock rhythm. High-speed and lovingly detailed flamenco such as is found in Splendido Sundance alternates with subtle rhythms (Two To Tango) and good-humoured lighter numbers with an electronic undertone such as Roller Jubilee and a funky version of Bert Kaempfert's Spanish Eyes. With this great mix, the musicians create a wonderful atmosphere in which every Latin aficionado will feel at home.

    Musicians:



    • Al Di Meola (guitar, cello, drums, percussion)

    • Chick Corea (piano)

    • Les Paul (guitar)

    • Jan Hammer (synthesizer)

    • Anthony Jackson (bass)

    • Mingo Lewis (conga, bongo, percussion

    • Philippe Saisse (keyboards, marimba)

    • Steve Gadd (drums)

    • Eddie Colon (percussion)




    Recording: 1979 at CBS Recording and Electric Lady Studios, New York, by Dave Palmer and Love Castle Studios, Los Angeles, by Bernie Kisch

    Production: Al Di Meola and Philip Roberge




    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.


    LP 1
    1. Alien Chase On Arabian Desert
    2. Silent Story In Her Eyes

    3. Roller Jubilee
    4. Two To Tango
    5. Al Di's Dream Theme


    LP 2
    1. Dinner Music Of The Gods

    2. Splendido Sundance
    3. I Can Tell
    4. Spanish Eyes
    5. Isfahan
    6. Bianca's Midnight Lullaby

    Al Di Meola
    $64.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPS Sealed Buy Now
  • Both Sides of the Sky Both Sides of the Sky Quick View

    $24.99
    Buy Now
    x

    Both Sides of the Sky

    Both Sides Of The Sky presents 13 studio recordings including 10 which have never before been released. All but two of these studio recordings were made during a fertile period between January 1968 and 1970. Jimi's mastery and use of the studio as a proving ground for new songs resulted in a growing collection of extraordinary material. This album completes a trilogy of albums [with Valleys Of Neptune and People, Hell & Angels] presenting the best and most significant unissued studio recordings remaining in the Hendrix archive. The songs include fascinating alternate versions of Stepping Stone, Lover Man and Hear My Train A Comin' as well as recordings where Jimi is joined by special guests Johnny Winter and Stephen Stills. Both Sides Of The Sky was mixed by Eddie Kramer, the engineer for all of Hendrix's albums throughout the guitarist's lifetime, and produced by Janie Hendrix, Kramer and John McDermott.


    Mannish Boy - The first ever studio session by the group Hendrix would christen as his Band Of Gypsys. Hendrix, Cox & Miles shared a love for the blues as this driving, uptempo reworking of Mannish Boy by Muddy Waters makes clear.


    Lover Man - Just two weeks before their triumphant New Year's concerts at the Fillmore East in NYC [yielding both 1970's Band Of Gypsys and 2016's sequel Machine Gun], Hendrix gathered with Cox and Miles to cut this dynamic rendition of what had become a favorite concert staple.


    Stepping Stone - A totally unique take on this Hendrix favorite, with Jimi showcasing both blues and country styled licks atop a relentless, galloping beat.


    $20 Fine -Stephen Stills joined Jimi, Mitch Mitchell and Buddy Miles Express keyboardist Duane Hitchings at this September 1969 session. With Stephen handling lead vocals and organ, Jimi added multiple guitar parts to this rollicking Stills original.


    Power Of Soul - This 1970 studio session came three weeks after the Band Of Gypsys concerts at the Fillmore East. While a live version remains one of the highpoints of Band Of Gypsys, Jimi never released a studio version during his lifetime. For this album, we present the mix that Hendrix and Kramer prepared of the complete song at Electric Lady on August 22, 1970.


    Jungle - The influence of Curtis Mayfield can be heard here as Jimi expands on the Villanova Junction Blues theme he made famous by its inclusion in the 1970 Woodstock documentary.


    Things I Used To Do - Jimi is joined for this rendition of Guitar Slim's blues classic by Johnny Winter. Jimi's trademark guitar work and Winter's deft slide playing weaves in and around the foundation set by bassist Billy Cox and Crosby, Stills, Nash & Young drummer Dallas Taylor.


    Georgia Blues - Jimi reunited with some old friends from his pre-Experience days. Lonnie Youngblood, with whom Hendrix played in R&B groups like Curtis Knight & The Squires, voiced this superb twelve bar blues neatly underpinned by Hendrix's sublime rhythm and lead guitar work.


    Sweet Angel - With Axis: Bold As Love only just released, Jimi immediately turned his focus to recording what would become Electric Ladyland. This gorgeous, instrumental reading of Angel,, features Jimi on guitar, bass and vibraphone joined by Mitch Mitchell.


    Woodstock - Stephen Stills came to this session fresh from having visited Joni Mitchell, who had a new song that Stills was excited to try and record. Long before CSNY's version, Stephen, Jimi and Buddy Miles recorded this amazing rendition.


    Send My Love To Linda - A superb new Hendrix original composition recorded with Cox and Miles in the aftermath of their successful Band Of Gypsys performances at the Fillmore East.


    Cherokee Mist - Together with drummer Mitch Mitchell, Jimi created this moody, evocative original complete with his playing of a sitar to complement his traditional electric guitar.

    1. Mannish Boy
    2. Lover Man
    3. Hear My Train a Comin'
    4. Stepping Stone
    5. $20 Fine
    6. Power of Soul
    7. Jungle
    8. Things I Used to Do
    9. Georgia Blues
    10. Sweet Angel
    11. Woodstock
    12. Send My Love to Linda
    13. Cherokee Mist
    Jimi Hendrix
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Doin' It To Death Doin' It To Death Quick View

    $19.99
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    Doin' It To Death

    For starters, this platter begins with one of the great intros of all time: "Ladies and gentlemen, there are seven acknowledged wonders of the
    world. You are about to witness the eighth "


    Lodged in a deep groove between the JB's' debut LP Food For Thought (1972) and the more complex and at-times political Damn Right, I Am
    Somebody (from 1974) sits the ridiculously vampy and infectious classic, Doing It To Death. First moving hips and making heads nod in 1973,
    the James Brown-produced, 5-song album is one big funk lick, broken up into many delicious moving parts.


    As with pretty much everything produced by the JB's - led by Fred Wesley with heavy help from a supporting cast that included saxophonist
    Maceo Parker, guitarists Jimmy Nolen and Hearlon "Cheese" Martin and drummer John "Jabo" Starks - all songs began and revolved around
    a devastating riff. The title track is most certainly guilty-as-charged, as it starts strutting right out of the gate and continues for just over 10
    minutes, driven by a guitar lick and MCed by the inimitable James Brown, with soloists stepping up and out while the song chugs on.


    The other centerpiece of the album is the 8-minute "You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight," whose groove is
    interestingly teased two times before it arrives in full form. The song title itself is provocative, and the music keeps a stone-cold groove despite
    the less than cheery undertones. Again driven by an infectious guitar morsel, the breakdowns in this song gave sampling producers and DJs
    sweet dreams in the '80s, and Fred Wesley's trombone solo rides beautifully over the group's cries of "We need some money."


    Beyond the aforementioned sure-shots, the twitchy "More Peas," "La Di Da La Di Day" and the much jazzier, solo-heavy "Sucker" round out
    this incredible album. It's just another perfect example of how James Brown's funk machine could stop the world when they hit a groove.


    This title is not eligible for discount.

    1. Introduction To The J.B.'s
    2. Doing It To Death - Part 1 & 2
    3. You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight
    4. More Peas
    5. La Di Da La Di Day
    6. You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight
    7. Sucker
    8. You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight
    The J.B.'s
    $19.99
    Vinyl LP - Sealed Buy Now
  • Seventh Sojourn Seventh Sojourn Quick View

    $31.99
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    Seventh Sojourn


    The Moody Blues/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Celebrate 4 Decades Of Their Legendary Prog-rock Masterpiece In Search Of The Lost Chord - First Time 180 Gram Audiophile Vinyl!


    Mastered Impeccably By Joe Reagoso From The Original Threshold Records Tapes


    Seventh Sojourn was a huge multi-platinum smash for The Moody Blues and a stellar example of how important
    their symphonic and progressive rock sound was for the fans of this legendary English quintet. Featuring the original
    award winning line-up of Justin Hayward (lead vocals/guitars), John Lodge (lead vocals/bass), Ray Thomas (lead vocals/
    flutes), Ray Pinder (lead vocals/keyboards) and Graeme Edge (drums/vocals), Seventh Sojourn is undoubtedly one of their
    biggest selling albums and also one of the most revered in their huge catalog.


    Buoyed by the success of the two smash hit singles Isn't Life Strange and their definitive follow up rocker I'm Just
    a Singer (In a Rock and Roll Band), Seventh Sojourn was filled with more masterful works like the powerful Ray Thomas
    classic For My Lady, John Lodge's masterpiece When You're a Free Man, plus the Justin Hayward and Graeme Edge
    prog-rock collaboration You and Me.


    The wonderful release also features a fine array of songs from vocalist and keyboard whiz Mike Pinder including
    the stunning LP opener Lost in a Lost World, Justin Hayward's soulful anthem New Horizons, as well as his ever popular
    The Land of Make-Believe.


    The beauty of this album is that you could always count on a classic listen from these five gentlemen of song.
    Featuring Ray Thomas' striking vocals and flute delivery, Justin Hayward's and John Lodge's guitars and vocal acumen,
    the magic of Ray Pinder on the keys and classic vocal, plus Graeme Edge's powerful drum and singing, Seventh Sojourn
    became the album of choice for radio programmers in 1972.


    Although Seventh Sojourn is four decades young, it stands as a modern day classic to this day, while The Moody
    Blues truly recorded one of the finest works ever in the album rock era.


    This amazing album has been out of print on vinyl for many years, that is until now


    Friday Music is very honored to continue another installment in our Moody Blues 180 Gram Audiophile Vinyl Series
    with their definitive masterpiece Seventh Sojourn. Mastered impeccably from the original Threshold Records tapes by
    Joe Reagoso at Friday Music Studios, this album is truly a thrilling first time 180 Gram audiophile vinyl release.


    For this special limited edition, we have also included the original full color album cover in gatefold style for the first
    time since it was released in 1972, complete with the great music you will always remember from this historic classic.


    Seventh Sojourn from The Moody Blues on impeccable first time 180 Gram Audiophile Vinyl exclusively from
    your friends at Friday Music I'm just a singer in a rock and roll band

    1. Lost in a Lost World
    2. New Horizons
    3. For My Lady
    4. Isn't Life Strange
    5. You and Me
    6. The Land of Make-Believe
    7. When You're a Free Man
    8. I'm Just a Singer (In a Rock and Roll Band)
    Moody Blues
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Unforgettable: A Tribute To Dinah Washington (Speakers Corner) Unforgettable: A Tribute To Dinah Washington (Speakers Corner) Quick View

    $44.99
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    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
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