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  • Concert For George (Live at Royal Albert Hall) Concert For George (Live at Royal Albert Hall) Quick View

    $124.99
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    Concert For George (Live at Royal Albert Hall)


    Released For The First Time Ever On Vinyl


    Featuring A Special Mandala-Design Etched On Side-8


    Includes The Complete Sound Recordings From The Concert, The First Time That All Songs Have Been Made Available On An Audio Configuration


    On November 29, 2002, one year after the passing of George Harrison, Olivia Harrison and longtime friend Eric
    Clapton organized a performance tribute in his honor. Held at London's Royal Albert Hall, the momentous evening
    featured George's songs, and music he loved, performed by a lineup that included Clapton, Jeff Lynne, Paul McCartney,
    Tom Petty, Monty Python, Billy Preston, Jools Holland, Ravi and Anoushka Shankar, Joe Brown, Ringo Starr,
    Dhani Harrison and many more.


    In honor of George Harrison's 75th birthday, the Grammy®-winning
    release CONCERT FOR GEORGE, will be available for the first time on vinyl, released as a 4-LP Box Set.

    LP 1
    1. Sarve Shaam - Traditional Prayer
    2. Your Eyes - Anoushka Shankar
    3. The Inner Light - Jeff Lynne & Anoushka Shankar
    4. Arpan - Conducted by Anoushka Shankar


    LP 2
    1. The Lumberjack Song - Monty Python with Tom Hanks
    2. Sit On My Face - Monty Python
    3. I Want To Tell You - Jeff Lynne
    4. If I Needed Someone - Eric Clapton
    5. Old Brown Shoe - Gary Brooker
    6. Give Me Love - Jeff Lynne
    7. Beware Of Darkness - Eric Clapton
    8. Here Comes The Sun - Joe Brown
    9. That's The Way It Goes - Joe Brown
    10. Horse To The Water - Jools Holland & Sam Brown
    11. Taxman - Tom Petty and the Heartbreakers


    LP 3
    1. I Need You - Tom Petty and the Heartbreakers
    2. Handle With Care - Tom Petty and the Heartbreakers with Jeff Lynne & Dhani Harrison
    3. Isn't It A Pity - Billy Preston
    4. Photograph - Ringo Starr
    5. Honey Don't - Ringo Starr
    6. For You Blue - Paul McCartney
    7. Something - Paul McCartney & Eric Clapton
    8. All Things Must Pass - Paul McCartney
    9. While My Guitar Gently Weeps - Paul McCartney & Eric Clapton


    LP 4
    1. My Sweet Lord - Billy Preston
    2. Wah Wah - Eric Clapton & Band
    3. I'll See You In My Dreams - Joe Brown

    Various Artists
    $124.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • Beethoven: Kreutzer Sonata (Speakers Corner) Beethoven: Kreutzer Sonata (Speakers Corner) Quick View

    $34.99
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    Beethoven: Kreutzer Sonata (Speakers Corner)

    If one is to believe the comments of renowned contemporaries, the premiere of Beethoven's Kreutzer Sonata in a Viennese concert hall must have been a highly risky venture. The ink was still wet on the manuscript when the English violin virtuoso George Bridgetower received his part only a few hours before the performance, and Beethoven partially improvised the piano part using a half-completed manuscript - a good 30 minutes long! As a contrast, Zino Francescatti and Robert Casadeus have prepared themselves well for a well-founded, detailed and exciting rendering of this grand and complex chamber work. The slow introduction unfolds with anticipatory tension in the powerful key of A major, and then the violin enters into a fiery yet elegant dialogue with the evenly matched piano, all testifying to the absolute mastery of this exceptional duo. In the slow movement, the musical notions - carefully thought through yet not brooding - flow with intensity and melodic beauty. With joyous exuberance the two musicians present the final interplay, which alternates between melodic exaltation and sudden outbursts. This superb performance of one of the great showpieces of musical literature has certainly earned a hearty applause.

    Musicians:



    • Zino Francescatti (violin)
    • Robert Casadesus (piano)



    Recording: Spring 1958 in Paris



    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.

    Sonata No. 9 In A Major For Violin And Piano, Op. 47 (Kreutzer)
    Adagio Sostenuto: Presto: Adagio
    Andante Con Variazioni: Vars. I, II, III, IV
    Finale (Presto)


    Sonata No. 1 In D Major, Op. 12, No. 1
    Allegro Con Brio
    Tema Con Variazioni (Andante Con Moto)
    Rondo (Allegro)

    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wembley or Bust Wembley or Bust Quick View

    $54.99
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    Wembley or Bust

    3x 180-Gram Vinyl


    Wembley or Bust is a special release commemorating the June 24th, 2017 performance by Jeff Lynne's ELO at the famed Wembley Stadium in London, England. The Wembley or Bust album is available in a 3 LP vinyl package and serves as a soundtrack for Paul Dugdale's concert film of the same name.


    In Wembley or Bust, we see Jeff and his remarkable musical ensemble filling Wembley Stadium with one of the greatest rock & roll spectacles of all time, complete with bells, whistles and spaceships in front of a 60,000 capacity crowd. As Jeff says himself 'It's the best time I ever had in music... It is beyond anything I could have imagined'. More popular than ever, Jeff Lynne's ELO have always been known for their epic live shows and with a distinct style that seamlessly and innovatively blends rock, pop and classical music.


    The Wembley or Bust audio and film includes performances of many of the most beloved songs of our lifetime, from vintage ELO classics like Mr. Blue Sky, Livin' Thing and Evil Woman to Do Ya from his days with The Move, Handle With Care which he recorded with the Traveling Wilburys, right through When I Was A Boy from his latest ELO masterpiece, Alone In The Universe.


    Jeff Lynne is widely regarded as one of the greatest record producers in music history. In addition to his storied career in ELO, Lynne was a co-founder and member of The Travelling Wilburys together with Bob Dylan, Roy Orbison, George Harrison and Tom Petty as well as a producer and collaborator with some of the biggest names in music including The Beatles, Paul McCartney, Ringo Starr, Joe Walsh, and most recently, Bryan Adams.

    1. Standin' In The Rain
    2. Evil Woman
    3. All Over The World
    4. Showdown
    5. Livin' Thing
    6. Do Ya
    7. When I Was A Boy
    8. Handle With Care
    9. Last Train to London
    10. Xanadu
    11. Rockaria!
    12. Can't Get It Out Of My Head
    13. 10538 Overture
    14. Twilight
    15. Ma-Ma-Ma Belle
    16. Shine A Little Love
    17. Wild West Hero
    18. Sweet Talkin' Woman
    19. Telephone Line
    20. Turn To Stone
    21. Don't Bring Me Down
    22. Mr. Blue Sky
    23. Roll Over Beethoven
    Jeff Lynne's ELO
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • 30th Anniversary Celebration Concert 30th Anniversary Celebration Concert Quick View

    $129.99
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    30th Anniversary Celebration Concert

    Import

    On October 16, 1992, New York City's hottest concert ticket was the live gathering of musical giants who'd come to Madison Square Garden to celebrate the 30th anniversary of Bob Dylan's first Columbia Records album.


    The four hour show, performed for a sold-out audience of more than 18,000 fans and live-cast around the world, brought together an unprecedented roster of artists and icons including Johnny Cash and June Carter Cash, Lou Reed, The Clancy Brothers, Richie Havens, Johnny Winter, Roger McGuinn, Tom Petty & the Heartbreakers, Stevie Wonder, Willie Nelson, Kris Kristofferson, Neil Young, Eric Clapton, Ron Wood, Chrissie Hynde, The O'Jays, Eddie Vedder, SinÉad O'Connor, Tracy Chapman,
    George Harrison (then making his first US concert appearance in 18 years) and more.

    Like A Rolling Stone - John Mellencamp
    Blowin' In The Wind - Stevie Wonder
    Foot Of Pride - Lou Reed
    Masters Of War - Eddie Vedder/Mike McCready
    The Times They Are A-Changin' - Tracy Chapman
    It Ain't Me Babe - June Carter Cash/Johnny Cash
    What Was It You Wanted - Willie Nelson
    I'll Be Your Baby Tonight - Kris Kristofferson
    Highway 61 Revisited - Johnny Winter
    Seven Days - Ron Wood
    Just Like A Woman - Richie Havens
    When The Ship Comes in - The Clancy Brothers and Robbie O'Connell with special guest Tommy Makem
    War - Sinead O'Connor
    Just Like Tom Thumb's Blues - Neil Young
    All Along The Watchtower - Neil Young
    I Shall Be Released - Chrissie Hynde
    Don't Think Twice, It's Alright - Eric Clapton
    Emotionally Yours - The O'Jays
    When I Paint My Masterpiece - The Band
    You Ain't Goin' Nowhere - Mary Chapin Carpenter/Rosanne Cash/Shawn Colvin
    Absolutely Sweet Marie - George Harrison
    License To Kill - Tom Petty & The Heartbreakers
    Rainy Day Women #12 & 35 - Tom Petty & The Heartbreakers
    Mr Tambourine Man - Roger McGuinn
    It's Alright, Ma - Bob Dylan
    My Back Pages - Bob Dylan/Roger McGuinn/Tom Petty/Neil Young/Eric Clapton/George Harrison
    Knockin' On Heaven's Door - Everyone
    Girl Of The North Country - Bob Dylan
    Bob Dylan
    $129.99
    180 Gram Audiophile Virgin Vinyl LP - 4 LPs Sealed Buy Now
  • The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) Quick View

    $89.99
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    The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress)

    There has never been (nor will there ever be again) a musician so beloved all over the world as Louis Armstrong. Artistically, he was not only the single most influential fount and inspiration for every pop-music instrumentalist and singer of his time and thereafter, but he was quite easily the greatest entertainer ever to step on the stage, musical or theatrical. And where Louis was concerned, there was no separation; he was as theatrical as he was musical.



    This album documents just one of his countless concert appearances. It is unique and typical at the same time, for the evening began with a review of '50 years of Jazz' (which also paralled Armstrong's life, for he and jazz were both born at the turn of the century - Louis in 1901, as a baptismal certificate discovered after his death has established, not 1900, as he had always believed), followed by a standard-issue Armstrong All Stars program.



    Although his choice of selections would change slightly from one night to another, and then more so from one year to the next, certain elements remained constant. No matter how often a composition was repeated (he opened every show "Sleepy Time Down South", almost invariably followed by "Indiana"), Louis Armstrong gave his all every performance - no matter how many or few in the audience, and no matter if the decades of nearly non-stop touring had left him exausted on a particular night.



    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Edmond Hall (clarinet, vocal)

    • Trummy Young (trombone, vocal)

    • Billy Kyle (piano)

    • Dale Jones (bass)

    • Barrett Deems (drums)

    • Velma Middleton (vocal)



    Recording: June 1956 live at Medina Temple, Chicago

    Production: George Avakian



    Format: 3LPs 33rpm / Box, booklet



    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. Medley: Flee As A Bird To The Mountain/ Oh, Didn't He Ramble

    2. Medley: Memphis Blues/Frankie And Johnny/Tiger Rag

    3. Do You Know What It Means To Miss New Orleans
    4. Basin Street Blues
    5. Black And Blue

    6. West End Blues
    7. On The Sunny Side Of The Street

    8. Struttin' With Some Barbecue
    9. When It's Sleepy Time Down South

    10. Medley: Manhattan / When It's Sleepy Time Down South

    11. Indiana
    12. The Gypsy
    13. The Faithful Hussar

    14. Rockin' Chair

    15. Bucket's Got A Hole In It

    16. Perdido
    17. Clarinet Marmalade
    18. Mack The Knife
    19. Medley: Tenderly / You'll Never Walk Alone

    20. Stompin' At The Savoy

    21. Margie
    22. Big Mama's Back In Town
    23. That's My Desire
    24. Ko Ko Mo (I Love You So)
    25. When The Saints Go Marching In
    26. The Star Spangled Banner
    Louis Armstrong
    $89.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Living In The Material World Living In The Material World Quick View

    $22.99
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    Living In The Material World

    Remastered From The Original Analogue Master Tapes And Cut At Capitol Studios To Ensure Exceptional Audio Quality Throughout


    Pressed On 180-Gram Vinyl


    In May 1973 came the release of George's second studio album of new songs, Living In The Material World. He was joined in the studio by several musician friends who had also played on All Things Must Pass and others like Jim Keltner, with whom he had worked during The Concert for Bangladesh concerts in 1971. The album and its lead single, 'Give Me Love (Give Me Peace On Earth)' both reached number one in America and on charts around the world. The spiritual nature of Living In The Material World, described by Rolling Stone as 'miraculous in its radiance,' is also reflected in the inclusion of an illustration from the Bhagavad-Gita in the artwork.

    1. Give Me Love (Give Me Peace On Earth)

    2. Sue Me, Sue You Blues

    3. The Light That Has Lighted The World
    4. Don't Let Me Wait Too Long

    5. Who Can See It

    6. Living In The Material World
    7. The Lord Loves The One (That Loves The Lord)
    8. Be Here Now

    9. Try Some Buy Some

    10. The Day The World Gets 'Round

    11. That Is All
    George Harrison
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Carney (200 Gram Vinyl) Carney (200 Gram Vinyl) Quick View

    $34.99
    Buy Now
    x

    Carney (200 Gram Vinyl)

    Hit Maker And Musician's Musician Struck Chart Gold With 1972 Album Carney


    Analogue Productions Reissue On 200-Gram Vinyl


    Mastered By Kevin Gray At Cohearent Audio From The Original Master Tapes


    Plated And Pressed At Quality Record Pressings


    Heavyweight Tip-On Old-Style Jacket From Stoughton Printing


    With his trademark top hat, hair well past his shoulders, a long, lush beard, an Oklahoma drawl and his fingers splashing two-fisted barrelhouse piano chords, future Rock and Roll Hall of Fame inductee Leon Russell cut a flamboyant figure in the early 1970s. He recorded his first hit single Tight Rope with the release of his third, and most successful album Carney, in 1972, which peaked at No. 2 on the Billboard Hot 200.


    Two years earlier Russell had already played on hundreds of songs as one of the top studio musicians in Los Angeles. The Oklahoma-born pianist, guitarist, songwriter and bandleader led Joe Cocker's band Mad Dogs & Englishmen, appeared at George Harrison's 1971 Concert for Bangladesh in New York City and composed numerous hits of his own. He was in Phil Spector's Wall of Sound Orchestra and played sessions for Frank Sinatra, Sam Cooke, Aretha Franklin, the Ventures and the Monkees, among many others.


    But it was the top-rated Carney, reissued here on an audibly exquisite 200-gram LP from Analogue Productions, that put Carney into the league of extraordinary musicians. Soulful roots-rock yields to dizzying psychedelia on this, Russell's most famous album. His all-time biggest hit, Tight Rope, leads to Out in the Woods, Cajun Love Song, This Masquerade, and more! No link in the reissue chain was sacrificed, making this outstanding reissue a true audiophile masterpiece. Kevin Gray at Cohearent Audio remastered the album from the original master tapes; plating and pressing took place at Quality Record Pressings, makers of the world's finest-sounding LPs. Lastly, as benefits a stellar reissue, we packaged our version in a heavyweight old-style tip-on jacket from Stoughton Printing.


    Russell wrote scores of hits for others, among them Superstar, (written with Bonnie Bramlett) for the Carpenters, Delta Lady for Joe Cocker and This Masquerade, for George Benson. His own version of This Masquerade is featured on Carney. More than 100 acts recorded A Song for You, which Russell said he wrote in 10 minutes. Ray Charles' recording of the song in 1993 received a Grammy Award.


    Sadly, Russell's life as a musical muse and performer ended with his death at 74 on Nov. 13, 2016, at his home in Nashville. He will be forever remembered for making a broad, sophisticated palette of American music sound down-home and natural.


    This title is not eligible for discount.

    1. Tight Rope
    2. Out in the Woods
    3. Me and Baby Jane
    4. Manhattan Island Serenade
    5. Cajun Love Song
    6. Roller Derby
    7. Carney
    8. Acid Annapolis
    9. If the Shoe Fits
    10. My Cricket
    11. This Masquerade
    12. Magic Mirror
    Leon Russell
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Lady In The Van Soundtrack The Lady In The Van Soundtrack Quick View

    $36.99
    Buy Now
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    The Lady In The Van Soundtrack


    First Pressing Of 500 Numbered Copies On 180 Gram Light Blue Vinyl


    Gatefold Sleeve / Insert


    PVC Protective Sleeve


    The Lady In The Van is a big screen adaptation of writer Alan Bennett's celebrated memoir, directed by Nicholas Hytner. The film tells the true story of the relationship between Bennett and the singular Miss Shepherd, a woman of uncertain origins who 'temporarily' parked her van in Bennett's London driveway and proceeded to live there for 15 years. Their unique story is funny, poignant and life-affirming.


    Best known for his work in film and television, George Fenton is one of the UK's most successful composers, who has written scores for over 100 films and collaborated with some of the most influential filmmakers. His transition from television to film scoring began in 1982 with Richard Attenborough's biopic Gandhi for which he was nominated, with his collaborator Ravi Shankar, for an Academy Award.


    About the work on The Lady In The Van, George Fenton said: ''The Lady In The Van was a unique experience for me, writing a score for a story about someone I actually know ( Alan Bennett) and someone I knew or at least met (Mary Shepherd ). The film not only tells an extraordinary story but also celebrates an extraordinary character - her triumphs and failings. I hope the music in some way belongs to her because music was at her heart. She was a musician, albeit a cantankerous one. In the score I've tried to show both sides. A great opportunity for me certainly and a special occasion thanks to the beautiful playing of the Philharmonia Orchestra The BBC Concert Orchestra and the brilliant pianist Clare Hammond.''

    LP 1
    1. Miss Shepherd's Waltz
    2. Moving In
    3. Two Women - Tango
    4. Re-parking
    5. In Care
    6. The Neighbours
    7. Special Paint
    8. Collision and Confession
    9. Piano Concerto No. 1 in E Minor, Op.11 (Excerpt)
    10. The New Van 3. Broadstairs
    11. Impromptu No. 3 in G-Flat Major, Op. 90, D 899
    12. Curtain Down
    13. Alive and Well
    14. Freewheeling
    15. The Day Centre


    LP 2
    1. A Sepulchre
    2. Remembering Miss Shepherd
    3. Walk Through the Cemetery
    4. The Ascension (Miss Shepherd's Waltz)
    5. Impromptu No. 3 in G-Flat Major, Op.90, D 899
    6. Piano Concerto No. 1 in E Minor, Romanze
    7. Piano Concerto No. 1 in E Minor, Vivace

    George Fenton
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Stravinsky - Sacre du Printemps (Speakers Corner) Stravinsky - Sacre du Printemps (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Sacre du Printemps (Speakers Corner)

    To be sure: no other 20th-century ballet music has ever created such a commotion as this ancient rite of spring: it began with a turmoil which developed into a full-scale brawl at the premiere performance in the concert hall, was sung hymns of praise and suffered devastating reviews by critics who tore the work apart, and led up to the musico-philosophical libel written in the Fifties by that self-acclaimed "chief enemy" of Stravinsky, W. A. Adorno.



    This thrilling, epoch-making masterpiece remains fascinating to this very day thanks to its bloodcurdling rhythms, its secretive, intertwined melodies, and the boiling, seething, and lashing of the titanic instrumental forces. And Sir Georg Solti and his phenomenal orchestra certainly ensure that all this is brought over to the listener. The notes of the lyrical passages simply fly out of the loudspeakers with the lightness and airyness to which one is accustomed with DECCA recordings from this era. But one can still be astounded by this audiophile work of art: such a gentle, voluminous, lashing and pounding sound-storm is only normally heard live in the concert hall. And precisely because this recording sounds so marvellous, it tops the vinyl charts in the American specialist magazine The Absolute Sound.



    Musicians:



    • The Chicago Symphony Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1974 at Medinah Temple, Chicago (USA) by Kenneth Wilkinson and James Lock

    Production: Ray Minshull





    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.



    Sir Georg Solti with Chicago Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In Flight (Pure Pleasure) In Flight (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In Flight (Pure Pleasure)

    Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.


    Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.


    In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.


    - Richard S. Ginell (AllMusic)

    Musicians:



    • George Benson (vocal, guitar)

    • Jorge Dalto (clavinet, piano)

    • Ronnie Foster (electric piano, synthesizer)

    • Phil Upchruch (guitar, bass)

    • Stanley Banks(bass)

    • Harvey Mason (drums)

    • Ralph MacDonald (percussion)



    Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt

    Production: Tommy Lipuma



    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. Nature Boy
    2. The Wind And I
    3. The World Is A Ghetto
    4. Gonna Love You More
    5. Valdez In The Country
    6. Everything Must Change
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sinner Sinner Quick View

    $19.99
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    Sinner

    Produced by Country legend Buddy Cannon (George Strait, Merle Haggard, George Jones), and recorded over 16 intense hours at Nashville's Blackbird Studios, SINNER captures Aaron Lewis' mindset, a laid back soundtrack that is reminiscent of the genre's most honest and musically adventurous artists.


    "I'd like to think that SINNER is a newer take on classic, traditional Outlaw Country, Waylon and Merle and Willie, and Hank Jr. and Johnny Cash and all that stuff," says Lewis. "That was the music I heard a kid, and that's the Country music that permeated my soul and stuck with me my whole life."


    While SINNER may surprise those unaware of Lewis' lyrical depth and vocal authority, hard-core fans of his concerts (which he describes as "a very healthy mix of cowboy hats, baseball caps, tattoos and black shirts") will rejoice in having definitive copies of songs they've been hearing live and on the Internet, some for a couple of years.

    1. Sinner (feat. Willie Nelson)
    2. That Ain't Country
    3. Whiskey and You
    4. Northern Redneck
    5. Mama
    6. Sunday Every Saturday Night
    7. Lost and Lonely
    8. Story of My Life
    9. Stuck in These Shoes
    10. I Lost It All
    11. Travelin' Soldier
    Aaron Lewis
    $19.99
    Vinyl LP - Sealed Buy Now
  • Coleman Hawkins And Confreres Coleman Hawkins And Confreres Quick View

    $49.99
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    Coleman Hawkins And Confreres

    Mastered by George Marino at Sterling Sound


    Ben Webster had long before passed through the ranks of imitator, then pupil and finally master. His college attendance, as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learned to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton. Hawk was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the Confrères LP. The relaxed atmosphere is particularly noticeable in the title Sunday in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier's marvelous bass playing (in Nabab!) where he certainly has no reason to hide in the shadow thrown by Ray Brown. Coleman Hawkins' voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard after Roy's solo in Honey Flower.


    Originally released in 1958.


    Musicians:


    Coleman Hawkins, tenor saxophone

    Ray Brown, bass

    George Duvivier, bass

    Roy Eldridge, trumpet

    Herb Ellis, guitar

    Hank Jones, piano

    Oscar Peterson, piano

    Mickey Sheen, drums

    Alvin Stoller, drums

    Ben Webster, tenor saxophone


    This title is not eligible for discount.

    1. Maria
    2. Sunday
    3. Hanid
    4. Honey Flower
    5. Nabob
    Coleman Hawkins
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
  • Stevie Ray Vaughan: Live At Carnegie Hall Stevie Ray Vaughan: Live At Carnegie Hall Quick View

    $43.99
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    Stevie Ray Vaughan: Live At Carnegie Hall

    Import


    180 Gram Audiophile Vinyl


    Insert


    Featuring Dr. John & Jimmie Vaughan


    Available On Vinyl For The First Time!


    Live at Carnegie Hall is a live Texas blues album by Stevie Ray Vaughan and Double Trouble, released in 1997. The concert was recorded at New York City's Carnegie Hall on October 4, 1984, a day after Vaughan's thirtieth birthday (leading to Vaughan's description of the show as My best birthday ever ... forever).


    Special guests included drummer George Rains, Dr. John on keyboards, the Roomful of Blues horn section, brother Jimmie Vaughan on guitar, and vocalist Angela Strehli. This was the first and only time in the band's history that the trio was expanded.


    The set list was in large part Vaughan's personal, private, tribute to his role models; he played tunes by Guitar Slim, Albert Collins, and Albert King, all musicians who never got to perform in the legendary concert hall. The album charted on the Billboard 200, and was the #1 Blues album for eight weeks.

    LP 1
    1. Intro - Ken Dashow / John Hammond
    2. Scuttle Buttin'
    3. Testifyin'
    4. Love Struck Baby
    5. Honey Bee
    6. Cold Shot
    7. Letter To My Girlfriend
    8. Dirty Pool


    LP 2
    1. Pride And Joy
    2. The Things That I Used To Do
    3. C.O.D.
    4. Iced Over
    5. Lenny
    6. Rude Mood

    Stevie Ray Vaughan
    $43.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Carmen Suite - Ansermet (Speakers Corner) Carmen Suite - Ansermet (Speakers Corner) Quick View

    $34.99
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    Carmen Suite - Ansermet (Speakers Corner)

    The 19th-century suites with their collection of favourite songs and instrumental excerpts from operas are the clear forerunners of today's 'Best-Of' culture. The Carmen Suite was assembled after Bizet's death and brought the operatic masterpiece into the concert hall. The overture is fresh and rousing, the toreador theme marches in proudly and purposefully, followed by the destiny motif in the minor key which burns itself into ones ear and mind. With every bar it becomes obvious that this suite is not so much a series of excerpts but rather the true substance of its creator's musical ideas.



    All that remained of the five-act play L'ArlÉsienne after its unsuccessful premiere was Bizet's incidental music, which he himself orchestrated lavishly and premiered with success. Similar to Carmen, popular melodies are treated with the composer's own unique style to make them ageless, and Ernest Ansermet and his orchestra stages them delightfully for all eternity.



    Recording: April and May 1958 at Victoria Hall, Geneva (Switzerland), by Roy Wallace

    Production: James Walker



    About Speakers Corner



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



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



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



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



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



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



    1. Carmen Suite
    2. L'Arlesienne Suite
    Georges Bizet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • This Is Lone Justice: The Vaught Tapes, 1983 This Is Lone Justice: The Vaught Tapes, 1983 Quick View

    $19.99
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    x

    This Is Lone Justice: The Vaught Tapes, 1983

    First Pressing On Translucent Red Vinyl


    It can be difficult to capture the live power of band on a studio recording. Thankfully, Lone Justice (Maria McKee, Ryan Hedgecock, Marvin Etzioni, and
    Don Heffington) went into Suite 16 Studios in December of 1983 and laid down much of the set list they were packing Los Angeles area clubs with.


    Recorded direct to 2-track tape by engineer David Vaught and with no overdubs, those twelve tracks can finally be heard in their entirety as This Is Lone
    Justice: The Vaught Tapes, 1983. As Billboard's Chris Morris writes in his liner notes, the release "offers the best representation of the band in its
    infancy-hot, full of piss and vinegar, and ready to take on the world."


    Nine of these twelve tracks are previously unissued, and include originals (including "Soap, Soup And Salvation", which would appear on their Geffen
    debut two years later) to the covers they made their
    own in concert (Johnny Cash and June Carter (Cash)'s "Jackson" and "Nothing Can Stop My Loving
    You," written by George Jones and Roger Miller.)


    Available on LP (with the first pressing on translucent red vinyl), in addition to Morris' liners, the package contains an essay from the band's Ryan Hedgecock, as well as a remembrance of David Vaught from Marvin Etzioni and an loving endorsement from Dolly Parton. With unseen photos and memorabilia, this collection is what Lone Justice fans have been waiting for. This Is Lone Justice: The Vaught Tapes, 1983 takes us back to a time when music had an energy that was hard to contain. Thanks to that studio in Van Nuys, CA, and this release, Justice has been served!

    1. Nothing Can Stop My Loving You
    2. Jackson
    3. Soap, Soup And Salvation
    4. The Grapes Of Wrath
    5. Dustbowl Depression Time
    6. Rattlsnake Mama*
    7. Vigilante
    8. Working Man's Blues*
    9. Cactus Rose
    10. When Love Comes Home To Stay
    11. Cottonbelt
    12. This World Is Not My Home*


    All Tracks Previously Unissued Except *

    Lone Justice
    $19.99
    Vinyl LP - Sealed Buy Now
  • My Funny Valentine My Funny Valentine Quick View

    $34.99
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    My Funny Valentine

    Numbered, Limited Edition


    Historic Recording Captures Elegant Ballads Performed at February 1964 Concert


    Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience


    Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy


    Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.


    Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity's choice reissue of the trumpeter's scintillating work bookends the label's release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns-all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.


    Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.


    Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet." But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.


    Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis' myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that's as transparent to the source as humanly possible. Do not miss this.


    This title is not eligible for discount.

    1. My Funny Valentine
    2. All of You
    3. Stella By Starlight
    4. All Blues
    5. I Thought About You
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I Wish U Heaven (Single) I Wish U Heaven (Single) Quick View

    $12.99
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    x

    I Wish U Heaven (Single)

    12 Maxi-Single Reissue

    Featuring I Wish U Heaven And Scarlet Pussy

    I Wish U Heaven is a joyful, spiritual song with few lyrics, which runs 2:43. The 12 single is a substantially extended three-part suite which runs over ten minutes.

    Part One of the mix starts with a stripped-down version of the Lovesexy album song, remixed with a dance beat. The original drum programming and rhythmic electric guitar riffs are deleted for much of the song.

    Part Two is a gospel rendition with new lyrics, continuing the spiritual theme. This part of the song was often sung in concert during the Lovesexy World Tour. The beginning of this section paraphrases lyrics from Housequake, from the previous album Sign O the Times. Prince also quotes the film Scarface with the lines Say hello to my little friend... and then introduces the Blue Angel, a new blue version of his custom White Cloud guitar featured in the film Purple Rain. Sheila E. is also given a call out, and her voice can be heard responding in this section.

    Part Three is based on an outtake called Take This Beat and deviates quite a bit from the original theme. This segment has Prince using his Jamie Starr persona to humorously tout the fact that he's funky, musically talented, and has plenty of beats (songs) that are so fine. The song ends with a looped repeat of the title. This version of the song became one of the highlights during the supporting tour in which Prince would usually order the house lights to be turned up, and instruct the crowd during a call and response segment.

    The B-side, Scarlet Pussy, is credited to Prince's alter ego, Camille. The song is very sexual, using metaphors of cats and dogs for sexual organs, a theme Prince previously used for the B-side La, La, La, He, He, Hee. Prince uses his sped-up Camille vocals, as well as a slowed-down vocal, similar to Bob George from The Black Album. The song features a saxophone solo from Eric Leeds. The decision to include such a raunchy song with the spiritual A-side was noteworthy. The edit of Scarlet Pussy was included on 1993's The Hits/The B-Sides.

    1. I Wish U Heaven (Part 1, 2, & 3)
    2. Scarlet Pussy
    Prince
    $12.99
    12 Vinyl Single - Sealed Buy Now
  • West Coast Seattle Boy: The Jimi Hendrix Anthology (Awaiting Repress) West Coast Seattle Boy: The Jimi Hendrix Anthology (Awaiting Repress) Quick View

    $99.99
    Buy Now
    x

    West Coast Seattle Boy: The Jimi Hendrix Anthology (Awaiting Repress)

    LPs Cut from the Original Masters at Sterling Sound by Iconic Engineer George Marino



    58-Track Behemoth Includes 45 Previously Unreleased Hendrix Studio and Live Recordings



    Hendrix's Journey Traced in Music: From Little-Known R&B Sideman to Rock Superstar



    Ultimate Hendrix Set is the Jewel of Legacy's Catalog Restoration Project



    The wave of newly re-mastered, all-analog Jimi Hendrix titles culminates in the long awaited release of West Coast Seattle Boy: The Jimi Hendrix Anthology. This definitive career-spanning 8-LP Box Set tracks Hendrixs remarkable journey from R&B sideman to international guitar hero. The deluxe set is filled with previously unreleased Jimi Hendrix Experience recordings plus demos, alternate takes, and more. This newly assembled Jimi Hendrix anthology also includes a new Hendrix documentary DVD, directed by the Grammy award-winning Bob Smeaton (Beatles Anthology, Festival Express, and Beatles: The Studio Recordings). The LPs have been cut from the original masters at Sterling Sound in Manhattan by iconic engineer George Marino.



    This long-awaited career-spanning box set tracks Hendrix's remarkable journey from little known R&B sideman to international stardom through an unprecedented assemblage of previously unavailable recordings. West Coast Seattle Boy - The Jimi Hendrix Anthology is not a collection of existing Hendrix albums but instead 45 unreleased Hendrix live and studio recordings including demos and alternate versions of songs from Are You Experienced, Axis: Bold As Love, and Electric Ladyland.



    West Coast Seattle Boy includes Hendrixs never before heard version of Bob Dylans 'Tears Of Rage, solo acoustic recordings of Electric Ladyland favorites like Long Hot Summer Night and 1983 (A Merman I Shall Turn To Be) as well as never before heard live performances from Berkeley and the legendary Band Of Gypsys Fillmore East concert on New Year's Eve 1969 combined together with such new Hendrix songs as Hear My Freedom, Hound Dog Blues, Lonely Avenue and more.



    A centerpiece achievement in Legacy Recordings' monumental Jimi Hendrix catalog project, West Coast Seattle Boy - The Jimi Hendrix Anthology is the first Hendrix collection to bring fans access to a comprehensive treasure trove of fresh material -- including demos, alternate takes, live concert jewels and more -- from all phases of the artist's recording career (1964 -1970). It offers the most complete collection of Jimi's pre-Experience R&B performances (including his singles with the Isley Brothers, Little Richard, Don Covay, King Curtis and more) to ever be officially anthologized, while bringing together the most comprehensive and revelatory set of fully realized songs, never before heard live performances, alternate studio takes, acoustic and electric demos, and other rarities drawn from every chapter of Hendrix's remarkable life and career.



    The newly curated and assembled West Coast Seattle Boy - The Jimi Hendrix Anthology also includes Jimi Hendrix Voodoo Child, a new 90-minute documentary directed by the multiple Grammy-award winning Bob Smeaton (Beatles Anthology, Festival Express, Beatles: The Studio Recordings, Band of Gypsys). An autobiographical journey told in the legendary musician's own words as read by Parliament-Funkadelic's Bootsy Collins, the film incorporates interviews with Hendrix, coupled with the artist's letters, writings and recordings to provide new insight into one of the most enduring icons of popular culture.



    The documentary features some of Jimi's greatest performances as well as rare and never before seen footage and photos including--for the first time ever--examples from the Hendrix family archive of the late guitarists personal drawings, postcards home to his father, song drafts, sketches, and lyrics.



    Who better to tell the incredible story of a man's life than the man himself? Jimi was amazing and only his music, with tones and textures that he conjured, can capture the colorful and expansive essence of his time here on earth. I am enthralled with this all-encompassing new anthology which not only illuminates his years on both sides of the Atlantic and beautifully reveals his versatility as a performer, from his R&B origins to his explosion on the pop culture scene, but highlights who he was for those who knew and loved him, says Janie Hendrix, President and CEO of Experience Hendrix and co-producer of West Coast Seattle Boy - The Jimi Hendrix Anthology.



    An essential and historic addition to the Jimi Hendrix catalog, West Coast Seattle Boy - The Jimi Hendrix Anthology brings together, for the first time, many of Hendrix's earliest commercial recordings, providing a rare glimpse of the rising rock guitar hero through a series of stellar sideman performances on a set of highly collectible pre-Experience R&B singles.

    Included on the first 2LPs of West Coast Seattle Boy:


    1. Isley Brothers - Testify (1964
    2. Don Covay & the Goodtimers - Mercy, Mercy (1964 - #1 Cashbox R&B - #35 Billboard Hot 100)
    3. Don Covay & the Goodtimers - Can't Stay Away (1964)
    4. Rosa Lee Brooks - My Diary (1965 - written by Arthur Lee)
    5. Rosa Lee Brooks - Utee (1965)
    6. Little Richard - I Don't Know What You Got But It's Got Me (1965)
    7. Little Richard - Dancing All Around The World (1965)
    8. Frank Howard & The Commanders - I'm So Glad (1966 - written by Billy Cox)
    9. Isley Brothers - Move Over And Let Me Dance (1965)
    10. Isley Brothers - Have You Ever Been Disappointed (1965)
    11. Ray Sharpe - Help Me (Get The Feeling) (Part I) (1966)
    12. The Icemen - (My Girl) She's A Fox (1966)
    13. Jimmy Norman - That Little Old Groovemaker (1966)
    14. Billy Lamont - Sweet Thang (1968)
    15. King Curtis - Instant Groove (1969)


    The third and fourth LPs of West Coast Seattle Boy - The Jimi Hendrix Anthology focus on 1967-68 and Hendrix's breakout sessions with the Jimi Hendrix Experience:

    16. Fire (1967) - Previously Unreleased Alternate Recording
    17. Are You Experienced (1967) - Previously Unreleased Recording
    18. May This Be Love (1967) - Previously Unreleased Alternate Recording
    19. Can You See Me (1967) - Previously Unreleased Alternate Recording
    20. Love Or Confusion (1967) - Previously Unreleased Alternate Recording
    21. Little One (1967) - Previously Unreleased Recording (featuring Dave Mason on sitar)
    22. Mr. Bad Luck (1967) - Previously Unreleased Alternate Recording
    23. Cat Talking To Me (1967) - Previously Unreleased Alternate Recording
    24. Castles Made Of Sand (1967) - Previously Unreleased Recording
    25. Tears Of Rage (1968) - Previously Unreleased Recording
    26. Hear My Train A Comin' (1968) - Previously Unreleased Recording
    27. 1983 (A Merman I Shall Turn To Be) (1968) - Previously Unreleased Recording
    28. Long Hot Summer Night (1968) - Previously Unreleased Recording
    29. My Friend (1968) - Previously Unreleased Recording
    30. Angel (1968) - Previously Unreleased Recording
    31. Calling All The Devil's Children (1968) - Previously Unreleased Recording
    32. New Rising Sun (1968) - Previously Unreleased Alternate Recording


    The fifth and sixth LPs of West Coast Seattle Boy - The Jimi Hendrix Anthology revisit 1968-1969, both a peak and pivotal period for Hendrix in which the artist was exploring bold new directions on stage and in the studio:

    33. Hear My Freedom (1968) - Previously Unreleased Recording
    34. Room Full Of Mirrors (1969) - Previously Unreleased Recording
    35. Shame, Shame, Shame (1969) - Previously Unreleased Recording
    36. Messenger (1968) - Previously Unreleased Recording
    37. Hound Dog Blues (1969) - Previously Unreleased Recording
    38. Untitled Basic Track (1968) - Previously Unreleased Recording
    39. Star Spangled Banner (1969) - Previously Unreleased Original Mix
    40. Purple Haze (1969) - Previously Unreleased Original Mix
    41. Young/Hendrix (1969) - Previously Unreleased Alternate Recording
    42. Mastermind (1969) - Previously Unreleased Recording
    43. Message To Love (1969) - Previously Unreleased Alternate Recording
    44. Fire (1969) - Previously Unreleased Recording
    45. Foxey Lady (1969) - Previously Unreleased Recording


    Opening with Hendrix's incendiary New Year's Eve performance of Stone Free at New York's Fillmore East on December 31, 1969 and closing with a previously unheard recording from Hendrix alone in his Greenwich Village apartment in 1970, the seventh and eighth LPs of West Coast Seattle Boy - The Jimi Hendrix Anthology provides a fascinating portrait of an artist at his fiery best, working on the future:
    46. Stone Free (1969) - Previously Unreleased Recording
    47. Burning Desire (1970) - Previously Unreleased Recording
    48. Lonely Avenue (1969) - Previously Unreleased Recording
    49. Everlasting First (1970) - Previously Unreleased Alternate Recording (featuring Arthur Lee)
    50. Freedom (1970) - Previously Unreleased Recording
    51. Peter Gunn/Catastrophe (1970) - Previously Unreleased Alternate Recording
    52. In From The Storm (1970) - Previously Unreleased Alternate Recording
    53. All God's Children (1970) - Previously Unreleased Recording
    54. Red House (1970) - Previously Unreleased Recording
    55. Play That Riff [Thank You] (1970) - Previously Unreleased Recording
    56. Bolero (1970) - Previously Unreleased Alternate Recording
    57. Hey Baby (New Rising Sun) - Previously Unreleased Alternate Recording
    58. Suddenly November Morning (1970) - Previously Unreleased Recording

    Jimi Hendrix
    $99.99
    Vinyl LP - Limited Edition 8 LP Box Set Sealed AWAITING REPRESS Buy Now
  • Trying To Live My Life Without You Trying To Live My Life Without You Quick View

    $16.99
    Buy Now
    x

    Trying To Live My Life Without You

    Otis Clay is one of the premier deep soul and gospel singers working today. His raw, fiery vocals drive an energetic and danceable blend of soul, r&b and blues in the tradition of such deep soul singers as Otis Redding, Wilson Pickett and Solomon Burke.


    A master showman, Otis Clay stays in demand for festival and concert appearances in the U.S., Europe and Japan. Noteworthy recent appearances include headlining The 2006 Japan Blues and Soul Festival Tour, headlining the opening night and being Honorary President of The 2006 Blues Passions Festival in Cognac, France a special guest appearance at The Chicago Emmy Awards in Nov., 2006 and the 2007 Chicago Gospel Music Festival.


    Born in Waxhaw, Mississippi, Clay began his career in gospel singing with groups such as The Pilgrim Harmonizers, The Gospel Songbirds and the legendary Sensational Nightingales. His recording of When The Gates Swing Open was a hit in the mid-80's and is included on The Gospel Truth cd released on Blind Pig Records. Both When The Gates Swing Open and The Gospel Truth remain staples on gospel radio today. As a singer and producer, Otis Clay remains very active in gospel. Walk A Mile In My Shoes, a new cd featuring Otis' version of this classic song has been released on his own Echo Records label.


    Clay launched and established his career as a deep soul singer with his first recordings made in the mid-60s for George Leaner's One-derful label in Chicago. A series of hit singles including Trying To Live My Life Without You produced by Willie Mitchell in Memphis for Hi Records followed in the '70's. Otis has also recorded for the Cotillion, Kayvette, Elka and Rounder labels as well as his own Echo Records. The intensity and passion of his live shows are captured on Soul Man: Live in Japan (Rounder) and Respect Yourself (Blind Pig) recorded live at The Lucerne Blues Festival in Switzerland.


    A long time resident of Chicago's West Side, Otis Clay is actively involved as a board member of People For New Direction, a community-based non-profit creating economic initiatives to address a number of issues on the West Side. People For New Direction consists of West Side businessmen and women, doctors, ministers and others who believe strongly in giving something back to the community where they live and work.


    As Chairman of The Board of the non-profit Tobacco Road, Inc. (TRI, Inc.), Otis was heavily involved in the extensive planning, fundraising and development of The Harold Washington Cultural Center at 47th and King Drive which has served as the cornerstone for the revitalization and redevelopment of the historic Bronzeville neighborhood. The Cultural Center, which includes the state-of-the-art 1,000 seat Com-Ed Performing Arts Theatre, is built on the former site of The Regal Theatre, the legendary venue for national and Chicago-based r&b/soul, blues, jazz and comedy stars.


    Whether bringing audiences around the globe to their feet with his fiery brand of soul and gospel or working tirelessly with community and church leaders to provide better economic and cultural opportunities for West and South Side Chicago residents, Otis Clay has proven himself to be a national treasure.

    1. Trying To Live My Life Without You
    2. I Die A Little Each Day
    3. Holding On To A Dying Love
    4. I Can't Make It Alone
    5. That's How It Is
    6. I Love You I Need You
    7. You Can't Keep Running From My Love
    8. Precious Precious
    9. Home Is Where The Heart Is
    10. Too Many Hands
    Otis Clay
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Cosmic Scene (Pure Pleasure) The Cosmic Scene (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    The Cosmic Scene (Pure Pleasure)

    Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed the Spacemen, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin 'Butter' Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features Avalon and Early Autumn, the slinky stripper pole blues version of St. Louis Blues with Ellington's piano taking the lead, and a version of Body & Soul, with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the tune. There's a modified Perdido, an animated and perky Midnight Sun that deviates from any other slow and lugubrious version of the ballad, and Jones a real good swinger. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing Bass-Ment, and one of the more delightful of all of Ellington's book, the poppin' and boppin' Spacemen, a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. It comes highly recommended.



    Musicians:



    • Paul Gonsalves (tenor saxophone)

    • Clark Terry (fluegel horn)

    • Britt Woodman, John Sanders, Quentin Jackson (trombone)

    • Jimmy Hamilton (clarinet)

    • Duke Ellington (piano)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    Recording: April 1958 at Columbia 30th Street Studio, New York




    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. Avalon
    2. Body And Soul
    3. Bass-ment
    4. Early Autumn
    5. Jones
    6. Perdido
    7. St. Louis Blues
    8. Spacemen
    9. Midnight Sun
    10. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Heart Like A Wheel Heart Like A Wheel Quick View

    $34.99
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    Heart Like A Wheel


    Linda Ronstadt's 1974 Breakthrough Remains a Paragon of Extraordinary Performance, Arranging, and Songwriting: Heart Like a Wheel Features an All-Star Instrumental Cast and Singer at Her Best


    Audiophile Clarity, Profound Depth, Lifelike Naturalism, and Transfixing Warmth: Numbered, Limited-Edition Mobile Fidelity 180g LP Meticulously Mastered for Supreme Sound


    How to put the ageless appeal, artistic splendor, and imaginative instrumental variety of Linda Ronstadt's Heart Like a Wheel in proper perspective more than four decades after its original release? For starters, the 1974 landmark earned three major Grammy nominations and won for Best Country Vocal Performance - Female. But that feat pales in comparison to what the record did for Ronstadt, who became the decade's most in-demand, multifaceted, and cherished female singer soon after it captured the public's attention. Or the fact that it remains a paragon of songwriting, arrangement, and performance - a trifecta that still holds sway in this era or any. Mobile Fidelity's reissue puts it over the top to stay.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet 180g vinyl at RTI, this LP reissue presents Heart Like a Wheel with astounding clarity, depth, and naturalism. Still the most difficult instrument to accurately capture, the female voice is here conveyed with transfixing realism, warmth, and feeling. The inner beauty of Ronstadt's flawless phrasing and passionate inflections bears out with obvious candor, her tonality and emotiveness pouring through every lyric and wordless expression.


    Yet the advantages of this limited, numbered-edition audiophile version extend far beyond the intimacy afforded Ronstadt's singing. Specifically, the majesty of Peter Asher's crafty arrangements now come to life like never before. Free of the fatiguing high frequencies and flat, dull responsiveness inherent on previous remasters and the original Capitol issue, respectively, this 180g LP sets the sonic standard and lets the extraordinary instrumental blends blossom with openness, airiness, and organic textures.


    While Ronstadt's interpretive skills and stunning vocals remain front and center, the all-star cast of California-based musicians that helped transform Heart Like a Wheel into a 1970s mainstream pop-rock staple - and a lasting example of the period's laid-back West Coast sound - cannot be forgotten. Glenn Frey, Don Henley, Emmylou Harris, Maria Muldaur, Herb Pedersen, David Lindley, J.D. Souther, and Andrew Gold are just a few of the luminaries that ensure the Billboard chart-topping set rests on an unassailable foundation. Asher puts everything in the right place and, in concert with the headliner, chooses a repertoire of standards that both shakes up traditions and pays homage to them.


    The other secrets to the record's distinctiveness lie with Ronstadt's versatility and passion, her uncanny ability to inhabit every lyric with conviction and believability, and her graceful technique. As Stephen Holden stated in his rave review of the album for Rolling Stone in early 1975, No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses - the edge between vulnerability and willfulness that I find totally, irresistibly sexy.


    Ronstadt indeed proves seductive and inviting throughout, whether on the bluesy reading of Clint Ballad Jr.'s You're No Good, harmony-rich treatment of Hank Williams' I Can't Help It (If I'm Still in Love with You), folk-rock lilt of Lowell George's Willin', or soulful send-up of Phil Everly's When Will I Be Loved? Complete with piano, double bass, cello, viola, and fiddle, as well as support vocals from Muldaur, the cover of Anna McGarrigle's title track reinforces the one-of-a-kind expanse and all-for-one chemistry evident throughout the double-platinum effort - the kind of record they just don't make anymore.


    This title is not eligible for discount.

    1. You're No Good
    2. It Doesn't Matter Anymore
    3. Faithless Love
    4. The Dark End of the Street
    5. Heart Like a Wheel
    6. When Will I Be Loved
    7. Willin'
    8. I Can't Help It (If I'm Still in Love with You)
    9. Keep Me from Blowing Away
    10. You Can Close Your Eyes
    Linda Ronstadt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Alone Together Alone Together Quick View

    $32.99
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    Alone Together

    The Dave Mason/Friday Music 180 Gram Audiophile Vinyl Begins

    Celebrate His 1970 Debut Masterpiece Revisited For The First Time On Limited Edition 180 Gram Marble Vinyl!

    Impeccably Mastered By Joe Reagoso At Friday Music

    Featuring Hit Tracks Only You Know And I Know, World In Changes, Shouldn't Have Took More Than You Gave, Look At You, Look At Me

    Featuring Dave's Superstar Line Up Of Friends: Leon Russell, Jim Capaldi (Traffic), Bonnie Bramlett, Rita Coolidge, Carl Radle (Derek & The Dominoes), Chris Ethride (Flying Burrito Brothers), Jim Keltner, Larry Knechtel (Bread), John Barbata (CSNY) & Claudia Lennar (Joe Cocker)

    Dave Mason's debut smash LP Alone Together will always be revered as one of the finest rock albums ever released in the classic rock era. By 1970, Dave had already racked up a ton of acclaim as co-founder of Traffic with Stevie Winwood, Jim Capaldi and Chris Wood, playing guitar on so many classic albums like Jimi Hendrix's Electric Ladyland and George Harrison's All Things Must Pass, this stellar debut solo release would culminate his musical genius from the sixties into the seventies, delivering one the most loved rock albums of of all time.

    Alone Together shows this master musician's skills in the studio, his amazing guitar artistry, stellar vocals and songwriting expertise. Featuring some of his legendary songs like the brilliant opener Only You Know And I Know, his masterworks Shouldn't Have Took More Than You Gave, World In Changes and the prog-rock champion Look At You, Look At Me co-written with Traffic mate Jim Capaldi, Alone Together truly is the gift of music that just keeps on giving!

    Over forty years later, this wonderful album continues to resonate with his ever growing fan base as Dave Mason is currently embarking on a very successful 2017 Alone Together Again concert tour, and Friday Music is proud to be a part of the celebration with this 1970 masterpiece.

    As a first installment in our exclusive Dave Mason/Friday Music 180 Gram Audiophile Vinyl Series, this first time impeccably mastered audiophile Lp is now being revisited for a limited time on the long out of print 1970 marble vinyl.

    For a very limited time, we are also enhancing your listening enjoyment with a first time gatefold cover artwork presentation, which features the elements from the original LP sized cover art not seen in years, making this a keepsake for years to come.

    Impeccably mastered by Dave Mason's friend and longtime fan Joe Reagoso at Friday Music Studios, Dave Mason's Alone Together will be one of the most anticipated classic rock releases in the audiophile vinyl domain this year.

    Dave Mason .Alone Together .Celebrate over 4 Decades of the voice, the songs, the musicianship and the memories .1st Time Audiophile Marble Vinyl .An exclusive .Only from your friends at Friday Music.

    1. Only You Know And I Know
    2. Can't Stop Worrying, Can't Stop Loving
    3. Waitin' On You
    4. Shouldn't Have Took More Than You Gave
    5. World In Changes
    6. Sad And Deep As You
    7. Just A Song
    8. Look At You Look At Me
    Dave Mason
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Four & More Four & More Quick View

    $34.99
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    Four & More

    Exhilarating and Immediate: Live Set Documents One of Davis Final Excursions With a Program of Standards


    Hear the Interior of Philharmonic Hall at New Yorks Lincoln Center Come Alive: Mobile Fidelitys Fastidious Reissue Illuminates Venue Acoustics, Musicians Phrasings


    Whirlwind Uptempo Pace Prodded by Tenor Saxophonist George Coleman and Drummer Tony Williams


    Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and In a Silent Way Also Available from Mobile Fidelity


    Given his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that hed soon abandon in favor of experimentalism.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed analog edition teems with the urgency demonstrated by Davis and his band notes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy.


    Recorded on February 12, 1964 in Philharmonic Hall at New Yorks Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davis accompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancock approaches standards such as So What, Seven Steps to Heaven, and Four with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos.


    Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.


    At last, these historic recordings are afforded the breathing room and acoustic perspective they've always deserved. For listeners that may be unfamiliar with this title, prepare to be blown away literally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Don't miss this gem.


    This title is not eligible for discount.

    1. So What
    2. Walkin
    3. Joshua
    4. Go-Go
    5. Four
    6. Seven Steps to Heaven
    7. There Is No Greater Love
    8. Go-Go
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tutu Tutu Quick View

    $39.99
    Buy Now
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    Tutu


    2-LP Set On 180-gram Vinyl Includes Remastered Original Studio Album, Plus Unreleased Live Performances


    Extra 180-Gram Vinyl LP Of Live Performances By The Miles Davis Octet Of The Nice Jazz Festival Of 1986, Available For The First Time On Vinyl


    Packaging Is A Replica Of The Original Vinyl Album, Including Stickers, LP Labels, Irving Penn's Beautiful And Iconic Photographs


    30 Years ago, Miles Davis made waves in the music world when he left Columbia Records to sign recording and publishing contracts with Warner Bros. and Warner Chappell in 1985. With a new label to call home, Davis immediately started working on the album, which originally had the working title, Perfect Way, named after a song by new wave pop band Scritti Politti that he was covering on the album. The album was later renamed Tutu by producer Tommy LiPuma, taken from news headlines of the day referencing the well-known South African archbishop and anti-apartheid leader, Desmond Tutu.


    Rhino celebrates one of jazz music's most revered and innovative talents with a 2-LP deluxe edition set on 180-gram vinyl of Miles Davis' TUTU, released to coincide with the 30th Anniversary of Davis signing with Warner. The deluxe edition includes a remastered LP of the original album and a bonus LP of live performances at the Nice Festival held in 1986, packaged with the original artwork featuring photographs by the legendary Irving Penn.


    TUTU pushed Davis back into center stage, winning him two Grammy® awards, when even the most reverent seemed to admit that his best music lay in the past. Tutu stands as an important part of the Davis legacy, and a testament to a prolific artist whose boundless creativity continuously redefined a genre throughout his legendary career.


    As Davis recalled, Tutu "started with some music that George Duke, the piano player sent to me." Davis' affection for the initial track - eventually titled "Backyard Ritual" and filled with synthesizer sounds and electronic beats - revealed the trumpeter's willingness to consider music written by others, and the use of cutting-edge electronics.


    Producer Tommy LiPuma recruited composer and studio musician Marcus Miller to collaborate on the project, who at 27, had already made a name for himself in jazz, R&B and popular music, playing funk, rock, bebop and hip hop. Davis later praised him as being "so hip and into the music that he even walks in tempo . . . in the studio we make a great team."


    "Technology was kind of exploding and I thought it would be interesting to hear Davis making his way through this new world," said Miller. Performing on the album were George Duke, Adam Holzman and Bernard Wright, percussionists Paulinho Da Costa and Steve Reid, drummer Omar Hakim and violinist Michael Urbaniak all contributed tracks; keyboardist Jason Miles played a significant role as well, programming the synthesizers and helping push the tracks to a level of sonic detail that could compete with contemporary recordings.


    Tutu would feature a variety of tunes that offered a mix of flavors and mood. Besides the title track, four were composed by Miller - "Splatch," "Portia," "Don't Lose Your Mind" and "Full Nelson" (the last a tribute to another South African leader, Nelson Mandela). "Tomaas" - named by Davis for LiPuma - was co-written by Davis and Miller, based on ideas Davis had previously recorded. The selections were rounded out by one cover - "Perfect Way," which Davis had initially chosen to be the album's title track.


    By that summer, Davis' group was touring Europe. With a four-night run approaching at the Grande Parade du Jazz festival in Nice, France, the decision was made to record the group at its prime. It was a wise choice. Warner Bros. hired a mobile recording truck and all four concerts were taped. "Everybody in the band knew we were being recorded so we were on our game," remembers his nephew, drummer Vince Wilburn. "Miles had an uncanny knack for knowing not only what to record but when and where. Every night was more beautiful than the one before: wonderful weather, captive audiences and the band was on fire."


    "At the time, there wasn't anything that jumped out at me," LiPuma admits. "Believe me, if I thought there had been, I would've put an album out. But having spent some time with the music, it's brilliant - and I think it's an important recording." Like the best live recordings, these tracks are both historic and timeless - filled with a spirit and snap that can still be felt today, yet cannot be repeated.

    LP 1
    1. Tutu
    2. Tomaas
    3. Porttia
    4. Splatch
    5. Backyard Ritual
    6. Perfect Way
    7. Don't Lose Your Mind
    8. Full Nelson


    LP 2 - Live from Nice Festival, France, July 1986
    1. Portia
    2. Human Nature
    3. Carnival Time
    4. Splatch
    5. New Blues

    Miles Davis
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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