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  • Congratulations Congratulations Quick View

    $36.99
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    Congratulations

    Import

    Congratulations is the second major label studio album by American psychedelic rock band MGMT, released on April 13, 2010. The album is a departure from the Synth Pop style that first brought the band acclaim on their major label debut, Oracular Spectacular, and features a more progressive, guitar-driven sound.

    LP 1
    1. It's Working
    2. Song For Dan Treacy
    3. Someone's Missing
    4. Flash Delirium
    5. I Found A Whistle


    LP 2
    1. Siberian Breaks
    2. Brain Eno
    3. Lady Dada's Nightmare
    4. Congratulations

    MGMT
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Congratulations Congratulations Quick View

    $34.99
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    Congratulations

    Newly remastered from the original analog tapes, this 2LP edition of MGMT's psychedelic rock masterpiece from 2010 is pressed on 180-gram vinyl and features the paradoxical Flash Delirium.
    LP 1
    1. It's Working
    2. Song For Dan Treacy
    3. Someone's Missing
    4. Flash Delirium
    5. I Found A Whistle


    LP 2
    1. Siberian Breaks
    2. Brain Eno
    3. Lady Dada's Nightmare
    4. Congratulations

    MGMT
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Congratulations I'm Sorry Congratulations I'm Sorry Quick View

    $19.99
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    Congratulations I'm Sorry

    Most observers wondered if the Gin Blossoms would be able to deliver a consistent second album after the departure (and subsequent suicide) of Doug Hopkins, their former guitarist who wrote Hey Jealousy and Found Out About You, the two big hits from the band's debut. Congratulations...I'm Sorry proves that they can. The Gin Blossoms haven't backed away from the sound that made New Miserable Experience a hit. It's filled with chiming guitars, sweet melodies, and simple, catchy hooks, as well as a sturdy grasp of traditional pop/rock songwriting that results in a number of gems. Now on vinyl for the first time.
    1. Day Job
    2. Highwire
    3. Follow You Down
    4. Not Only Numb
    5. As Long As It Matters
    6. Peferctly Still
    7. 7th Inning Stretch
    8. My Car
    9. Virginia
    10. Whitewash
    11. I Can't Figure You Out
    12. Memphis Time
    13. Competition Smile
    Gin Blossoms
    $19.99
    Vinyl LP - Sealed Buy Now
  • Congratulations; Thank You & I'm Sorry (Discontinued) Congratulations; Thank You & I'm Sorry (Discontinued) Quick View

    $16.99
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    Congratulations; Thank You & I'm Sorry (Discontinued)

    Includes bonus CD version of the album.


    Animal Prufrock co-created the infamous queer rock duo, Bitch and Animal. congratulations; thank you + i'm sorry was recorded over a period of 2 years in San Francisco and New Orleans. Animal's collection of 12 songs explores universal themes of love - triumphs and heartbreaks, without taking herself too seriously. On this record, Animal Prufrock continues where Bitch and Animal left off. The Technicolor joyride of raucous humor has changed a bit and we find a more introspective vibe of self examination on this album. Animal is keeping the beats fresh and funky, playful and jaunty all the while exploring the boundaries of her brand of outsider music and unconventional sounds.

    Side 1

    1. Liberation

    2. La Mia Ragazza

    3. Voglio

    4. Emotional Boner

    5. Love Me Love Me


    Side 2
    1. Indelible Blue

    2. Getting Into

    3. Mister Fool

    4. Cosmic Tranny

    5. I Like You

    6. Algebra

    7. 0 + 0 = 0

    Animal Prufrock
    $16.99
    Vinyl LP - Sealed Buy Now
  • Little Dark Age Little Dark Age Quick View

    $30.99
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    Little Dark Age

    Little Dark Age is the long awaited new album from MGMT. The album is produced by MGMT, Patrick Wimberly (Chairlift, Kelela, Blood Orange), and long-time collaborator Dave Fridmann (Flaming Lips, Spoon, Tame Impala). MGMT recorded Little Dark Age at Tarbox Road Studios in Cassadaga, NY.


    Formed in 2002 by Andrew VanWyngarden (lead vocals, guitar, keyboard, bass guitar, drums, percussion) and Ben Goldwasser (vocals, keyboards, guitar, percussion), MGMT released their influential, Grammy-nominated, debut album Oracular Spectacular in 2007. This was followed by 2010's Congratulations and 2013's self-titled album MGMT.

    LP 1
    1. She Works Out Too Much
    2. Little Dark Age
    3. When You Die
    4. Me and Michael


    LP 2
    1. TSLAMP
    2. James
    3. Days That Got Away
    4. One Thing Left to Try
    5. When You're Small
    6. Hand It Over

    MGMT
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Feel Feel Quick View

    $14.99
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    Feel

    The LP version of "Feel" comes with a bonus CD.


    Sleeping With Sirens has turned into a monster of a band. As the band prepares to release their 3rd full length album, they
    are selling a combined 4,000+ albums a week of catalog, with all 3 titles (2 full lengths and 1 Ep) fast approaching 100k sales
    apiece. The EP hasn't been out a full year and has sold over 84,000 units. While the band is on a steep climb up, it's been
    something Sleeping With Sirens has worked towards for years, creating a large, rock solid foundation of loyal fans who are
    eagerly awaiting the new album. For the past few years Sleeping With Sirens has been touring non-stop, with bands such as
    Of Mice & Men, Pierce the Veil and Memphis May Fire, including a stint on the Vans Warped Tour. The band is currently
    doing a full US headliner that has been 100% sold out and will be on the Main Stage of The Vans Warped Tour this summer
    after doing a sold out UK and European Tour in May.


    The band's 3rd album is their best material yet. Teaming up with Cameron Mizell who they've worked with
    on a previous full length, and enlisting mixer Dan Korneff (Breaking Benjamin, My Chemical Romance,
    Mayday Parade) and masterer Ted Jensen (Green Day, Bon Jovi, The Offspring) to complete the
    team creating the album, Sleeping With Sirens was able to deliver their best, most heartfelt album,
    sonically more superior than anything they've done to date. With tracks like the radio friendly single
    Alone (featuring rapper MGK) to the hard hitting anthems like Congratulations (featuring Matty
    Mullins of Memphis May Fire), Feel is sure to instantly please their current fans while winning over
    countless new people!

    1. Feel
    2. Here We Go
    3. Free Now
    4. Alone (FEAT. MGK)
    5. I'll Take You There (FEAT. Shayley Bourget)
    6. The Best There Ever Was
    7. Low
    8. Congratulations (FEAT. Matty Mullins)
    9. Deja Vu
    10. These Things I've Done
    11. Sorry
    12. Satellites
    Sleeping With Sirens
    $14.99
    Vinyl LP With CD - Sealed Buy Now
  • MGMT MGMT Quick View

    $32.99
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    MGMT


    Includes Access To "The Optimizer" Visual Accompaniment: Produced By MGMT Live Show Video Instrumentalist Alejandro Crawford, "The Optimizer" Provides Listeners With A Simultaneous Aural & Optical Listening Experience.


    The successor to 2008's Oracular Spectacular and 2010's Congratulations, MGMT's self titled third album finds Andrew VanWyngarden and Ben Goldwasser continuing to push themselves to expand the boundaries of modern pop music.


    Returning to Tarbox Road Studios to work with longtime collaborator Dave Fridmann (Co-producer and mixer of Oracular Spectacular and Congratulations, The Flaming Lips, Tame Impala), Andrew and Ben experimented with various in-studio writing processes, allowing the music to tell them where it wanted to go. The result is a diverse and powerful collection of 10 songs (including a cover of "Introspection" by 1960's psych band Faine Jade) that directly mirrors the duo's encompassing surrealist view of the everyday.

    1. Alien Days
    2. Cool Song No. 2
    3. Mystery Disease
    4. Introspection
    5. Your Life Is A Lie
    6. A Good Sadness
    7. Astro-Mancy
    8. I Love You Too, Death
    9. Plenty of Girls in the Sea
    10. An Orphan of Fortune
    MGMT
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ma Vlast (Speakers Corner) Ma Vlast (Speakers Corner) Quick View

    $69.99
    Buy Now
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    Ma Vlast (Speakers Corner)

    Smetana's symphonic poem "Má Vlast" consists of several individual compositions which the composer put together at a later date to form a cycle and is one of the greatest testimonies to Czech national music. The Bohemian countryside and sagas are reflected in the tone poem From "Bohemia's Woods and Fields", while the programmatic "Moldau" occupies a rightful place among the most outstanding works to have been written in the late 19th century. Thanks to its popular folk melodies, its clearly structured and recognizable "programme", and brilliant orchestration, the work has never failed to arouse the enthusiasm of a wide public.



    Rafael Kubelik conducted numerous first-class orchestras both in the concert hall and in the recording studio, and won a deserved reputation as the Smetana connoisseur. He is to be congratulated on his choice of the Vienna Philharmonic Orchestra for this recording: gentle and transparent in the gossamer-light orchestral passages, powerful and smooth when playing as a full tutti. This thoroughly satisfying performance is further enhanced by its excellent recording technique and is to be recommended to all collectors.





    Musicians:



    • The Vienna Philharmonic Orchestra

    • Rafael Kubelik (conductor)




    Recording: April 1958 at Sofiensaal, Vienna by Gordon Parry

    Production: Eric Smith




    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. Vysehrad
    2. Vltava (Moldau)
    3. Sarka
    4. From Bohemia's Meadows and Forest
    5. Tabor
    6. Blanik
    Rafael Kubelik with Vienna Philharmonic Orchestra
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Tchaikovsky - Symphony No. 5 (Speakers Corner) Tchaikovsky - Symphony No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Symphony No. 5 (Speakers Corner)

    Recordings of Tchaikovsky's late symphonies with the Leningrad Philharmonic under Mravinskij were a legend even in the days of mono recording technique. It comes as no surprise therefore to learn that Tchaikovsky fans were overjoyed when these three great symphonies were released at last on the Yellow Label in top hi-fi quality at the beginning of the Sixties. Masterful performances, as thrilling as live recordings, now became available - recordings which were far superior to all others on the market. Even when the purported 'miracle' of digital recording technique began to take over and industrial record production had become a matter of course, Mravinsky's recordings were still available in a 2CD set. There are reasons enough to re-release the Fifth Symphony as an individual LP, without going into lengthy discussions about which of Tchaikovsky's late symphonies is the most important. Those who treasure a mono version or a Mravinsky recording from an unknown source in their collection are now given the opportunity to compare their version with the present re-release. All others can congratulate themselves on possessing a milestone recording, a true work of reference, for no other Mravinskij sounds better than this one.




    Musicians:



    • The Leningrad Philharmonic Orchestra

    • Jewgenij Mrawinskij (conductor)




    Recording: November 1960 at Musikverein Großer Saal, Vienna, by Harald Baudis

    Production: Karl-Heinz Schneider





    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. Satz: Andante - Allegro Con anima
    2. Satz: Andante cantabile, con alcuna licenza
    3. Satz: Allegro moderato
    4. Satz: Finale: Andante maestoso - Allegro vivace

    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - 1812 Overture (Speakers Corner) (Awaiting Repress) Tchaikovsky - 1812 Overture (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - 1812 Overture (Speakers Corner) (Awaiting Repress)

    The 1812 Overture, Tchaikovsky's musical tribute to celebrate victory over Napoleon's army, is one of those 19th-century works which is seldom performed in the concert hall due to the enormous number of instruments it requires. This programmatic symphonic work with its battlefield participants - male-voice choir, bell chimes, percussion, and cannon-fire - requires the utmost from everyone involved, from the tutti strings right up to the balance engineer.



    The gratifying result of a production made with only the very best ingredients can now be enjoyed once again with this re-release of a DECCA recording. The London Symphony Orchestra, led by Kenneth Alwyn, has achieved a remarkable feat, their rich timbre enhancing every nuance of this closely-knit score. Sonorous strings and polished brass wind passages ensure that the listener's attention will be riveted right to the very last bar.
    Less nerve-racking but certainly no less riveting in its beauty and lightness are the well-known Capriccio italien and the popular Marche slave. The purchaser of this LP can congratulate himself that he now possesses three of Tchaikovsky's greatest showpieces.





    Musicians:



    • London Symphony Orchestra

    • Kenneth Alwyn (conductor)




    Recording: May 1958 at Kingsway Hall, London by Kenneth E. Wilkinson

    Production: Michael Williamson




    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. 1812 Overture, Op. 49
    2. Capriccio Italien, Op. 45
    3. Marche Slave, Op. 31
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • x x Quick View

    $27.99
    Buy Now
    x

    x

    x (pronounced multiply) is the second studio album by English singer-songwriter Ed Sheeran.


    Ed Sheeran is blessed - he seems to know exactly where he is going, and exactly how to get there. Where countless others fail to make an impression amid today's information overload, Ed's music and talent cut straight through.


    He has a poise that is as welcome as it is unusual in someone so young. He's both utterly self-assured but still charmingly open. He has a confidence that's built not on being able to sing someone else's song quite nicely on a teatime TV show, but on hundreds and hundreds and hundreds of gigs where it's just him, his guitar, a loop pedal and a crowd.


    Ed grew up in Suffolk where he learnt to play an old guitar given to him by an uncle. Spurred on by a chance meeting with the aforementioned Rice when he was 11, Ed started writing songs. Aged 16, he moved to London - into a flat above the T-Bird pub in Finsbury Park - with only one thing on his mind: playing gigs, as many as he could and as often as he could.


    One night Ed played a tiny bar in North London whose website listed every young promoter in town. That night Ed Myspaced them all and a few days later he had nearly a hundred new gigs lined up. A pattern began to emerge - all day in the studio, all night playing gigs. From the early days Ed would sell CDs of his songs out of his backpack, putting cash in his pocket to get to the next gig, but also planting a flag in people's minds that here was music that was worth paying for. Not satisfied by CDs alone, fans have flocked to his website to pick up everything from hoodies to jewellery.


    When Ed was told by his then management that he would need to conform to succeed - including dying his hair, and giving up his unique delivery - Ed responded by writing the cult song, 'You Need Me, I Don't Need You'. Over the next year he released five EPs, each one totally different, each one totally him. There was a singer-songwriter one, a live from The Bedford one, one written with singer Amy Wadge. Each sold better than the last.


    After two years of constant gigging and sofa surfing, Ed recorded a live version of 'You Need Me, I Don't Need You' for leading urban YouTube channel, SBTV. The clip got 100K hits in two days and is now approaching 1.5M views. A few days later, he wrote what would become his first major label release, 'The A Team': a story about a girl he met whilst working at a homeless shelter. The video for that has just surpassed 1M views.


    By the time Ed released the final EP - No. 5 Collaborations, which featured the who's who of UK hip hop and grime: Devlin, Wretch 32, Dot Rotten, P Money, JME and Wiley, the support was so strong it propelled Ed to Number 2 in the iTunes album chart after just 24 hours. The only artist selling more copies was Rihanna. When Elton John called his mobile to congratulate him, Ed realised quite how big things had got. Amid interest from numerous labels Ed shortly signed with Asylum - part of Atlantic Records.

    LP 1
    1. One
    2. I'm A Mess
    3. Sing
    4. Don't
    5. Nina
    6. Photograph


    LP 2
    1. Bloodstream
    2. Tenerife Sea
    3. Runaway
    4. The Man
    5. Thinking Out Loud
    6. Afire Love

    Ed Sheeran
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Stravinsky: Petrushka (Speakers Corner) Stravinsky: Petrushka (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky: Petrushka (Speakers Corner)

    The highly controversial reactions of the public could hardly have inspired Stravinsky to believe that, of all his compositions, his early ballets would bring him world fame one day. But just how the composer set the story of the puppet Petrushka to music is doubtless one of the greatest achievements ever in ballet music. Petrushka's wild behaviour puts the orchestra's patience to a hard test. Eventually the ensemble takes its revenge with a vengeance and eventually causes the puppet to collapse.



    DECCA is certainly to be congratulated for winning Ernest Ansermet for the present recording. No other conductor was granted the opportunity of following so closely all his life the creative process of this great composer. With its infallible perception of Stravinsky's compositional language, the Orchestre de la Suisse Romande - long regarded by connoisseurs as one of the very best ensembles - admirably presents the varied colouring of the highly complex score, from the picturesque trills and slurs, to the lyrical, cantabile wind passages, and on to the unrelenting, hammering ostinati. Right from its very first release, the music and the performance have ensured that this recording has been dubbed "legendary".




    Recording: May1958 at Victoria Hall, Geneva by Roy Wallace / Production: James Walker



    About Speakers Corner



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



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



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



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



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



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

    1. The Shrovetide Fair
    2. In Petrushka's Room
    3. In the Moor's Room
    4. The Shrovetide Fair (Evening)
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • YPLL YPLL Quick View

    $19.99
    Buy Now
    x

    YPLL

    Epitaph is proud to announce YPLL,the label debut of southern California's
    RETOX. With members from both the LA and San Diego noise and punk
    scenes, including frontman Justin Pearson from cult favorites The Locust,
    RETOX are already turning heads and making friends. Count among these
    Nick Zinner from the Yeah Yeah Yeahs, who guests on the album, and Mike
    Patton, who signed the newly formed band to his Ipecac label back in 2011
    and took them out this spring with Tomahawk. Musically the band both
    expands on the noise roots of its members, while looking back to classic
    punk sounds from Black Flag and PIL to the surf twang of the Dead
    Kennedys. The songs are short and tothepoint in the best hardcore
    tradition, with titles that tell the story all by themselves - you know what
    "Congratulations, You Are Good Enough" is all about before the first
    shattering guitar chord. More importantly, YPLL will carry the news of this
    amazing band beyond the noise scene to the kids who have rediscovered
    punk through bandslike Fucked Up and The Men.
    1. Modern Balls
    2. Mature Science
    3. Don't Fall In Love With Yourself
    4. You Lost Me At It Wasn't My Fault
    5. Congratulations, You Are Good Enough
    6. Soviet Reunion
    7. Greasy Psalms
    8. I've Had It Up To Here I'm Going To Prison
    9. The Art Of Really Really Sucking   
    10. Biological Process Of Politics
    11. Nose To Tail
    12. Consider The Scab Already Picked
    Retox
    $19.99
    Vinyl LP - Sealed Buy Now
  • Friends (Pure Pleasure) Friends (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Friends (Pure Pleasure)

    Friends is the accurate and revealing title for New York bluesman Eric Bibb's tenth album since 1997. The cuts here feature rootsy folk and blues collaborations with different 'friends' in differing small group settings. The set starts with a killer acoustic slide duet between Bibb and Guy Davis on the nugget 99 ½ Won't Do. The contrast between Davis' sweet and smoky delivery and Bibb's husky wail - akin to Blind Willie Johnson's in places - offers a double-sided dimension in interpretation for the listener, as well. Elsewhere, Charlie Musselwhite gives a killer snaky harmonica performance on Six O' Clock Blues. Taj Mahal makes two appearances; one in a duet on Goin' Down Slow, and one in a trio with Bibb and Malian guitarist Djelimady Tounkara on a medley of the traditional Kulanjan and Bibb's own Sebastian's Tune. Speaking of Mali, and Mahal, Bibb also covers the elder bluesman's classic Lovin' in My Baby's Eyes, with the great kora player Mamadou Diabate that rivals the original. There's also a gorgeous version of Guy and Susanna Clark's The Cape, with guitarist Martin Simpson, Bibb's moving For You with Ruthie Foster, and Tain't No Such Thing, a bright new folk song written and sung with legendary folksinger Odetta. Mohan Veena ace Harry Manx performs with Bibb on the high lonesome, droning blues of Needed Time, and with Kristina Olsen on her If I Stayed. The set closes with the tender Dance Me to the End of Love, (an original, not the Leonard Cohen tune) with the Lovin' Spoonful Jerry Yester playing piano. Given that most records of this type are mixed bags at best, with 'star-studded' collabs serving to muck up or water down rather than enhance performances, Friends is an anomaly. There is nothing that's obvious or overblown here, everything is subtly shaded, and the performers serve the songs and not themselves. The listener gets no sense of back-patting or self-congratulation, only the great pleasure of hearing this music in a revealing, emotionally honest way. Bravo.



    Musicians:



    • Eric Bibb (arranger, guitar, vocal)

    • Odetta (vocal)

    • Ruthie Foster (vocal)

    • Guy Davis (arranger, harpsichord, vocal, guitar)

    • Taj Mahal (guitar, vocal, banjo)

    • Charlie Musselwhite (harpsichord)

    • Mamadou Diabate (kora)

    • Martin Simpson (guitar)

    • Michael Jerome Browne (fiddle, vocal, guitar, mandolin)





    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. 99 1/2 Won't Do
    2. Six O'Clock Blues
    3. Goin' Down Slow
    4. Lovin' In My Baby's Eyes
    5. For You
    6. The Cape
    7. 'Tain't Such A Much
    8. Needed Time
    9. If I Stayed
    10. Connected
    11. Ribbons And Bows
    12. Just Look Up
    13. Cowgirl Queen
    14. Kulanjan/Sebastian's Tune
    15. Dance Me To The End Of Love
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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