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  • Blackbird Blackbird Quick View

    $42.99
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    Blackbird

    Import



    Pressed On 180 Gram Audiophile Vinyl


    Gatefold Sleeve


    Etched D-side


    Limited 10 Year Anniversary Edition In Numbered Sleeves


    2007's Blackbird marked the creative (and commercial) launch of Alter Bridge, the follow-up project to Rock radio's favorite Creed. After Creed's demise Mark Tremonti, Scott Phillips and Brian Marshall teamed up with singer Myles Kennedy, and formed Alter Bridge as an outlet for their creative energy.


    Kennedy contributed a considerable amount to the overall songwriting process of Blackbird, which resulted in a heavy, groovy and aggressive album. Alternating acoustic interludes and hard-hitting choruses, the band's new found songwriting freedom resulted in a fresh start for this Florida based Rock band. The D-side contains a beautiful etched artwork - must be seen to believe!

    LP 1
    1. Ties That Bind
    2. Come To Life
    3. Brand New Start
    4. Buried Alive
    5. Coming Home
    6. Before Tomorrow Comes
    7. Rise Today
    8. Blackbird
    9. One By One


    LP 2
    1. Watch Over You
    2. Break Me Down
    3. White Knuckles
    4. Wayward One


    Side D ETCHED

    Alter Bridge
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • This Is Chris (Pure Pleasure) This Is Chris (Pure Pleasure) Quick View

    $34.99
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    This Is Chris (Pure Pleasure)

    During 1953-1955, singer Chris Connor recorded regularly for Bethlehem. This LP has her final recordings for the label (before moving to Atlantic) with such fine sidemen as Herbie Mann (doubling on flute and tenor), pianist Ralph Sharon, guitarist Joe Puma, bassist Milt Hinton, and drummer Osie Johnson. The two-trombone team of J.J. Johnson and Kai Winding (which had recently become very popular) is prominent on four of the ten selections. Connor's cool tone, subtle, emotional delivery and haunting voice were perfect for the music of the 1950s. Highlights of this superior set include The Thrill Is Gone, Blame It On My Youth, and I Concentrate On You, but all ten numbers are rewarding.



    Musicians:



    • Chris Connor (vocal)

    • J. J. Johnson, Kai Winding (trombone)

    • Herbie Mann (flute, tenor saxophone)

    • Joe Puma (guitar)

    • Ralph Sharon (piano)

    • Milt Hinton (bass)

    • Osie Johnson (drums)




    Recording: April 1955 in New York City by Tom Dowd

    Production: Creed Taylor




    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. Blame It On My Youth
    2. It's All Right With Me
    3. Someone To Watch Over Me
    4. Trouble Is A Man
    5. All This And Heaven Too
    6. The Thrill Is Gone
    7. I Concentrate On You
    8. All Dressed Up With A Broken Heart
    9. From This Moment On
    10. Ridin' High
    Chris Connor
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • X-Rated Fairy Tales X-Rated Fairy Tales Quick View

    $37.99
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    X-Rated Fairy Tales

    Import


    Recorded with a fairly straightforward backing band (bassist Mark Duran, synth-player John Carlan, and drummer/keyboardist Bill Roth), Creed's first solo album still turned out to be something touched with the unmistakable mark of Chrome. The production was often murky and strange, effects processing was everywhere, Creed's vocals sounded on the edge of sanity, and, of course, the guitars. Still creating one massive rock surge after another, with feedback piled on top of feedback and, likely enough, more pedals than anyone had ever seen at any one time, Creed showed once again why his guitar-god reputation exists in the first place. That his first solo album continued the true vibe of Chrome where Damon Edge's own use and abuse of the name made him a laughing stock probably wasn't that surprising in the end. Creed himself thought of this album as a more stripped-down, less stony affair, but it's mostly a matter of splitting hairs from an outside perspective. Considering that the title track itself is an acoustic guitar-led acid folk number with appropriate crumbling guitar noises in the background and post-hippie vibes everywhere, one has to wonder what Creed considers to be really stoned music. The most crisp the album gets is with the rhythm section, which often has a good full-bodied punch to it (and if anything sounds a bit like the work of Can, one of Chrome's inspirations). There's a little less stuff about alien takeovers and lurking gods outside the solar system and the like -- there's even a semi-cover of the old Chuck Berry classic Johnny B. Goode -- but then again one almost-dancefloor number is called Sex Voodoo Venus, so go figure. Showdown is also a pretty focused, rhythmic number notable for chunky riffs rather than extended soloing, while the You don't like me/I don't like you lyrics are pretty funny (and maybe about Edge -- and who could blame him?).

    -All Music Guide

    1. The Descent
    2. Un-Human Condition
    3. Invitation
    4. X-Rated Fairy Tales
    5. Blood Red
    6. Mystery Room
    7. Showdown
    8. Sex Voodoo Venus
    9. Money Man
    10. Johnny
    Helios Creed
    $37.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Assassin's Creed  (Original Motion Picture Score) Assassin's Creed (Original Motion Picture Score) Quick View

    $29.99
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    Assassin's Creed (Original Motion Picture Score)

    Verve and Decca Classics will release a soundtrack album for the film adaptation of the video game series Assassin's Creed. The album features the film's original music composed by Jed Kurzel (Macbeth, The Snowtown Murders, The Babadook, Slow West). Also included is a new track by 3D & Young Fathers. Assassin's Creed is directed by Justin Kurzel and stars Michael Fassbender, Marion Cotillard, Michael K. Williams, Ariane Labed, Jeremy Irons and Brendan Gleeson. The movie centers on Callum Lynch as he explores the memories of his ancestor and gains the skills of a Master Assassin.
    1. Initiation / Intro Running
    2. Execution Onwards
    3. Abstergo Rooftop
    4. The Animus Room
    5. 1st Regression - To Mountain Village / Wagon Chase
    6. Cal Recuperates
    7. Sofia + Rikkin
    8. Bleeding Effect
    9. Sofia's Lab
    10. 2nd Regression - Rooftop Chase
    11. Tunnel Chase
    12. Joseph And Cal
    13. Cal Is Attacked
    14. Patio Underground
    15. Underground Fight
    16. Columbus Suite - To The Port
    17. Ancestors
    18. Assassins' Mutiny
    19. Abstergo Breakout - Leap Of Faith
    20. Seville To London
    21. Assassination
    22. Take Me To The Animus Theme End Credits
    23. He Says He Needs Me - 3D & Young Fathers
    Jed Kurzel
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Assassin's Creed: The Best Of Jesper Kyd (Picture Disc) (Awaiting Repress) Assassin's Creed: The Best Of Jesper Kyd (Picture Disc) (Awaiting Repress) Quick View

    $24.99
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    Assassin's Creed: The Best Of Jesper Kyd (Picture Disc) (Awaiting Repress)

    Limited edition picture disc LP featuring 10 fan-favorite tracks from the iconic best-selling video game series including two exclusive, previously-unreleased tracks from BAFTA award-winning and Billboard/MTV VMA-nominated composer Jesper Kyd (Darksiders 2, Borderlands 2, Warhammer: End Times, Mortal Combat X: Generations).


    1. Ezio's Family (Assassin's Creed 2)
    2. Venice Rooftops (Assassin's Creed 2)
    3. Dreams of Venice (Assassin's Creed 2)
    4. Florence Rooftops (Assassin's Creed 2)
    5. Sanctuary (Assassin's Creed 2)
    6. City of Rome (Assassin's Creed Brotherhood)
    7. The Brotherhood Escapes (Assassin's Creed Brotherhood)
    8. Leonardo's Inventions (Extended) [Assassin's Creed 2]

    9. Welcome to Kostantiniyye (Assassin's Creed Revelations)
    10. City of Jerusalem (Assassin's Creed)
    Jesper Kyd
    $24.99
    Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
  • Galactic Octopi (Discontinued) Galactic Octopi (Discontinued) Quick View

    $24.99
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    Galactic Octopi (Discontinued)

    Helios Creed's first album in five years, Galactic Octopi is a space rock masterpiece that is more than worth the wait! With LUX VIBRATUS on bass and ALEPH KALI on drums. Double vinyl, gatefold sleeve.
    LP 1
    1. Galactic Center
    2. XCIII
    3. Warp Slip
    4. Star Streaker
    5. Terra Firma Thurma
    6. We're Flying.com
    7. Red Chopper


    LP 2
    1. Observation Outpost
    2. Psylent Encounters
    3. Stranger In The Manger
    4. Terrestrial Manifestations
    5. Clarification
    6. Galactic Octopi

    Helios Creed
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Superior Catholic Finger Superior Catholic Finger Quick View

    $37.99
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    Superior Catholic Finger

    Import


    Starting with a random snippet of evangelist preaching isn't necessarily the newest of touches in music, but putting it at the beginning of a track called Monster Lust has its own appeal. Creed's second solo album was his conscious return to the more zoned-and-stoned style of Chrome, though given how there was a fair amount of that on X-Rated Fairy Tales it would be more accurate to say that on Finger Creed just decided to let everything run riot. Tempos are often more stretched out than before, effects are tweaked and then tweaked again; in short, it's everything that a lot of rock music both mainstream and underground in 1988 was generally avoiding. With new drummer Ted Preuss helping out with returning bassist Duran, Creed leads his merry men into another fantastic bout of aggro-death-science-fiction snarl. Creed's low, vicious voice perfectly suits his abrasive feedback and more, while the rhythm section can both pound out things in a metal-punk style or just go with the flow. Who Cares is one of the best in the latter vein, with heavily flanged drums mixing with the simple but effective basslines as Creed goes off with both guitar and distorted vocals. Thick blasts of feedback that fill up the mix in both rhythm and soloing often remain the way of things for Creed; Too Bad, with its quick, almost punky verses, is a great example of him at his most crazed. The title track is one of Creed's best, a slow-and-low number with another great taking-off-to-Mars solo from the band and some disturbing rumbles down deep in the bass. Sometimes things maybe get a bit lost along the way -- The Cookie Jar descends into some aimless bits before picking up the groove again -- but otherwise Creed once again is flying high.

    -All Music Guide

    1. Monster Lust
    2. Mustard Dog
    3. Superior Catholic Finger
    4. Too Bad
    5. The Bridge
    6. Who Cares
    7. The Cookie Jar
    8. Weekends
    Helios Creed
    $37.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Stone Flower Stone Flower Quick View

    $29.99
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    Stone Flower

    Pressed On Audiophile-Grade Vinyl At Pallas Group In Germany


    Mastered From Original Analog Tapes By Bernie Grundman


    Recorded By Rudy Van Gelder And Produced By Creed Taylor


    Recorded in 1970 at Rudy Van Gelder's studio under the production auspices of Creed Taylor, the arrangement and conducting skills of Deodato, and the engineering expertise of Van Gelder himself, Jobim's Stone Flower is quite simply one of his most quietly stunning works. The album is a simply brilliant, velvety, late-night snapshot of Jobim at his peak. This 180gram vinyl reissue was mastered from analog tapes by Bernie Grundman and pressed on audiophile-grade vinyl at Pallas in Germany.

    1. Tereza My Love
    2. Children's Games
    3. Choro
    4. Brazil
    5. Stone Flower
    6. Amparo
    7. Andorinha
    8. God and the Devil in the Land of the Sun
    9. Sabia
    Antonio Carlos Jobim
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bushcraft (Awaiting Repress) Bushcraft (Awaiting Repress) Quick View

    $13.99
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    Bushcraft (Awaiting Repress)

    Baptists advocate a creed of destruction through a blistering, discordant hybrid of punk-fueled hardcore. Recorded at the infamous Godcity studios with Kurt Ballou, the eleven anthems embodied on Bushcraft rage with nearly a half hour of lyrical angst and a seething vocal delivery propelled by white-knuckled snare-blasts, d-beat thunder, dissonant riff urgency and an overall relentless by-the-throat approach.

    -Earsplit Compound
    1. Betterment
    2. Think Tank Breed
    3. Bullets
    4. In Droves
    5. Still Melt
    6. Mortar Head
    7. Crutching Trails
    8. Bushcraft
    9. Soiled Roots
    10. Russian Spirits
    11. Abandon
    Baptists
    $13.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Bringing The War Home EP (Discontinued) Bringing The War Home EP (Discontinued) Quick View

    $9.99
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    Bringing The War Home EP (Discontinued)

    Beyond their unique amalgam of musical stylings, there is also the highly charged message behind the Cobra Skulls music, both of which are on full display on their Fat Wreck Chords debut Bringing the War Home. Their disdain for the modern human condition far surpasses the typical targets of most punk bands; transcending class, creed and dogma, nothing is safe from their scope. All five songs that comprise Bringing the War Home exemplify this, delivered on the crest of Devin's soulful vocals, and driven by Cobra Skulls' contagious invigorating music.
    1. Doomsday Parade
    2. ICE In The Night
    3. Hot Sand
    4. Give You Nothing
    5. Life In Vain
    Cobra Skull
    $9.99
    12 Vinyl LP - Sealed Buy Now
  • She Was Too Good To Me She Was Too Good To Me Quick View

    $34.99
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    She Was Too Good To Me

    Chet Baker was one of the most important representatives of the West Coast Cool Jazz movement. His heroin addiction is well documented with his exploits and misadventures wrapped in legendary anecdotes, but thankfully his life story never managed to overshadow his unmistakable talent. Chet Baker has one of the most recognisable sounds of all the jazz musicians in the cannon; his trumpet playing is intimate, simple and delicate with a hint of melancholy that tears at the heartstrings. She Was Too Good To Me was released in 1974 on Creed Taylor's CTI label after a 4 year absence from the scene. And what a comeback: excellent vocal Cool Jazz tunes are interlude with instrumental goodness from the undisputed master of the trumpet.
    1. Autumn Leaves
    2. She Was Too Good To Me
    3. Funk In Deep Freeze
    4. Tangerine
    5. With A Song In My Heart
    6. What'll I Do
    7. It's You Or No One
    Chet Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • First Light First Light Quick View

    $29.99
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    First Light


    Numbered, Limited Edition of 2,000 Copies


    Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany


    Mastered from Original Analog Tapes by Bernie Grundman


    Features Herbie Hancock on Rhodes


    Freddie Hubbard entered Creed Taylor's studio for the
    third time in 1971 with the express purpose of making
    a record radically different from anything he'd cut
    before; he was looking for it to use electricity and to be
    out of the soul-jazz mold, but was also more ambitious
    and wanted to push that envelope and himself. Taylor
    and Hubbard assembled a band that included Herbie
    Hancock , Eric Gale, George Benson, Ron Carter,
    Jack DeJohnette, Airto Moreira, and Richard Wyands.
    The album is part of a loose trilogy including his two
    previous records, Red Clay and Straight Life. Now
    available in its essential form, First Light was mastered
    from original analog tapes and pressed on 180gram
    audiophile-grade vinyl at Pallas.

    1. First Light
    2. Uncle Albert/Admiral Halsey

    3. Moment to Moment
    4. Yesterday's Dreams
    5. Lonely Town
    Freddie Hubbard
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Life Straight Life Quick View

    $29.99
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    Straight Life

    Limited Edition of 1,000 Copies


    Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany


    Mastered from Original Analog Tapes By Grammy Award Winner Bernie Grundman


    Features Joe Henderson, Herbie Hancock, George Benson, Ron Carter, and Jack DeJohnette


    Straight Life, arguably trumpeter Freddie Hubbard's greatest recording, features an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette. Recorded in 1970 between Hubbard's better-known CTI releases, Red Clay and First Light, the album was also engineered by Rudy Van Gelder and produced by Creed Taylor. This 180gram audiophile-grade vinyl reissue, which was mastered from original tapes by Bernie Grundman and pressed at Pallas in Germany, shines new light on this amazing, underrated recording.

    1. Straight Life
    2. Mr. Clean
    3. Here's That Rainy Day
    Freddie Hubbard
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Getz and Gilberto (45 RPM) Getz and Gilberto (45 RPM) Quick View

    $49.99
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    Getz and Gilberto (45 RPM)

    Ranked 447/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Mastered by George Marino at Sterling Sound


    The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed.


    Astrud Gilberto says that her husband, Joao, informed Stan Getz that she could sing at the recording. Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes Ahhh!


    Originally released in 1963.


    This title is not eligible for discount.

    1. The Girl from Ipanema
    2. Doralice
    3. P'ra Muchucar
    4. Desafinado
    5. Corcovado
    6. So Dance Samba
    7. O Grande Amor
    8. Vivio Sonhando
    Getz Gilberto
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    About Speakers Corner



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



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



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



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



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



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



    1. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Body Talk (Speakers Corner) Body Talk (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Body Talk (Speakers Corner)

    Just listen to the first thirty seconds of this LP and you know that it's all about the 'Godfather of Soul' - the unique James Brown.



    But it's just as obvious that such a great artist as George Benson doesn't just present "Greatest Hits" in a new guise. Six of his own compositions plus one by Donny Hathaway/Gene McDaniels provide the guitarist and singer with a great platform to launch from. He shoots off into orbit, accompanied by first-class guest soloists such as Jon Faddis, Frank Foster, Earl Klugh and Jack DeJohnnette. Ron Carter's bass doesn't boom in the low register but offers a light and airy, yet solid, base.



    Body Talk is by no means the declaration of a world-shaking, new and avant-garde jazz. It is, however, a successful blend of jazz, soul and fusion. And when such a superb arranger as Pee Wee Ellis has his finger in the pie - or rather: his pen on the manuscript paper - then one can be sure that the almost 50-minute-long LP is a great success from beginning to end. Finally, one shouldn't forget the helping hand of the producer Creed Taylor, who made a significant contribution to this milestone on the CTI label.



    Musicians:



    • George Benson (guitar, vocal)

    • Frank Foster (tenor saxophone)

    • Gerald Chamberlain, Dick Griffin (trombone)

    • Jon Faddis, John Gatchell, Waymon Reed (fluegel horn, trumpet)

    • Harold Mabern (electric piano)

    • Earl Klugh (guitar)

    • Ron Carter, Gary King (bass)

    • Jack DeJohnette (drums)

    • Mobutu (percussion)



    Recording: July 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    About Speakers Corner



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



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



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



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



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



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

    1. Dance
    2. When Love Has Grown
    3. Plum
    4. Body Talk
    5. Top Of The World
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Afro Classic (Speakers Corner) Afro Classic (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Afro Classic (Speakers Corner)

    In the Seventies, fusion was a popular pigeonhole for music somewhere between jazz and pop. At the same time it was also an often used, belittling term employed by critics and representatives of 'pure' jazz, who never wanted to listen to it, let alone include any of the numerous LPs in their collection.



    Forty years later, the dust has settled. Flautist Hubert Laws' recordings not only for the Atlantic but also the CTI labels are treasured - especially the present LP, which was produced by the 'Master of Sound' Creed Taylor. Now these crossover numbers from the worlds of classic, jazz, pop and easy listening are available once more. Discover, for example, Al Kooper's composition Fire And Rain (more familiar are the versions from Blood, Sweat & Tears and James Taylor), the famous theme music from the film Love Story, and three classical compositions by J. S. Bach and Mozart. All have been given a facelift and with such super sidemen ranging from Ron Carter to Bob James and a superb Freddie Waits on the drums, they are a real treat.
    So cast aside any preconceptions and enjoy this meticulous production and the clear reproduction on vinyl.



    Musicians:



    • Hubert Laws (flute)

    • Don Sebesky (arranger)

    • Fred Alston, Jr. (bassoon)

    • Bob James (electric piano)

    • Gene Bertoncini (guitar)

    • David Friedman (vibraphone)

    • Ron Carter (bass)

    • Airto, Richie 'Pablo' Landrum (percussion)

    • Fred Waits (drums)




    Recording: December 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor





    About Speakers Corner



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



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



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



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



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



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

    1. Fire and Rain
    2. Allegro from Concerto No. 3 in D
    3. Theme from Love Story
    4. Passacaglia in C Minor
    5. Flute Sonata in F
    Hubert Laws
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release



    Musicians:



    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)




    Recording: March & April 1972 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
    Production: Creed Taylor





    About Speakers Corner



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



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



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



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



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



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



    1. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • La Cuna (Speakers Corner) La Cuna (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    La Cuna (Speakers Corner)

    Ray Barretto disliked his music being labelled 'Latin Jazz' - yet the album La Cuna is one of the most memorable of this genre, since it amalgamates the diverse moods of both Americas. In this album, the expertise of the legendary producer Creed Taylor is combined with an all-star ensemble and the supreme musicality of the skilful jazz percussionist Barretto to create a tightly-knit performance. The title-giving opening number sails along merrily with a salsa swing, but then the soaring flute melodies and the powerful piano improvisations cool down the Caribbean rhythms. How the players mingle driving patterns with delicate melodies to form beautiful song is demonstrated best in Doloroso and also in Mambotango, whereby the latter exudes controlled coolness in the somewhat electric mood.


    John Tropea leans seemingly intentionally towards Santana and his art of guitar-playing, and this is further enhanced by the late Joe Farrell's phenomenal performance.
    A further tribute is paid to one of the greatest musicians ever to combine various styles and trends with a speeded-up version of Stevie Wonder's Pastime Paradise.


    To conclude: if not Latin Jazz, then definitely Latin AND Jazz.

    Musicians:



    • Ray Barretto (conga, percussion)

    • Joe Farrell (tenor saxophone, soprano saxophone, flute)

    • John Tropea (guitar)

    • Charlie Palmieri (piano,percussion)

    • Carlos Franzetti (piano)

    • Jeremy Wall (synthesizer)

    • Francisco Centeno (bass)

    • Steve Gadd, Mark Craney (drums)

    • Willy Torres (vocal)

    • Tito Puentes (timbales)



    Recording: August 1979 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor

    About Speakers Corner



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



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



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



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



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



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




    1. La Cuna
    2. Doloroso
    3. Mambotango
    4. The Old Castle
    5. Pastime Paradise
    Ray Barretto
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Empathy Empathy Quick View

    $49.99
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    x

    Empathy

    Mastered by George Marino at Sterling Sound


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


    This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio. This was a busman's holiday for Evans, who was freed from the musical parameters he had set for his then-current trio. The result is that his playing seemed lighter, freer, and more relaxed than it had for a while. The album kicks off with a jaunty version of Irving Berlin's The Washington Twist from the unsuccessful Mr. President with Budwig sharing the honors with Evans as much as Manne. Manne spends most of his time driving Evans into more diminished and sharper playing than was usually Evans' wont. Another relatively unfamiliar Berlin work, Let's Go Back to the Waltz, gives full reign to Evans' lyricism. The longest tune on the set is an audacious, almost lampooned version of With a Song in My Heart with light chordal phrasing that pretty much characterized much of the tone coming from this session.


    Recorded in 1962.


    Bill Evans, piano

    Shelly Manne, drums

    Monty Budwig, bass


    This title is not eligible for discount.

    1. The Washington Twist
    2. Danny Boy
    3. Let's Go Back To Te Waltz
    4. With A Song In My Heart
    5. Goodbye
    6. I Believe In You
    Shelly Manne & Bill Evans
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
  • Concierto (Pure Pleasure) (Awaiting Repress) Concierto (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    Concierto (Pure Pleasure) (Awaiting Repress)

    Jim Hall's Concierto was arguably a masterpiece and possibly the greatest LP in the history of CTI. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall's interpretation of one movement from Rodrigo's Guitar Concerto, arranged by Don Sebesky. New tracks include alternate takes of You'd Be So Nice to Come Home To and Rock Skippin', plus Unfinished Business, an incomplete track that fades following Desmond's solo just as Hall starts to play (This song is actually La Paloma Azul, a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as The Blue Dove).



    Musicians:



    • Jim Hall (guitar)

    • Chet Baker (trumpet)

    • Paul Desmond (alto saxophone)

    • Roland Hanna (piano)

    • Ron Carter (bass)

    • Steve Gadd (drums)



    Recording: April 1975 at Van Gelder's Recording Studio, Englewood Cliffs, N.J., USA by Rudy Van Gelder

    Production: Creed Taylor



    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. You'd Be So Nice To Come Home To
    2. Two's Blues
    3. The Answer Is Yes

    4. Concierto de Aranjuez
    5. Rock Skippin'
    6. Unfinished Business

    Bonus Tracks
    7. You'd Be So Nice To Come Home To (alternate take)

    8. The Answer Is Yes (alternate take)
    9. Rock Skippin' (alternate take)
    Jim Hall
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Deodato 2 (Speakers Corner) Deodato 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Deodato 2 (Speakers Corner)

    In his early years, Deodato, 'the gift of God', cultivated a highly original art of give and take in his music. His score for Stanley Kubrick's science fiction film A Space Odyssey 2001 - a funky, jazzed-up adaptation of Richard Strauss's bombastic orchestral work Also sprach Zarathustra - opened the ears of innumerable cinema-goers to classical music. On the present album Deodato again rocks and grooves with works from past eras: Gershwin's Rhapsody In Blue is reworked rhythmically and enriched, while Ravel's Pavane unfolds hesitatingly over a velvety carpet of sound. And why not win new fans for major musical works? Deodato, the master, and his complex musical apparatus impart a true Latin feeling to these covered works.


    The 'new' classic Nights In White Satin too, one of the most congenial gigantic hits from the 60s, is staged by Deodato as a miniature slow rock drama just as perfectly as he cultivates his own very pure funky style (Super Strut). In Deodato's arrangements, the powerful instrumental forces open out almost effortlessly and evolve into a gentle flow of sheer pleasure. Everything appears to be simple, although nothing is simple! And therein lies the uniqueness of 'the gift of God'.



    Musicians:



    • Eumir Deodato (keyboards)

    • Jon Faddis (trumpet, fluegel horn)

    • Wayne Andre (trombone)

    • Joe Temperley (bassoon)

    • Hubert Laws (flute)

    • John Tropea (guitar)

    • Stanley Clarke (bass)

    • Billy Cobham (drums)





    Recording: April and May 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor





    About Speakers Corner



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



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



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



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



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



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


    1. Nights In White Satin
    2. Pavane For A Dead Princess
    3. Skyscrapers
    4. Super Strut
    5. Rhapsody In Blue

    Deodato
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Life (Pure Pleasure) Straight Life (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Straight Life (Pure Pleasure)

    Recorded between trumpeter Freddie Hubbard's better-known classics Red Clay and First Light, Straight Life is actually arguably Hubbard's greatest recording. Hubbard, joined by an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette, is frequently astounding on Straight Life (check out that introduction) and Mr. Clean, constructing classic solos. The very memorable set is rounded off by the trumpeter's duet with Benson on a lyrical version of the ballad Here's That Rainy Day. This exciting album is essential for all serious jazz collections.



    Musicians:



    • Freddie Hubbard (trumpet, fluegel horn)

    • Joe Henderson (tenor saxophone)

    • Herbie Hancock (piano)

    • George Benson (guitar)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Richard Pablo Landrum (percussion)

    • Weldon Irvine (tambourine)



    Recording: November 1970 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. Straight Life
    2. Mr. Clean
    3. Here's That Rainy Day
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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