- Lowest Price
- Highest Price
The TripSoundtrack for The Trip, a movie about an LSD experience by Peter Fonda, written by Jack Nicholson and directed by Roger Corman.1. Peter's Trip
2. Joint Passing
3. Psyche Soap
6. A Little Head
8. Inner Pocket
10. Green And Gold
11. The Other Ed Norton
12. Flash, Bam, Pow
13. Home Room
14. Peter Gets Off
15. Practice Music
16. Fine Jung Thing
17. Senior Citizen
18. Gettin' Hard$19.99Vinyl LP - Sealed Buy Now
Carlos Santana & Buddy Miles Live!
The Santana Friday Music 180 Gram Audiophile Series Continues
First Time Platinum Plus Release On Vinyl In The Us In Over 3 Decades
Audiophile Vinyl, Gatefold Cover & Psychedelic Artwork Insert Not Seen In Years
On New Year's Day 1972, Carols Santana and his great friend Buddy
Miles (Jimi Hendrix/Electric Flag) played a very special and incredible show
inside the Diamond Head Crater in Oahu, Hawaii for thousands of lucky fans.
To ring in the New Year, Columbia Records ran tape and the rest is rock and roll
history. Released a few months later, Carlos Santana & Buddy Miles Live! sold well over a
million copies in no time and rode easily into the top of the album charts.
Featuring a cross section of both Santana and Buddy Miles' hits like Evil Ways
and Them Changes, this monumental pairing of geniuses even took the psychedelic
rock and funk trip further with stellar interpretations of John McLaughlin's Marbles
as well as the superlative jam of all jams, the 26 minute Free Form Funkafide Filth.
The original vinyl version of this masterpiece has been out of circulation for
many years - that is until now ..Friday Music continues their exclusive Santana
180 Gram Audiophile Vinyl Series with the groundbreaking 1972 platinum
smash Carlos Santana & Buddy Miles Live! Mastered impeccably by Joe Reagoso at Friday
Music Studios, and pressed at RTI, this limited edition wonderful masterwork is
truly one of the finest live albums to ever be released, and we are very excited to
offer you this authorized 180 Gram LP today.
Along with the legendary Carlos Santana and the late great Buddy Miles,
future Journey superstar and Santana's own Neal Schon shares guitar chores,
as well as Greg Errico on drums from Sly & The Family Stone, plus even more
original Santana alumnus like Mike Carabello on congas and the great Pete
Escovedo on percussion.
As an added bonus, the original gatefold cover art and the special psychedelic insert artwork are restored to their full glory which will further enhance your
Let's all celebrate the 40th Anniversary of the classic mega rocker Carlos Santana & Buddy Miles Live! Authentic, Authorized, Free Form Funkafide Filth as only you would
expect from your friends at Friday Music!
Oh My Mind Is Going Through Them Changes1. Marbles
3. Evil Ways
4. Faith Interlude
5. Them Changes
6. Free Form Funkafide Filth$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Super Session (Speakers Corner)The musicians are aiming high with their desire for a "Super Session", for it's not something that can be planned. Only when the time, place, and audience play along, when one's lucky star is shining brightly, and the musicians have a good day, then one of music's great moments might be captured on tape. Not forgetting the recording technicians who also have to be in the mood!
In 1968 this all happened to be the case with the majority of the nine numbers on the Columbia LP: Season Of The Witch (written by Donovan) in its present version is one of them, as well as You Don't Love Me and the Dylan classic It Takes A Lot To Laugh, It Takes A Train To Cry. All in all, one must consider the numbers with Steve Stills as most successful in the sense of a session because here each musician inspires the others. In the super session with Kooper and Bloomfield, the guitarist stands in the limelight while the other musicians back him up.
Very often the three soloists even surpass the greatest moments of their own groups (Al Kooper's Blood, Sweat & Tears; Mike Bloomfield's Electric Flag; Steven Stills's Buffalo Springfield). In 1968 the magazine Rolling Stone judged this album to be one of the best releases of the year: an accolade which is completely justified and is still valid to this day. What better reason to get your copy of this "highly recommended" album without delay.
- Mike Bloomfield
- Steven Stills (electric guitar)
- Al Kooper (piano, organ, vocals, guitar, electric guitar)
- Barry Goldberg (electric piano)
- Harvey Brooks (bass)
- Eddie Hoh (drums)
Production: Al Kooper
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
This title is not eligible for discount.Albert's Shuffle
His Holy Modal Majesty
It Takes A Lot To Laugh, It Takes A Train To Cry
Season Of The Witch
You Don't Love Me
Harvey's Tune$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Super SessionThis historic 1968 summit meeting features three of the era's greatest musical talents: blues guitar hero extraordinaire Mike Bloomfield, multi-talented keyboard visionary Al Kooper and Buffalo Springfield/CSNY founder and ace axeman Stephen Stills.
After achieving prominence for his work as a member of the Blues Project and Blood, Sweat & Tears, and for his role in Bob Dylan's transition to electric rock, Kooper hit upon the idea of cutting a rock album using the same approach that was the standard methof for jazz recordings: Pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days.
The project grew into Super Session, which combines a side of live-in-the-studio performances by Kooper and Bloomfield and a side featuring Kooper and Stephen Stills. Instrumental support was provided by bassist Harvey Brooks and keyboardist Barry Goldberg, both of the Electric Flag, and a veteran session drummer Eddie Hoh. Super Session proved to be both a commercial smash and a seminal influence, becoming the biggest-selling release of Bloomfield's career and inspiring countless other artists to attempt similar studio-jam recording projects.
Out of print on vinyl for more than two decades, Super Session has been meticulously restored for the LP reissue, using Sundazed's usual exacting standards. The album is pressed on high-quality, high definition vinyl, and features the original cover art reproduced in its entirety.1. Albert's Shuffle
3. Man's Temptation
4. His Holy Modal Majesty
6. It Takes a Lot to Laugh, It Takes a Train to Cry
7. Season of the Witch
8. You DOn't Love Me
9. Harvey's Tune$28.99Vinyl LP - Sealed Buy Now
OVSE-MOV-1530xBloomfield / Kooper / Stills
Super SessionSuper Session (1968) was conceived by Al Kooper and features the work of guitarists Mike Bloomfield and Stephen Stills. Kooper and Bloomfield had previously worked together on the sessions for the ground-breaking classic Highway 61 Revisited by Bob Dylan. For Super Session, Kooper recruited keyboardist Barry Goldberg and bassist Harvey Brooks, both members of the Electric Flag, along with well-known session drummer "Fast" Eddie Hoh.
On the second day of recording, with the tapes ready to roll, Bloomfield did not show up. Kooper hastily called upon Stephen Stills, also in the process of leaving his band Buffalo Springfield. Regrouping behind Stills, Kooper's session men cut mostly vocal tracks, including "It Takes A Lot to Laugh, It Takes A Train to Cry" from Highway 61 and a lengthy and atmospheric take of "Season of the Witch" by Donovan.
The album peaked at #12 on the Billboard 200, and has been certified a Gold record. The success of this record opened the door for the "supergroup" concept of the late 1960s and 1970s - Blind Faith, Crosby, Stills & Nash, and the like.1. Albert's Shuffle
3. Man's Temptation
4. His Holy Modal Majesty
6. It Takes A Lot To Laugh, It Takes A Train To Cry
7. Season Of The Witch
8. You Don't Love Me
9. Harvey's Tune$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Document & Eyewitness 1979-1980For those unfamiliar with Document and Eyewitness, it really doesn't do it justice to describe it simply as a collection of live recordings from three turn-of-the-80s Wire gigs. What makes it more than that is the unorthodox nature of the main performance and the way it was presented on record. The centrepiece of the original vinyl release was a recording of the final gig of Wire's 70s phase. Wire's set was composed of largely new (and often under-rehearsed) work,accompanied by a series of artistic actions and interventions.
The evening was memorable for the unusually hostile reaction from sections of the audience, which has perhaps elevated it beyond a simple passing moment. If the crowd was expecting a standard gig, the level of outrage, expressed in vociferous abuse suggested that the band's intentions were lost on those in attendance, who were instead confounded by the apparent artistic pretensions on display. The approach was to couple selected live tracks with a spoken commentary on the proceedings by long-term Wire fans Adrian Garston and Russell Mills. Hence the title, Document and Eyewitness. For the album, the Electric Ballroom material was supplemented with recordings from a July 1979 show at the Notre Dame Hall (a straightforward band performance), along with one track from a 1979 gig in Montreux.1. 5/10 (Electric Ballroom Version)
2. 12XU (Fragment) (Electric Ballroom Version)
3. Underwater Experiences (Electric Ballroom Version)
4. Everything's Going to Be Nice (Electric Ballroom Version)
5. Piano Tuner (Keep Strumming Those Fucking Guitars) (Electric Ballroom Version)
6. We Meet Under Tables (Electric Ballroom Version)
7. ZEGK HOQP (Electric Ballroom Version)
8. Eastern Standard (Electric Ballroom Version)
9. Instrumental (Thrown Bottle) (Electric Ballroom Version)
10. Eels Sang Lino (Electric Ballroom Version)
11. Revealing Trade Secrets (Electric Ballroom Version)
12. And Then.. Coda (Electric Ballroom Version)
13. Go Ahead (Notre Dame Version)
14. Ally in Exile (Notre Dame Version)
15. Relationship (Notre Dame Version)
16. Underwater Experiences (Notre Dame Version)
17. Witness to the Fact (Notre Dame Version)
18. Two People in a Room (Notre Dame Version)
19. Our Swimmer (Notre Dame Version)
20. Heartbeat (Montreux Version)
21. Our Swimmer (Single Version)
22. Midnight Bahnhof CafÉ (Single Version)
23. Second Length (Our Swimmr)
24. Catapault 30$34.99Vinyl LP - 2 LPs Sealed Buy Now
WireTheir 13th studio album - simply titled Wire, - comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melo-dies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain me-lodic inflections, guitar and bass motifs, and drum rhythms from Wire's idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally. From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. "With Matt there was a really new dynamic that had appeared in the group's sound and that was something we wanted to capture, utilise and be creative with," says Lewis. Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group's particular chemistry starts working he is now very much part of the process.1. Blogging
3. Burning Bridges
4. In Manchester
7. Joust & Jostle
9. Split Your Ends
11. Harpooned$28.99Vinyl LP - Sealed Buy Now
6 Feet Beneath The MoonSix Feet Beneath The Moon is the long-anticipated debut album from Southeast London's King Krule.
Archy Marshall aka King Krule broke out two years ago, at the tender age of 16 with his eponymous
EP released on True Panther. King Krule's sound, a
hypnotic mixture indebted to working class British
song-smiths like Billy Bragg as much as NY No-Wave
and hip hop carries a maturity and depth far beyond
his years. The EP's lead single, "Noose of Jah City"
found a great deal of success on BBC's Radio 1,
and brought Archy praise from Pitchfork, The NY
Times, FADER and numerous other publications. His
music has also won him fans among today's young
music elite - Mac Miller, Frank Ocean and Tyler, The
Creator are all supporters, collaborators and fans.
Six Feet Beneath The Moon takes the potential
evident in the EP and blows it out of the water.
Across 14 tracks Archy expertly weaves incredible
stories of London life, his own relationships and
experiences with the swagger of a street poet, all in his incredibly distinct smoky baritone. The album, recorded mostly near Archy's South London
home with producer Rodaidh McDonnell (The XX,
Savages, How To Dress Well) is stark but incredibly
rich - painting with a palate full of hip hop, jazz, no-wave and poetic influences.
The album shares the electric confidence of some of last decade's most important debuts - Arctic
Monkeys' Whatever People Say I Am, That's What
I'm Not', The Streets' Original Pirate Material and
Dizzee Rascal's Boy In Da Corner. It is somehow
both a perfect summary of a young man's life in a
particular part of London and a universal, deeply
moving and compelling statement. Most importantly,
it is the flag ushering in a new and important musical voice that is sure to be with us for quite some time.1. Easy Easy
3. Has This Hit
6. Baby Blue
8. Lizard State
9. 'William, Here I Come
10. Ocean Bed
11. Neptune Estate
13. Out Getting Ribs
14. What Is There To Say?$27.99Vinyl LP - 2 LPs Sealed Buy Now
My Shame Is TrueCult punk rock heroes, Alkaline Trio return with My Shame Is True, their most dynamic album to date. Recorded with Bill Stevenson of punk legends The Descendents and Black Flag and with Jason Livermore at the producers' Blasting Room Studios in Colorado, My Shame Is True pushes the band into new musical terrain while embracing their classic Trio sound. The album contains 40 minutes of passionate punk-filled rock that showcases guitarist/vocalist Matt Skiba, bassist/vocalist Dan Andriano and drummer Derek Grant at their absolute best.
We're very proud of it," says Matt Skiba. "Once we got in the studio, the songs really took on a shape of their own." From the album's first melodic opener "She Lied To The FBI" to the first single, " I Wanna Be A Warhol" the Trio waste no time setting the tone for their energetic, hook-filled, eighth studio album. For the first time ever on an Alkaline Trio record, My Shame Is True finds a guest appearance from Rise Against's Tim Mcllarth on rousing punk rock anthem, "I , Pessimist", while songs like "I'm Only Here to Disappoint" and album closer, "Till Death Do Is Part" remind fans of classic Trio, with stellar song-writing and catchy choruses.
Determined to never make the same record twice, Alkaline Trio have preserved the most electric elements of their collaborative songwriting abilities while pushing ahead creatively and as a band. With multiple world tours, numerous chart successes, and over fifteen years under their belt, the dark punk trio have cemented their legacy with My Shame Is True. It's never been about being rich or famous," continues Skiba. "We always wanted to have the band be our career to have that longevity that should be the goal. We are going to do it until it stops being fun. If it ever feels like a job, why would you be involved in the arts at all? We have the right chemistry as a band and with crowds, big or small. We have community within a community."1. She Lied To The FBI
2. I Wanna Be A Warhol
3. I'm Only Here To Disappoint
4. Kiss You To Death
5. The Temptation Of St. Anthony
6. I, Pessimist
7. Only Love
8. The Torture Doctor
9. Midnight Blue
10. One Last Dance
11. Young Lovers
12. Until Death Do Us Part$19.99Vinyl LP - Sealed Buy Now
Die ScreamingSomething sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.
Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.
With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.
This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.
Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.1. Thumper's Theme
2. Instruments of Hellfire
3. Curse of the Corpse
4. Black Souls
5. Show Me Your Skull
6. One By One
7. Lucifer Lives
8. Die Screaming$34.99Vinyl LP - Sealed Buy Now