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  • Raised On Rock-For Ol' Times Sake Raised On Rock-For Ol' Times Sake Quick View

    $31.99
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    Raised On Rock-For Ol' Times Sake

    Raised on Rock/For Ol' Times Sake is a studio album by Elvis Presley released in 1973. Along with the album Elvis, it was released after the massive success of Aloha From Hawaii (although the entire Elvis album contained material recorded before the Aloha show). The album, which sold over one million copies worldwide, was recorded at Stax Studios in Memphis, Tennessee in July 1973 and at Presley's home in Palm Springs, California in September 1973. Two songs from these sessions would be retained for release on the Good Times album the following spring. The initial vocal tracks were recorded in July 1973. Raised on Rock backed by For Ol' Times Sake was the only single released from the album, reaching #41 on the Billboard chart and #42 on the Country chart in September 1973.


    Additional contributions by Rock and Roll Hall of Fame guitarist Duane Eddy and Italian operatic pop trio Il Volo. Rounds out the year of Elvis' 80th birthday, which includes a year of landmark events including the launch of a newly-designed website (www.ElvisTheMusic.com); the opening of two massive retrospective exhibitions-one located at London's O2 Arena and the other located in Las Vegas; and the second commemorative Music Icons Stamp from the United States Postal Service with a companion music release on August 12!

    LP1
    1. Raised On Rock
    2. Are You Sincere
    3. Find Out What's Happening
    4. I Miss You
    5. Girl Of Mine
    6. For Ol' Times Sake
    7. If You Don't Come Back
    8. Just A Little Bit
    9. Sweet Angeline
    10. Three Corn Patches
    Elvis Presley
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Recorded Live On Stage In Memphis Recorded Live On Stage In Memphis Quick View

    $74.99
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    Recorded Live On Stage In Memphis

    Import

    3-Fold Gatefold Sleeve


    Includes 16-Page Booklet


    Remastered Audio


    40th Anniversary Edition


    Following the artistic success of his 1973 Stax sessions and the global phenomenon of the Aloha From Hawaii Via Satellite album and broadcast the same year, Elvis opened 1974 with a 15 city tour routed to end in Memphis and a state-of-the-art concert recording. When originally released as a single LP, Elvis Recorded Live On Stage In Memphis reached #1 on the Country charts and featured How Great Thou Art, the track that would bring Elvis his third Grammy win.


    This luxury quadruple vinyl reissue contains a previously unreleased Test Run of the entire show recorded with a live audience at the Richmond Coliseum a few days before the legendary concert. The remarkable test run performance was recorded in MONO, drenched in the reverb Elvis preferred, and provides new insight into the magic of Elvis.


    As a special added bonus for Elvis aficionados, we've included five intimate tracks (three of them previously unreleased) cut at the RCA Studios in Hollywood on August 16, 1974. Originally intended as reference recordings for an upcoming Las Vegas engagement, the performances-which include Down In The Alley, Good Time Charlie's Got The Blues, Softly As I Leave You, The First Time Ever I Saw Your Face and The Twelfth Of Never - provide a rare fly-on-the-wall glimpse into Elvis' consummate backstage artistry as he prepares these songs for concert.


    Elvis Recorded Live On Stage In Memphis will include a 16 page booklet featuring rare photos, previously unseen memorabilia, new liner notes, press clips and more.

    LP1
    1. Also Sprach Zarathustra
    2. See See Rider
    3. I Got A Woman / Amen
    4. Love Me
    5. Trying To Get To You
    6. All Shook Up
    7. Steamroller Blues
    8. Teddy Bear / Don't Be Cruel
    9. Love Me Tender
    10. Long Tall Sally / Whole Lotta Shakin' Goin' On / Your Mama Don't Dance / Flip Flop And Fly / Jailhouse Rock / Hound Dog
    11. Fever
    12. Polk Salad Annie
    13. Why Me Lord


    LP2
    1. How Great Thou Art
    2. Suspicious Minds
    3. Introductions
    4. Blueberry Hill / I Can't Stop Loving You
    5. Help Me
    6. An American Trilogy
    7. Let Me Be There
    8. My Baby Left Me
    9. Lawdy, Miss Clawdy
    10. Funny How Times Slips Away
    11. Can't Help Falling In Love
    12. Closing Vamp


    LP3
    1. Also Sprach Zarathustra
    2. See See Rider
    3. I Got A Woman / Amen
    4. Love Me
    5. Trying To Get To You
    6. All Shook Up
    7. Steamroller Blues
    8. Teddy Bear / Don't Be Cruel
    9. Love Me Tender
    10. Long Tall Sally / Whole Lotta Shakin' Goin' On / Your Mama Don't Dance / Flip Flop And Fly / Jailhouse Rock / Hound Dog
    11. Fever
    12. Polk Salad Annie
    13. Why Me Lord


    LP4
    1. Suspicious Minds
    2. Introductions
    3. I Can't Stop Loving You
    4. Help Me
    5. An American Trilogy
    6. Let Me Be There
    7. Funny How Times Slips Away
    8. Can't Help Falling In Love
    9. Closing Vamp
    10. Down In The Alley (Rehearsal Take)
    11. Good Time Charlie's Got The Blues (Rehearsal Take)
    12. Softly As I Leave You (Rehearsal Take)
    13. The First Time Ever I Saw Your Face (rehearsal Take)
    14. The Twelth Of Never (Rehearsal Take)

    Elvis Presley
    $74.99
    180 Gram Audiophile Virgin Vinyl LP - 4 LPs Sealed Buy Now
  • A Date With Elvis (Mono) (Speakers Corner) A Date With Elvis (Mono) (Speakers Corner) Quick View

    $34.99
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    A Date With Elvis (Mono) (Speakers Corner)

    Good products are worth their weight in gold when times are a little harsh - and this album was certainly a genially placed stopgap. In 1959, at the time when RCA launched this record on the market, the label's shining rock star was out of the country doing his military service in good old Germany. In order to comfort all his fans during his forced absence, the record bosses produced an album with a smartly uniformed Elvis on the cover, smiling widely to let his faithful followers know that he'd be back soon. There was a special calendar too, so that his fans could count off the days until his return. This marketing ploy was extremely successful. The record became a highly desirable collector's item and even years later illegal dollars still flowed from pirate copies.
    The RCA producers kept mum about when and where the tracks were recorded. But who cares about that when listening to Elvis giving the 'blue grass' classic Blue Moon Of Kentucky his unmistakable, rockabilly sound? The other titles, all of them performed by a well-proven ensemble of rock-'n'-roll musicians, are filled with the honest, powerful language of the young - or from today's viewpoint, old - Elvis. Which takes us back full circle to the date. What better way is there to celebrate the 50th birthday of rock-'n'-roll than with this early album by its 'King'?





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Scotty Moore (guitar)

    • Bill Black (bass)

    • D.J. Fontana (drums)

    • The Jordanaires (vocal)




    Recording: July 1954 at Memphis Recording Service, Memphis, Tennessee (USA), and other venues till 1957

    Production: Sam Phillips




    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.


    and that the lacquer discs are newly cut.


    1. Blue Moon of Kentucky Monroe 2:05
    2. Young and Beautiful Schroeder, Silver 2:07
    3. (You're So Square) Baby I Don't Care
    4. Milk Cow Blues Arnold 2:38
    5. Baby Let's Play House Gunter 2:18
    6. Good Rockin' Tonight Brown 2:12
    7. Is It So Strange Young 2:32
    8. We're Gonna Move Matson, Presley 2:31
    9. I Want to Be Free Leiber, Stoller 2:16
    10. I Forgot to Remember to Forget 2:27
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • From Elvis in Memphis (Speakers Corner) From Elvis in Memphis (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    From Elvis in Memphis (Speakers Corner)

    Ranked 190/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    A record by Elvis, produced in Tennessee. What's so special about that? Surely everyone knows that the lorry driver from the Southern State sobbed his early songs into the local radio microphones. But Elvis in Memphis is far more than just one of around 40 albums which the King of Rock' n' Roll produced during the course of 35 years. »This marks what is probably the most impressive comeback in the entire history of pop music«, enthused the normally reticent New York Times.



    What had happened? In 1969, after a 14-year meteoric career in show business and movies, and an exemplary PR campaign, Elvis returned to his hometown to record these songs which, in their style, are reminiscent of those recorded in the Fifties for Sun Records. Alongside the lavishly mixed pop and blues numbers (Power Of My Love) and country sound (I'm Movin' On), there is also one of the greatest chart-busters and heart-breakers of a whole generation: In The Ghetto.



    There is certainly no room for discussion about the value of this collectors' item - the astronomical price for a good secondhand copy speaks for itself!



    Musicians:



    • Elvis Presley (vocal, guitar, piano)

    • Ronnie Milsap (piano)

    • Bobby Emmons (organ)

    • Reggie Young (guitar, electric-guitar)

    • Tommy Cogbill, Mike Leech (bass)

    • Gene Chrisman (drums)

    • The Memphis Horns and background vocals




    Recording: 1969 by Al Pachucki

    Production: Felton Jarvis and Chips Moman





    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. Wearin' that Loved Look
    2. Only the Strong Survive
    3. I'll Hold You in My Heart
    4. Long Black Limousine
    5. It Keeps Right On A-Hurtin'
    6. I'm Movin On
    7. Power of My Love
    8. Gentle on My Mind
    9. After Loving You
    10. True Love Travels on a Gravel Road
    11. Any Day Now
    12. In the Ghetto
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    It's Monk's Time (Speakers Corner)

    With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.


    Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    Production: Teo Macero



    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. Lulu's Back In Town
    2. Memories Of You
    3. Stuffy Turkey
    4. Brake's Sake
    5. Nice Work If You Can Get It
    6. Shuffle Soil
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Right Time (Pure Pleasure) The Right Time (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Right Time (Pure Pleasure)

    I first heard Etta James as a young teenager when she had a hit with Tell Mama, a tune that has easily stood the test of time. She recorded this album a quarter-century later and sounded even better.

    For The Right Time she returns to the Muscle Shoals studio where she recorded Tell Mama, this time with producer Jerry Wexler, and it's an outstanding match. She hits nary a forced or false note and is backed with a stellar band that includes saxophonist Hank Crawford, guitarist Steve Cropper and bassist Willie Weeks. They plow ahead like a great offensive line blocking for an all-star running back -- one who isn't afraid to lower the shoulder and knock somebody over.

    There's plenty of manufactured emotion on records, but you won't find any of it here. Etta just rocks naturally. It's like sitting next to a seasoned story teller in full command of the narrative. Nothing for you to do but sit back, close your eyes and listen.

    A sign of great singers for me is how they put a stamp on songs that have been done many times. In that regard, Etta makes Love and Happiness and Ninety And A Half Won't Do her own. She tears up The Night Time Is the Right Time with the help of Crawford's sax. Of course she has the blues well covered, my personal favorite being Down Home Blues, and flashes her humorous side with the trash-talking Wet Match. She hits any note she wants without straining and with total conviction.

    But all the songs are top-notch. The best advice for anyone reading this is to just pick up the album and discover the old-school glory of Etta James. - Tyler Smith

    Musicians:

    • Etta James (vocal)
    • Lucky Peterson (organ, guitar)
    • Steve Cropper, Doug Bartenfeld (guitar)
    • Hank Crawford (alto saxophone)
    • Jim Horn (bassoon)
    • Gary Armstrong (trumpet)
    • Kirk 'Jelly Roll' Johnson (harmonica)
    • Clayton Ivey (piano)
    • Frank Crawford (synthesizer)
    • David Hood(bass)
    • Steve Ferrone, Roger Hawkins (drums)

    About Pure Pleasure

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

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

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

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

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

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


    1. I Sing The Blues
    2. Love And Happiness
    3. Evening Of Love
    4. Wet Match
    5. You're Taking Up Another Man's Place
    6. Give It Up (Duet With Steve Winwood)
    7. Let It Rock
    8. Ninety Nine And A Half (Won't Do)
    9. You've Got Me
    10. Nighttime Is The Right Time
    11. Down Home Blues
    Etta James
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Pious Bird of Good Omen (Speakers Corner) The Pious Bird of Good Omen (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Pious Bird of Good Omen (Speakers Corner)

    After the break-up of John Mayall's Bluesbreakers in the summer of 1967, the time seemed ripe for Peter Green, John McVie and Mick Fleetwood to take their leave from raw British rock 'n' roll. The newly established band Fleetwood Mac first turned to black blues, and their art of playing was so similar to that of other groups that the magazine Eye criticised them for their »almost ridiculous mimicry«. However, their choice of performance style took them in the right direction and in 1969, the year in which The Pious Bird Of Good Omen appeared, they landed at the top end of the pop charts, even ahead of The Beatles and Stevie Wonder.



    Of course, in the cover version of Little Willie John's Need Your Love So Bad, which is treated with a velvety string sound, and other bluesy songs, the American influence still makes itself heard, but not without success! The highly individual sound of the group comes best through in the now legendary numbers such as the weightless, gliding Albatross and Black Magic Woman with its Latin and blues elements. Judged the best British blues ever to be played (allmusic.com), one can now sit back and enjoy this great album.



    Musicians:



    • Peter Green (guitar, vocal)

    • Jeremy Spencer (guitar, piano, vocal)

    • Danny Kirwan (guitar)

    • Eddie Boyd (piano, vocal)

    • Big Walter Horton (harmonica)

    • John McVie (bass)

    • Mick Fleetwood (drums)




    Recorded between September 1967 and October 1968 by Mike Ross

    Production: Mike Vernon





    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. Need Your Love So Bad
    2. Comin' Home
    3. Rambling Pony
    4. The Big Boat
    5. I Believe My Time Ain't Long
    6. The Sun Is Shining
    7. Albatross
    8. Black Magic Woman
    9. Just The Blues
    10. Jigsaw Puzzle Blues
    11. Looking For Somebody
    12. Stop Messin' Round

    Fleetwood Mac
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • By The Time It Gets Dark (Pure Pleasure) By The Time It Gets Dark (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    By The Time It Gets Dark (Pure Pleasure)

    Hi Folks,

    Hard to believe it's been 30 years since the release of "By The Time It Gets Dark" in 1987. There's been a lot of water under the bridge since then and how time flies when you're busy and having a good time! As it's always been one of my favorite albums I felt that it deserved to be revisited to celebrate its 30th anniversary. With that in mind, we sent the old 24 track tapes to be baked (a process to preserve them) allowing us to do a complete remix and remaster the album. We enlisted the services of my great friend and sound engineer Billy Robinson to do the job and I'm delighted with the outcome - it sounds great, even if I say so myself! We added a few bits where needed and I'm happy to see it being released on vinyl again.

    It's been a nice journey revisiting that time and remembering the sights and sounds of life back then.

    As we listened closely to some of the tracks, the beautiful voice of Mandy Murphy came through and I felt so sad that she passed away, so young, last year. I wish to dedicate this release to her memory.

    Mary Black - January 2017

    Musicians:

    • Mary Black (vocal)
    • Pat Crowley (synthesizer, piano, accordian, vocal)
    • Declan Sinnott (synthesizer, guitar, vocal)
    • Carl Geraghty (soprano saxophone)
    • Garvan Gallagher (bass)
    • Noel Bridgeman (congo, percussion)

    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. By The Time It Gets Dark

    2. Schooldays Over

    3. Once In A Very Blue Moon

    4. Farewell Farewell

    5. Sparks Might Fly

    6. Katie

    7. Leaving The Land

    8. There Is A Time

    9. Jamie
    10. Leaboys Lassie

    11. Trying To Get The Balance Right
    12. Moon River
    Mary Black
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Right Place Wrong Time (Pure Pleasure) (Awaiting Repress) Right Place Wrong Time (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Right Place Wrong Time (Pure Pleasure) (Awaiting Repress)

    This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing 'wrong' about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had »no charisma«. This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of Rainy Night in Georgia by Tony Joe White.


    Musicians:



    • Otis Rush (vocal, guitar)

    • Doug Killmer, John Kahn (bass)

    • Hart McNee (alto saxophone)

    • John Wilmeth (trumpet)

    • Ron Stallings (tenor saxophone)

    • Fred Burton (guitar)

    • Mark Naftalin (piano)

    • Ira Kamin (organ)

    • Bob Jones (drums)




    Recording: February 1971 at Wally Heider's Studio, San Francisco

    Production: Nick Gravenites and Otis Rush



    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. Tore Up
    2. Right Place, Wrong Time
    3. Easy Go
    4. Three Times A Fool
    5. Rainy Night In Georgia
    6. Natural Ball
    7. I Wonder Why
    8. Your Turn To Cry
    9. Lonely Man
    10. Take A Look Behind
    Otis Rush
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Wise Up Ghost Wise Up Ghost Quick View

    $29.99
    Buy Now
    x

    Wise Up Ghost

    Long-rumored and shrouded in mystery, this collaborative album between Elvis Costello and The Roots promises to be one of the most unexpected and
    revelatory releases of 2013. Born out of multiple performances by Costello on the Roots' day/night job at Late Night With Jimmy Fallon, this album developed organically and is definitely a situation where the whole is greater than the sum of the amazing parts. It surprises with how good the two
    elements gel, but also sounds exactly how you'd think in your wildest dreams. As The Roots' ?uestlove notes, "it's a moody, brooding affair, cathartic rhythms and dissonant lullabies. I went stark and dark on the music. Elvis went HAM on some ole Ezra Pound shit"


    "Really does combine the strengths of its authors: Costello's voice, lyrics, and melody are driven by the Roots' powerful, swinging groove." - Stereogum


    "Sounds like vintage Costello, with a deep, dubby bassline- Los Angeles Times


    "A funky, icy groove, replete with a throwback organ sound and Costello singing like he did in his "Watching the Detectives era."- SPIN

    1. Walk Us Uptown
    2. Sugar Won't Work
    3. Refuse To Be Saved
    4. Wake Me Up
    5. Tripwire
    6. Stick Out Your Tongue
    7. Come The Meantimes
    8. (She Might Be A) Grenade
    9. Cinco Minutos Con Vos
    10. Viceroy's Row
    11. Wise Up Ghost
    12. If I Could Believe
    Elvis Costello & The Roots
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Goodbye Cruel World Goodbye Cruel World Quick View

    $24.99
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    x

    Goodbye Cruel World

    180 Gram Vinyl


    Now on 180 gram vinyl and re-mastered from the original master tapes, Goodbye Cruel World includes the single "The Only Flame In Town," and "Peace In Our Time.


    Elvis Costello wasn't in a happy place when he began writing Goodbye Cruel World. His marriage collapsed between the record's start and finish. He was also dealing with what he deems the dreadful 80s-a period in which the importance of videos trumped musical merit, the government in his native England engaged in controversial conflicts, and nuclear threats hovered over daily life like a black cloud. What possible good came out of the age? A smart batch of songs that stands up to many of the singer-songwriter's better-known works and an underrated record that now sounds better than ever.

    1. The Only Flame In Town
    2. Home Truth
    3. Room With No Number
    4. Inch By Inch
    5. Worthless Thing
    6. Love Field
    7. I Wanna Be Loved
    8. The Comedians
    9. Joe Porterhouse
    10. Sour Milk Cow Blues
    11. The Great Unknown
    12. The Deportees Club
    13. Peace In Our Time
    Elvis Costello
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • For LP Fans Only (Speakers Corner) For LP Fans Only (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    For LP Fans Only (Speakers Corner)

    Along with the album A Date With Elvis (RCA LPM-2011), For LP Fans Only is one of the most important special productions of the young King of Rock'n'Roll. Because Elvis had been conscripted into the US army, no new recordings could take place, and so record producers delved deep into the sound archives and dug out a few singles from his Sun Records days, mixed them with a couple of early RCA songs and a number from the Love Me Tender soundtrack, and, hey presto! a new Elvis LP was born. The overwhelming success of this album is not solely confined to the stylistic homogeneity of this collection of fresh, youthful songs. Far more, it's because for many fans the record offered the only substitution for the highly coveted but rare original singles That's All Right, Mystery Train and My Baby Left Me.



    Not without reason has today's 'bits-and-bytes' generation ignored the words on the cover and produced several re-releases. Which just goes to emphasise the widespread opinion that this is one of Elvis's very best albums and at the same time one of the most important in the whole of rock'n'roll - especially in the present vinyl pressing.





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Various Bands







    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. That's All Right

    2. Lawdy, Miss Clawdy

    3. Mystery Train

    4. Playing For Keeps

    5. Poor Boy

    6. My Baby Left Me

    7. I Was The One

    8. Shake, Rattle And Roll

    9. I'm Left, You're Right, She's Gone

    10. You're A Heartbreaker
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • His Hand In Mine (Speakers Corner) His Hand In Mine (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    His Hand In Mine (Speakers Corner)

    Almost everyone loves gospel songs. After all - it is inspirational music about good news and hope and warms the heart without demanding religious belief. But what in God's name makes these songs so enjoyable? Why are they music to one's ears? Is it because of the simple yet unique melodies, the soft or rocking grooves, or the prayer wheel-like verses that are sung alternately by a soloist and chorus? Elvis fans might well be able to answer this question just by taking a quick look at the cover, while other more undiscerning lovers of black folk spirituality would say that this is a well-produced, professional album that cannot be equalled.



    Elvis lets his young, flexible voice swing sonorously here, lightly and airily there, all the while supported by a top-notch vocal backing group. The rich vocal harmonies are sung with true passion, and it is certainly no coincidence that one is reminded of the sound of the Golden Gate Quartet. In one moment the voices soar to celestial heights, in another they plunge down to a deep rumbling bass, not to forget the soft and springy rhythm section. For John Bush (allmusic.com), »this LP isn't just one of Elvis' best LPs, it's one of the best (and best-recorded) gospel sessions of all time.«



    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. His Hand In Mine
    2. I'm Gonna Walk Dem Golden Stairs
    3. In My Father's House
    4. Milky White Way
    5. Known Only to Him
    6. I Believe in the Man in the Sky
    7. Joshua Fit the Battle Traditional
    8. He Knows Just What I Need
    9. Swing Down Sweet Chariot
    10. Mansion Over the Hilltop
    11. If We Never Meet Again
    12. Working on the Building
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Goodbye Cruel World Goodbye Cruel World Quick View

    $34.99
    Buy Now
    x

    Goodbye Cruel World


    Elvis Costello Goodbye Cruel World on Numbered Limited Edition 180g LP from Mobile Fidelity


    1984 Album Produced by Top Production Team of Clive Langer and Alan Winstanley: Several Songs Enhanced With Top-Flight Horn Arrangements


    Mastered from the Original Master Tapes: Mobile Fidelity 180g LP is the Sonically Definitive Version


    Costello and the Attractions Survive Dreadful 80s With Songs Concerning Loss, Identity, and Matters of the Heart


    Part of Mobile Fidelity's Elvis Costello Reissue Series: Singer-Songwriter's First Eleven Studio Albums Available on Sumptuously Sounding 180g LP


    Elvis Costello wasn't in a happy place when he began writing Goodbye Cruel World. His marriage collapsed between the record's start and finish. He was also dealing with what he deems the dreadful 80s-a period in which the importance of videos trumped musical merit, the government in his native England engaged in controversial conflicts, and nuclear threats hovered over daily life like a black cloud. What possible good came out of the age? A smart batch of songs that stands up to many of the singer-songwriter's better-known works and an underrated record that now sounds better than ever.


    Mastered from the original master tapes and pressed on 180g LP at RTI, this collectable edition of Goodbye Cruel World joins Mobile Fidelity's acclaimed Costello reissues series in presenting the icon's most vital records in rich, dynamic, three-dimensional analog sound. Akin to many albums from the era, Goodbye Cruel World was hampered by bright, slick textures on the original pressings and digital counterparts. Here, Costello's fare is revealed to possess a warmer, more organic and intimate character. Costello's voice, as well as his band's nimble rhythms and Steve Nieve's R&B-spiked piano, occupy their own spaces amidst a wide, unconstrained soundstage.


    The improvements rendered by this numbered, limited-edition LP bring significantly new perspective to Costello's mordantly witty songs addressing everything from stark romantic loss to erotic desire. Produced by the hit-making team of Clive Langer and Alan Winstanley, Goodbye Cruel World reflects the polish of the day in places but now reveals a deeper soulfulness, grit, and honesty. Such aspects particularly come to fore on multiple tunes featuring saxophonists Gary Barnacle, trombonist Jim Paterson, and percussionist Luis Jardim-the very first guests ever welcomed on an Attractions album.


    With added instrumental assistance, Costello and Co. traverse styles ranging from rambunctious new-wave rock (The Deportees Club) to frisky New Orleans-derived blues (Sour Milk Cow Blues) to suave, jazzy pop (The Only Flame In Town). In the closing Peace In Our Time, a sobering albeit optimistic song whose verses still apply to contemporary times, Costello crafts the finale to a socio-politically conscious trilogy that began with Shipbuilding and Pills and Soap. It alone is the worth the price of admission to a record that's long deserved a better reputation and, with Mobile Fidelity's reissue, finally gets its just desserts.


    This title is not eligible for discount.

    1. The Only Flame In Town
    2. Home Truth
    3. Room With No Number
    4. Inch By Inch
    5. Worthless Thing
    6. Love Field
    7. I Wanna Be Loved
    8. The Comedians
    9. Joe Porterhouse
    10. Sour Milk Cow Blues
    11. The Great Unknown
    12. The Deportees Club
    13. Peace In Our Time
    Elvis Costello
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aloha From Hawaii Via Satellite Aloha From Hawaii Via Satellite Quick View

    $39.99
    Buy Now
    x

    Aloha From Hawaii Via Satellite

    40th Anniversary of the Historic #1 LP/Televised 1973 Concert!

    Mastered by Joe Reagoso and Kevin Gray from the Original RCA Records Tapes & Manufactured at RTI!

    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early-'50s, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known. The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long-term deal, and his first RCA single "Heartbreak Hotel" forever etched "The King Of Rock And Roll" trademark to his name.


    Over the next three decades, Elvis Presley would release dozens of hit albums and tons of smash singles, spend time in the Army, star in over 35 top charting films, as well as sell out concert tours around the states and Canada making him the most successful solo artist of all time. In 1968, his career ignited even further thanks to his Elvis TV Special on NBC and another series of hit singles and career making albums like his country soul smash From Elvis In Memphis.


    As the '70s began, Elvis was selling out shows all around the country and began to plan out a series of groundbreaking performances in Hawaii. His show on January 14, 1973 was broadcast live via satellite across over forty countries and would become the most watched televised event by a solo artist in history. It's been said that over one billion viewers enjoyed his incredible concert! The show was choreographed and staged like nothing ever before and featured a multitude of musicians, the Hawaiian Islands, the appreciative and excited audience, and of course, The King Of Rock And Roll himself Elvis Presley.


    The multi-platinum Aloha From Hawaii Via Satellite set also was a blockbuster as it hit the top #1 spot on the charts in 1973, making this one of the biggest albums of his career as well as one of the most revered live concert albums of all time proving once again Elvis Presley's career was unlike any other in music history. This live masterpiece takes off with the Memphis blues rocker "See See Rider" and his huge '70 hit "Burning Love." He follows these up with his tip of the hat to his friends The Beatles with the soulful balladry of "Something." More of Elvis' own favorites follow with the Hank Williams' ballad "I'm So Lonesome I Could Cry" and his rockin' interpretation of Chuck Berry's classic "Johnny B. Goode."


    The album also features a nice helping of solid Elvis top chart hits like "Blue Suede Shoes," "Hound Dog," "A Big Hunk Of Love" and his smash single interpretation of James Taylor's "Steamroller Blues." As a tribute to his Hawaii audience, the ever thoughtful King Of Rock And Roll closed the show with his masterpiece "Can't Help Falling In Love" from his film Blue Hawaii. In total, the album showcases a very historic Elvis Presley performance which has truly gone onto become the definitive live concert album in his amazing catalog of hit gold and platinum recordings.


    In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the limited edition 40th Anniversary deluxe two album 180 gram audiophile vinyl release of the RCA Victor classic Aloha From Hawaii Via Satellite by Elvis Presley. As they further continue their exciting Elvis Presley 180 Gram Audiophile Vinyl Series, they are pleased to present this masterwork in all its high fidelity glory. Mastered impeccably from the original stereophonic RCA Victor Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at R.T.I., the 40th Anniversary Edition of Aloha From Hawaii Via Satellite will be a much anticipated audiophile dream release for Elvis fans everywhere!


    Musicians:

    - Elvis Presley (vocals, guitar, piano)

    - The Sweet Inspirations (vocals)

    - J.D. Sumner and The Stamps (vocals)

    - Kathy Westmoreland (vocals)

    - Ron Tutt (drums)

    - James Burton (guitar)

    - Jerry Scheff (bass)

    - Glen Hardin (keyboards)

    - Charlie Hodge (vocals)

    LP1

    1. Introduction: Also sprach Zarathustra (Theme From 2001: A Space Odyssey)

    2. See See Rider

    3. Burning Love

    4. Something

    5. You Gave Me A Mountain

    6. Steamroller Blues

    7. My Way

    8. Love Me

    9. Johnny B. Goode

    10. It's Over

    11. Blue Suede Shoes

    12. I'm So Lonesome I Could Cry

    13. I Can't Stop Loving You

    14. Hound Dog

    LP2

    1. What Now My Love

    2. Fever

    3. Welcome To My World

    4. Suspicious Minds

    5. Introductions By Elvis

    6. I'll Remember You

    7. Medley: Long Tall Sally/A Whole Lot-ta Shakin' Goin' On

    8. An American Trilogy

    9. A Big Hunk O' Love

    10. Can't Help Falling In Love

    Elvis Presley
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Live At Sun Studios Live At Sun Studios Quick View

    $18.99
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    x

    Live At Sun Studios

    Rockabilly Hall of Fame inductee and founding member of The Pacers, Sonny Burgess, performs live in the studios that Elvis built, Sun Studios!


    Burgess and his band, which includes many of the original studio players who literally invented rock 'n' roll music at Sun Studios, roar through
    timeless classics such as Bill Haley's "Rock Around The Clock" plus "Let The Good Times Roll," "Brown Eyed Girl" and so much more!

    1. Rock Around The Clock
    2. Fannie Mae
    3. Got You On My Mind
    4. Good Luck Charm
    5. Worried Mind Blues
    6. Let The Good Times Roll
    7. Lonesome Me
    8. Cotton Eyed Joe
    9. Faded Love
    10. Big River
    11. Only Make Believe
    12. Break Up
    13. Brown Eyed Girl
    14. Odessa
    Sonny Burgess
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Sopranos Soundtrack (Colored Vinyl) The Sopranos Soundtrack (Colored Vinyl) Quick View

    $35.99
    Buy Now
    x

    The Sopranos Soundtrack (Colored Vinyl)

    Red with Black Smoke Colored Vinyl


    Available On Vinyl For The First Time Ever! Mastered For Vinyl And Lacquers Created By Kevin Gray, Pressed On 180 Gram Limited Edition Vinyl.


    Imagine an album that could contain tracks by Bob Dylan, Bruce Springsteen, and Elvis Costello, as well as Frank Sinatra, Cream, and Van Morrison. That's part of the lineup on this various-artists sampler of music used in the television series The Sopranos, music that dates from each of the last five decades of the 20th century, from Bo Diddley's 1950s hit ''I'm a Man'' to Eurythmics' ''I've Tried Everything'' from their 1999 reunion album, Peace. Familiar songs like Sinatra's ''It Was a Very Good Year'' are given a new flavor by being sequenced between very different yet oddly complementary songs. The most interesting moments, however, come with the less familiar material -- cast member ''Little Steven'' Van Zandt and the Disciples of Soul's ''Inside of Me,'' Elvis Costello & the Attractions' live take on ''Complicated Shadows,'' Wyclef Jean's rap over Sly & the Family Stone's ''Family Affair'' on ''Blood Is Thicker Than Water,'' which refers specifically to the mafia family story line of the show. The result sounds like an hour with the radio station of your dreams, which is what this kind of album aspires to be. ~ AllMusic Review by William Ruhlman

    LP1
    1. A3 - Woke Up This Morning
    2. R.L. Burnside - It's Bad You Know
    3. Frank Sinatra - It Was A Very Good Year
    4. Bob Dylan - Gotta Serve Somebody
    5. Little Steven & The Disciples Of Soul - Inside Of Me
    6. Cream - I Feel Free
    7. Them Featuring Van Morrison - Mystic Eyes


    LP2
    1. Bruce Springsteen - State Trooper
    2. Bo Diddley - I'm A Man
    3. Elvis Costello & The Attractions - Complicated Shadows
    4. Nick Lowe - The Beast In Me
    5. Los Lobos - Viking
    6. Wyclef Jean - Blood Is Thicker Than Water
    7. Eurythmics - I've Tried Everything

    Various Artists
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • The Fall The Fall Quick View

    $18.99
    Buy Now
    x

    The Fall

    For this record, I just had a sound in my head, says Norah Jones. I wanted the grooves to be more present and heavy. And I also just wanted to do something different. Ive been hanging with the same group of musicians for a long time, and I thought it was a good time for me to work with different people and experiment a little.


    The result of these experiments is the multiple Grammy Award-winners new album, The Fall. The album is an exciting evolution from her previous three releases, which have sold a combined 36 million copies worldwide. The first obvious change on The Fall is a lengthy list of new collaborators. Producer Jacquire King, who has worked with Kings of Leon, Modest Mouse, and Tom Waits, among others, helped Jones put together a group of musicians, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer). Jones also joined forces with several notable songwriters on The Fall, including Ryan Adams and Okkervil Rivers Will Sheff, as well as her frequent collaborator Jesse Harris.

    1. Chasing Pirates
    2. Even Though
    3. Light As a Feather
    4. Young Blood
    5. I Wouldnt Need You
    6. Waiting
    7. Its Gonna Be
    8. Youve Ruined Me
    9. Back To Manhattan
    10. Stuck
    11. December
    12. Tell Yer Mama
    13. Man Of The Hour
    Norah Jones
    $18.99
    Vinyl LP - Sealed Buy Now
  • Stand By Me (Original Motion Picture Soundtrack) Stand By Me (Original Motion Picture Soundtrack) Quick View

    $31.99
    Buy Now
    x

    Stand By Me (Original Motion Picture Soundtrack)

    1986 was a big year for a huge blockbuster movie called
    Stand By Me. The Rob Reiner classic truly made way for the
    hit soundtrack companion LP, which sailed to the top of both
    the sales and airplay charts with the classic re-charting hit
    title track Stand By Me by the late great Ben E. King.


    The classic movie featured some of the biggest songs
    honoring the birth of rock and roll including Buddy Holly's
    worldwide smash hit single Everyday as well as The Silhouettes smash #1 Get a Job and
    The Coasters' rock champion Yakety Yak.


    As with our continuing expansion into the original movie soundtrack genres, Friday
    Music is very proud to announce the first time 180 Gram Audiophile Vinyl release of
    Stand By Me - The Original Motion Picture Soundtrack. This mega movie soundtrack
    rock classic comes with all of the great tunes you remember like Let the Good Times Roll
    by Shirley and Lee and Come Go With Me by The Del Vikings.


    This stunning album is mastered impeccably by Joe Reagoso (Elvis Presley/Sons of
    Anarchy/Brian Wilson) from the Atlantic Records tapes and includes the original LP sized
    artwork, not seen since its original 1986 release.


    Stand By Me The Original Motion Picture Soundtrack Another amazing rock
    soundtrack classic from your friends at Friday Music


    Goodness Gracious, Great Balls Of Fire!

    1. Everyday (Buddy Holly)
    2. Let the Good Times Roll (Shirley and Lee)
    3. Come Go With Me (The Del Vikings)
    4. Whispering Bells (The Del Vikings)
    5. Get a Job (The Silhouettes)
    6. Lollipop (The Chordettes)
    7. Yakety Yak (The Coasters)
    8. Great Balls of Fire (Jerry Lee Lewis)
    9. Mr. Lee (The Bobbettes)
    10. Stand By Me (Ben E. King)
    Various Artists
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Tribal Tribal Quick View

    $19.99
    Buy Now
    x

    Tribal

    Last summer Imelda May became a mother for the first time. You might expect her to turn to singing ballads. You would be horribly wrong.


    "There are no lullabies on this album," laughs the lady who's brought rockabilly back into fashion sixty years after it was kicked into life by young men like
    Carl Perkins and Elvis Presley, Gene Vincent and Jerry Lee Lewis.


    "Tribal" is as primal a rock 'n' roll record as you could ever find, infused with the spirit of Sun Studios, where the sound was born in Memphis, Tennessee -
    but given a 21st century kick up the butt by a girl from the back streets of Dublin.


    Tribal" - her third album, following "Love Tattoo" and the Top Ten hit "Mayhem" - is her punchiest yet.


    The songs on "Tribal" are infused with the rebel spirit that launched rock 'n' roll on an unsuspecting world way back in the mid-1950s, but also the rebel
    spirit of the punk bands Imelda admired growing up in Dublin in the late 1970s as the youngest of five siblings - The Clash and The Undertones, The
    Buzzcocks and The Cramps.


    The motto for the way Imelda lives her life is the title of her new single 'It's Good To Be Alive'. "I wrote it in the early hours of the morning one day after I
    had the baby," she reveals. "I was sleep-deprived and feeling very exhausted. I looked out of the window, watched the sun rise through the trees and felt
    - God, it's good to be alive!"


    Other song titles sum up Imelda's zest for life. 'It's Good To Be Alive'. 'I Wanna Dance'. 'Wicked Way'. 'Wild Woman'. Especially the latter, with its chorus:
    "There's a wild woman livin' inside of me/A wicked, wicked wild woman, dyin' to be free". "You see people toning it down and becoming more responsible
    as they get older. But inside, there's still the lunatic inside"

    1. Tribal
    2. Wild Woman
    3. It s Good To Be Alive
    4. Gypsy In Me
    5. Little Pixie
    6. Hellfire Club
    7. Five Good Men
    8. Ghost Of Love
    9. Wicked Way
    10. Round The Bend
    11. I Wanna Dance
    12. Right Amount Of Wrong
    Imelda May
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Sings the Blues (Speakers Corner) Sings the Blues (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Sings the Blues (Speakers Corner)

    In both her public and private life, Nina Simone was adamant about one thing, namely, what she simply would not tolerate. She sometimes complained about the miserable erotic prowess of her lovers, while at other times her audience were a target for her tongue. Sometimes she cancelled her performances at short notice and held a tirade against show business as such. In her music, rooted in gospel, she sought a path which took her down a middle course between jazz and pop, thus earning her the title of High Priestess Of Soul (as in the LP title) with her rock fans in the Sixties.



    The present blues album was recorded during what was undisputedly her most productive phase. It is a recording which does not swim with the tide of the times in that it does not employ massive forces or seek the twang of electrification. Instead Nina Simone's wonderfully sleek contralto voice bathes in the gentle timbre of an organ and a pithy, pulsating - but by no means stomping - rhythm. The cool, unemotional number "Sings The Blues" guarantees riveting tension and the authenticity of the genre which is, of course, the be all and end all of music for every black artist. Surely no compilation, no matter how carefully conceived, could possibly mark the diva's 70th birthday in February and sudden death in April 2203 better than this re-release.



    Musicians:



    • Nina Simone (piano, vocal)

    • Rudy Stevenson, Eric Gale (guitar)

    • Ernest Hayes (organ)

    • Bob Bushnell (bass)

    • Bernard Purdie (drums)





    Recording: 1967 by Ray Hall and Mickey Crofford at RCA Victor's Studio B, New York

    Production: Danny Davis




    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. Do I Move You
    2. Day And Night
    3. In The Dark
    4. Real Real
    5. My Man's Gone Now
    6. Backlash Blues
    7. I Want A Little Sugar In My Bowl
    8. Buck
    9. Since I Fell For You
    10. The House Of The Rising Sun
    11. Blues For Mama
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Scriabin & Prokofiev: Piano Sonatas (Speakers Corner) Scriabin & Prokofiev: Piano Sonatas (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Scriabin & Prokofiev: Piano Sonatas (Speakers Corner)

    Glenn Gould's highly self-willed art of piano playing has not only contributed to the building of a myth around his artistic personality, but also placed several works from the vast piano repertoire under the magnifying glass (as it were) in musical life. One such work is Scriabin's Piano Sonata No. 3 whose psychological, cyclical programme is held together by the theme, which recurs throughout the four movements. Unlike many other recordings, in Gould's hands the piece takes on a pleasantly non-romantic pathos. Gould subdivides the various states of mind through many breathing spaces and softens the tone to pianissimo, thus forcing the listener to hold his breath and concentrate wholly upon the finely woven counterpoint.



    In contrast, Prokofiev's Piano Sonata in B flat major is overwhelmingly raging with its hammering staccatos, yet not omitting to add a bold, and at times derisive character. The slow second movement is at times bell-like, and filled with a great radiance and a fine sparkle. It is followed by a final movement, which lasts several minutes and has a steely, aggressive nature. As incomparable as the works are in their structure, they both explore the mental extremes of human emotions.



    Recording: July 1967 / January, February and June 1968 at Columbia 30th Street Studio by Fred Plaut

    Production: Andrew Kazdin




    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.

    Alexander Scriabin: Piano Sonata No. 3 in F sharp minor, Op. 23
    Serge Prokofiev: Piano Sonata No. 7 in B flat major, Op. 83 - Glenn Gould
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Quick View

    $99.99
    Buy Now
    x

    Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress)

    In early 1966, blues history was made with the issuance of a three-volume set of new recordings produced by blues historian Samuel Charters. This series was known as Chicago/The Blues/Today! and the release sent shock waves through the world of rock & roll. Every artist on the three volumes had recorded before (some, like Otis Rush and Junior Wells, had actually seen small hits on the R&B charts), but these recordings were largely their introduction to a newer -- and predominately white -- album-oriented audience. These recordings have stayed in print and have been reasonably good sellers over the years since their original release, all coming out on compact disc. This new packaging puts all three volumes together, but with no bonus tracks, as no extras were recorded for these sessions.



    A plus in the new packaging, is that it features a nice booklet with detailed, updated notes from Charters, a nice appreciation from Ed Ward, and absolutely eye-boggling session photos taken by Charters' wife, Ann. Even if you still have the original vinyl or CDs, this is one of the times when it would be best to spend the dough and add this one to your collection, because blues records seldom come as important, innovative, or just plain pleasurable to listen to as this set. File under 'essential'.




    Musicians:



    • J.B. Hutto

    • Junior Wells

    • Otis Spann

    • Otis Rush

    • Jimmy Cotton

    • Johnny Shines Blues Band

    • Johnny Young's South Side Blues Band

    • Homesick James

    • and Big Walter Horton's Blues Harp Band with Memphis Charlie Musselwhite




    Recording: 1965 at RCA Studios, Chicago

    Production: Samuel Chartersdeutsch



    Format: 3LPs 33rpm / Box, booklet



    About Pure Pleasure



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



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



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



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



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



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



    LP1
    1. Help Me (A Tribute to Sonny Boy Williamson)
    2. It Hurts Me Too
    3. Messin' with the Kid
    4. Vietcong Blues
    5. All Night Long
    6. Going Ahead
    7. Please Help
    8. Too Much Alcohol
    9. Married Woman Blues
    10. That's the Truth
    11. Marie
    12. Burning Fire
    13. S P Blues
    14. Sometimes I Wonder
    15. Spann's Stomp


    LP2
    1. Cotton Crop Blues
    2. The Blues Keep Falling
    3. Love Me or Leave
    4. Rocket 88
    5. West Helena Blues
    6. Everything's Gonna Turn Out Allright
    7. It's a Mean Old World
    8. I Can't Quit You Baby
    9. Rock
    10. It's My Own Fault
    11. Dust my Broom
    12. Somebody Been Talkin'
    13. Set a Date
    14. So Mean to Me


    LP3
    1. One More Time
    2. Kid Man Blues
    3. My Black Mare
    4. Stealin' Back
    5. I Got Mine In Time
    6. Tighten Up On It
    7. Dynaflow Blues
    8. Black Spider Blues
    9. Layin' Down My Shoes and Clothes
    10. If I Get Lucky
    11. Rockin' My Boogie
    12. Mr. Boweevil
    13. Hey Hey

    Various Artists
    $99.99
    180 Gram Audiophile Virgin Vinyl - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Something In Blue (Pure Pleasure) Something In Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Something In Blue (Pure Pleasure)

    Alan Bates took Thelonious Monk into the studio for his first trio recording in fifteen years with his old sidekick Art Blakey. It has been said often enough that Blakey is the ideal drummer for Monk, and one has only to hear them together again after all this time to realize the truth of the statement. If Blakey at times seems to push the pianist almost too hard, that is in fact the nature of their musical relationship. And, throughout the session, Blakey appeared to be vying with the producer in alternately cajoling and coercing Monk into fulfilling various requests from the small invited audience.



    Musicians:



    • Thelonious Monk (piano)

    • Al McKibbon (bass)

    • Art Blakey (drums)




    Recording: November 1971 at Chappell Studios, London, by John Timperley

    Production: Alan Bates



    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. Blue Sphere
    2. Hackensack
    3. Nice Work If You Can Get It
    4. Criss Cross
    5. Something in Blue
    6. Evidence
    7. Jackie-ing
    8. Nutty
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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