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  • He Touched Me He Touched Me Quick View

    $32.99
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    He Touched Me

    40 Years Later..... The King Of Rock And Roll Lives On!

    Friday Music Proudly Announces The First Time 180 Gram Audiophile Translucent Red Vinyl Of His 1972 Grammy Award Winner He Touched Me

    Presented In First Time Gatefold Cover Art

    Mastered Impeccably By Joe Reagoso & Manufactured At R.T.I.

    Features The Stellar Gospel Hits: He Touched Me, Amazing Grace, This Thing Called Love, He Is My Everything, Reach Out To Jesus, There Is No God But God

    He Touched Me is a 1972 contemporary gospel music album by American singer and musician Elvis Presley. It earned him his second of three Grammy Awards. The album his third and final studio gospel album, and the most contemporary of the three. He Touched Me was certified Gold on March 27, 1992, and Platinum on July 15, 1999, by the RIAA.

    1. He Touched Me
    2. I've Got Confidence
    3. Amazing Grace
    4. Seeing Is Believing
    5. He Is My Everything
    6. Bosom Of Abraham
    7. An Evening Prayer
    8. Lead Me, Guide Me
    9. There Is No God But God

    10. A Thing Called Love
    11. I, John
    12. Reach Out To Jesus
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Elvis Presley Elvis Presley Quick View

    $19.99
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    Elvis Presley

    Ranked 55/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Following the unexpected massive success of Heartbreak Hotel, this was as startling a debut record as any ever made and besides gospel it represented every side of Elvis' musical influences from rockabilly to blues and R&B to country and pop. Elvis' self-titled debut became the first rock & roll album to reach the number one spot on the national charts and RCA's first million dollar-earning pop album.


    Legacy Recordings has gone to great lengths to present this classic album exactly the way it was originally intended, with all the warmth and nuance that only vinyl can offer!

    1. Blue Suede Shoes
    2. I'm Counting on You
    3. I Got A Woman
    4. One-Sided Love Affair
    5. I Love You Because
    6. Just Because
    7. Tutti Frutti
    8. Trying to Get to You
    9. I'm Gonna Sit Right Down and Cry (Over You)
    10. I'll Never Let You Go (Lil' Darlin')
    11. Blue Moon
    12. Money Honey
    Elvis Presley
    $19.99
    Vinyl LP - Sealed Buy Now
  • Viva Elvis Viva Elvis Quick View

    $24.99
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    Viva Elvis

    Viva Elvis, the album, is a 21st century celebration of Elvis Presley and his music, featuring the voice of the king in a whole new context. The undisputed King of Rock 'n' Roll, Elvis Presley, remains one of the most iconic and powerful forces in popular culture.



    Before Elvis, said John Lennon, There was nothing. After Elvis, the world looked and sounded different. With a swivel of his hips and the power of his voice, Elvis broke down barriers and shattered the status quo, revolutionizing the world of music, film and fashion, while signaling a seismic shift in gender, class, race and generational relationships.



    This revolution continues with Viva Elvis, the album. This postmodern studio masterwork invokes the spirit and essence of Elvis from a contemporary perspective, while furthering the revolutionary impulses of Elvis' sound. Viva Elvis re-imagines the King's own vocal performances in a broad variety of new musical settings.



    This new sound echoes Elvis' own versatility and ability to master all music genres, from Delta blues to rockabilly, from raw soul to gospel, from Southern folk to Vegas pop, while incorporating elements of garage rock, punk, urban and hip-hop. Viva Elvis is the result of a partnership with Cirque du Soleil, who also produced the Beatles Love.

    1. Opening
    2. Blue Suede Shoes
    3. That's All Right
    4. Heartbreak Hotel
    5. Love Me Tender
    6. King Creole
    7. Bossa Nova Baby
    8. Burning Love
    9. Memories
    10. Can't Help Falling In Love
    11. You'll Never Walk Alone - Piano Interlude
    12. Suspicious Minds
    Elvis Presley
    $24.99
    Vinyl LP - Sealed Buy Now
  • From Elvis In Memphis From Elvis In Memphis Quick View

    $34.99
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    From Elvis In Memphis

    Import

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


    From Elvis in Memphis is the thirty-fifth album by Elvis Presley originally released in 1969.
    The recording of the album marked the definite return of Presley to non-soundtrack albums, after finishing his movie contract with Paramount pictures.


    Motivated by his early influences in country, rhythm and blues, and the latest music trend in Memphis being gospel and soul, Presley chose to record these songs at the Memphis-based American Sound Studio.


    Music on Vinyl now rereleases this classic on 180 gram audiophile vinyl.

    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
  • Elvis' Christmas Album (White Vinyl) Elvis' Christmas Album (White Vinyl) Quick View

    $32.99
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    Elvis' Christmas Album (White Vinyl)

    Another Excellent Installment In Our Exciting Elvis Presley 180 Gram Audiophile Vinyl Series


    Limited Edition 180 Gram Audiophile White Vinyl Anniversary Release


    Mastered Impeccably By Joe Reagoso And Manufactured At R.T.I.


    Original Gatefold Artwork


    Includes Super Rare LP Booklet With The Classic 1957 Images From His Historic Jailhouse Rock Film


    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, 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.


    From the remainder of the 1950's, Elvis would release several more hit albums and number one singles, star in a couple of box office smash films, and prior to spending time in the Army, he recorded his fourth album and what would become one of the most memorable and best loved Christmas LP's of all time, Elvis' Christmas Album.


    The 1957 album was a blockbuster as it topped the pop charts for a month, making this one of the biggest albums of his career ultimately selling over 13 Million Units and his first Diamond Award Winning RIAA certified recording. Elvis' Christmas Album truly proved once again that his career was unlike any other in music history.


    This holiday classic takes off with the rockin' Santa Claus Is Back In Town and followed by the soulful groove of White Christmas. More Elvis favorites follow with his brilliant interpretation of the melancholy ballad I'll Be Home For Christmas and the blues rocker number one single smash Blue Christmas.


    The album also features a nice helping of gospel standards which Elvis made his own with favorites like (There'll Be) Peace In The Valley and It Is No Secret (What God Can Do) , the timeless Silent Night , and of course the heartfelt O Little Town Of Bethlehem . In total, the album showcases twelve important Elvis Presley recordings which have truly gone on to become definitive classics by any measure of popular music.


    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 180 Gram Audiophile White Vinyl Anniversary release of the RCA Victor holiday classic Elvis' Christmas Album by Elvis Presley. As another excellent installment in our exciting Elvis Presley 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its high fidelity glory.


    Mastered impeccably by Joe Reagoso and manufactured at R.T.I., Elvis' Christmas Album will be a much anticipated audiophile dream release for Elvis fans everywhere! For this limited edition exclusive presentation, we are also including for the first time in decades, the original gatefold artwork which includes the groundbreaking original gatefold LP cover elements as well a super rare LP booklet with the classic 1957 images from his historic Jailhouse Rock film.


    We are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your Elvis vinyl in mint shape. Elvis Presley's Elvis' Christmas Album A history making holiday album from a historic legend, an original monophonic audiophile dream release. artwork not seen in years is now an audiophile vinyl dream come true From your friends at Friday Music

    1. Santa Claus Is Back In Town
    2. White Christmas
    3. Here Come Santa Claus
    4. I'll Be Home For Christmas
    5. Blue Christmas
    6. Santa Bring My Baby Back
    7. O Little Town Of Bethlehem
    8. Silent Night
    9. (There Will Be) Peace In The Valley
    10. I Believe
    11. Take My Hand, Precious Lord
    12. It Is No Secret (What God Can Do)
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Elvis' Christmas Album (Speakers Corner) Elvis' Christmas Album (Speakers Corner) Quick View

    $34.99
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    Elvis' Christmas Album (Speakers Corner)

    Wild rock'n'roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his Christmas Album with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of Santa Claus Is Back In Town just as successfully as Peace In The Valley, an inspirational gospel song praising nature. Of course it goes without saying that White Christmas - the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million - is included on the album. And Elvis's sentimental interpretation of Silent Night may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it's Christmas, the coveted sticker can be found on the re-release.



    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. Santa Claus Is Back In Town
    2. White Christmas
    3. Here Comes Santa Claus (Right Down Santa Claus Lane)
    4. I'll Be Home For Christmas
    5. Blue Christmas
    6. Santa Bring My Baby Back (To Me)
    7. O Little Town Of Bethlehem
    8. Silent Night
    9. (There'll Be) Peace in the Valley (For Me)
    10. I Believe
    11. Take My Hand, Precious Lord
    12. It Is No Secret (What God Can Do)
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Stereo '57: Essential Elvis Vol. 2 Stereo '57: Essential Elvis Vol. 2 Quick View

    $54.99
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    Stereo '57: Essential Elvis Vol. 2

    Double LP set cut at 45 RPM and pressed on 200-gram vinyl at Quality Record Pressings!


    Mastered at Sterling Sound


    Gatefold jacket


    The discovery of these 2-track masters comprising Stereo '57 - The Essential Elvis Volume 2, is nothing short of a miracle, and this 200-gram pressing cut at 45 RPM from Quality Record Pressings sounds so astonishing, your jaw will hit the floor!


    From the moment Elvis began working with a new song, sound engineer Thorne Norgar had the 15 ips mono tape machine rolling simultaneously with a 2-track protection copy. The machines weren't switched to pause until Elvis was satisfied with the take.


    A couple of years before the advent of the stereo LP in mid-1958, major record companies were experimenting with stereophonic recordings, often refered to then as binaural. Studios were using the new Ampex 2-track tape recorders for other purposes, such as for recording session back-ups. But few Elvis fans know how close history came to permanently losing these precious audio glimpses of a young Elvis engrossed in the creative process.


    Founded in 1933, Radio Recorders of Los Angeles was the preeminent recording studio of its day, and its director of recording, long-time engineer Thorne Nogar, engineered all of the Elvis sessions from 1955 to 1961. Some of popular music's greatest hits: Jailhouse Rock, All Shook Up, Loving You, and Teddy Bear, are just a few of the blockbusters that Nogar oversaw Elvis record at the studios, located at 7000 Santa Monica Blvd.


    Elvis would be right in the center of everything, at every recording session, Nogar would later recall. Like with the Jordanaires when he sang, we would set it up with a unidirectional mike, so he would be standing right in front of them, facing them, and they would have their own directional microphone and they would be singing to one another.


    The 2-tracks from which this record was pressed could not have sounded better, and there was no one more careful, more experienced and technically skilled to record these historic sessions than Nogar, says Acoustic Sounds' founder and CEO Chad Kassem.


    Yet one day years later when Thorne was cleaning out his tapes closet, remarkably, he set these 2-track backup tapes aside, intending to dispose of them. Noted producer Bones Howe had worked for Nogar as a tape operator at Radio Recorders, and thanks to him the tapes were saved from a final resting place in the trash can. Bones took the tapes home with him. He'd put them safely away in a bank vault.


    These 2-tracks have erase clearly written on the master log sheets. They're from a January 1957 session at which Presley produced material for two EPs and the film Loving You soundtrack. They're the only known ones surviving from the pre-stereo era.


    RCA's Essential Elvis series was a vehicle for the release of Presley's alternate takes. On this double LP set, listeners hear Presley at work, refining band arrangements and working through the nuances of his vocal performance. The LP reveals the Jordanaires voices' sparkling with a natural lifelike sound that's both sonically rich and detailed.


    The Jordanaires, a vocal quartet originally formed as a gospel group in 1948, gained fame largely for being Elvis' background singers, both in live appearances and recordings, from 1956 to 1972. If discovering these rare, almost lost recorded treasures weren't enough, the sound reproduction puts this release over the top! When the Jordanaires sing Peace in the Valley, you'll swear you're hearing a melody sent from heaven. An audiophile's prayer come true!


    There are a number of first and second takes, during which Presley and his backing musicians make tentative passes at the material. As the record progresses, arrangements take shape and Presley, growing more confident that a keeper take is imminent, sings with more enthusiasm. Throughout, Presley is heard directing the proceedings and demonstrating a lot of aw shucks charm in the process, goofing with band members and laughing through his and others', flubs.



    Like other reissues pressed by QRP, this magnificent 200-gram LP is notable for its absolutely silent background. The vocal harmonies are tingle-inducing, life-sized and utterly natural.


    For serious Elvis fans and anyone else interested in the creative process, Volume 2 meets the first definition of essential as well as the second: it's indispensable stuff.


    This title is not eligible for discount.

    1. I Beg Of You (Take 1)
    2. Is It So Strange (Take 1)
    3. Have I Told You Lately That I Love (Take 2)
    4. It Is No Secret (What God Can Do) (Takes 1,2,3)
    5. Blueberry Hill (Take 2)
    6. Mean Woman Blues (Take 14)
    7. There'll Be Peace In The Valley (Takes 2,3)
    8. Have I Told You Lately I Love You (Take 6)
    9. Blueberry Hill (Take 7)
    10. That's When Your Heartaches Begin (Takes 4,5,6)
    11. Is It So Strange (Takes 7,11)
    12. I Beg Of You (Takes 6,8)
    13. There'll Be Peace In The Valley (Take 7)
    14. Have I Told You Lately That I Love You (Takes 12,13)
    15. I Beg Of You (Take 12)
    Elvis Presley
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • The Wonder Of You: Elvis Presley With The Royal Philharmonic Orchestra The Wonder Of You: Elvis Presley With The Royal Philharmonic Orchestra Quick View

    $25.99
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    The Wonder Of You: Elvis Presley With The Royal Philharmonic Orchestra

    Recorded at Abbey Road Studios in London with producers Don Reedman and Nick Patrick, The Wonder Of You focuses on Elvis' unmistakable voice with lush new orchestral accompaniment. Featuring Elvis' most dramatic original performances augmented with lush new arrangements by The Royal Philharmonic Orchestral, the record spans a variety of musical styles that Elvis embraced, from rock and gospel to country and ballads. The Wonder Of You highlights beloved Presley classics along with several surprises. The LP version is two 150 gram discs in a gatefold sleeve.
    LP 1
    1. A Big Hunk o' Love
    2. I've Got a Thing About You Baby
    3. Suspicious Minds
    4. Don't
    5. I Just Can't Help Believin'
    6. Just Pretend
    7. Love Letters


    LP 2
    1. Amazing Grace
    2. Starting Today
    3. Kentucky Rain
    4. Memories
    5. Let It Be Me
    6. Always on My Mind
    7. The Wonder of You
    8. Just Pretend

    Elvis Presley
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Where No One Stands Alone (Pre-Order) Where No One Stands Alone (Pre-Order) Quick View

    $19.99
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    Where No One Stands Alone (Pre-Order)

    Where No One Stands Alone celebrates the power and passion of Elvis Presley's gospel recordings. Produced by Joel Weinshanker, Lisa Marie Presley and Andy Childs, Where No One Stands Alone introduces newly-recorded instrumentation, rare alternate vocals from Elvis, and backing vocal contributions from music legends who'd performed on-stage and/or in the studio with Elvis such as, Darlene Love; Cissy Houston; Terry Blackwood, Armond Morales and Jim Murray of The Imperials; and Bill Baize, Ed Hill, Donnie Sumner and Larry Strickland of The Stamps Quartet.


    The album also includes a reimagined duet with Elvis and his daughter, Lisa Marie Presley, on the album's title track and spiritual touchstone. Where No One Stands Alone provides new musical perspectives on 14 of the singer's favorite pieces of gospel music, from the reverential to the celebratory, with song selections including Presley's beloved enduring gospel classics (the 1965 Top 5 smash Crying In The Chapel, How Great Thou Art, You'll Never Walk Alone), praise-filled gospel-rockers (Jerry Lieber and Mike Stoller's Saved) and traditional hymns and spirituals (So High, Stand By Me, In The Garden, Amazing Grace).


    Since I was two years old, Elvis Presley once said, all I knew was gospel music. It became such a part of my life, it was as natural as dancing. A way to escape my problems, and my way of release. It was Elvis' explosive mix of styles - blues, bluegrass, country, swing, pop - that generated his iconic world-changing rock n' roll, but it was the hymns, spirituals and church music of his childhood, the deep-seated gospel roots that sustained Elvis and his musical vision throughout his life. This was his favorite genre - no question about it, says Lisa Marie in her album notes. He seemed to be at his most passionate, and at peace while singing gospel. He would truly come alive - whether he was singing just for himself and me at home, or on stage in front of thousands of fans.

    1. I've Got Confidence
    2. Where No One Stands Alone
    3. Saved
    4. Crying In the Chapel
    5. So High
    6. In the Garden
    7. Bosom of Abraham
    8. How Great Thou Art
    9. I, John
    10. You'll Never Walk Alone
    11. He Touched Me
    12. Stand By Me
    13. He Is My Everything
    14. Amazing Grace
    Elvis Presley
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • His Hand In Mine (Pre-Order) His Hand In Mine (Pre-Order) Quick View

    $32.99
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    His Hand In Mine (Pre-Order)

    Celebrating 6 Decades Of Elvis' Country Soul & Gospel Masterwork


    First Time 180-Gram Audiophile White & Silver Swirl Vinyl


    First Time Gatefold Cover Art & 24 x 24 Striking Poster Insert


    Mastered Impeccably By Joe Reagoso At Friday Music Studios & Capitol Mastering


    Pressed At R.T.I.


    Contains The Huge Hits Crying In The Chapel, I Believe In The Man In The Sky, & Milky White Way


    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as a struggling young truck driver, Elvis cut some demos as a gift for his beloved mother Gladys. The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly 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. He would eventually become the most successful solo artist of all time!


    As 1960 was coming to a close, Elvis returned to the studios of RCA Nashville and would go on to record his first smash gospel album His Hand In Mine. Ever proving that he was indeed on top of his game, the amazing album featured a dozen of his most soulful works ever captured on wax like the hit single Crying In The Chapel and more stellar fare such as I Believe In The Man In The Sky, Joshua Fit The Battle and of course the definitive classic title track His Hand In Mine. The Lp soon went on to achieve gold and platinum status and become one of the most memorable titles in his huge arsenal of masterful albums.


    Thanks to his great soulful country workouts on Known Only To Him and the wonderful Milky White Way, this collection of Elvis Presley's gospel hits were just what the fans were yearning for, as the entire album was built around his love for gospel and old-time religious church music.


    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 first time limited Anniversary Edition 180 Gram Audiophile Vinyl release of the RCA Victor classic His Hand In Mine by Elvis Presley.


    As another groundbreaking installment in our exciting Elvis Presley/Friday Music 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its 1960 stereophonic glory.


    Mastered impeccably by Joe Reagoso at Friday Music Studios and manufactured for a very limited time at R.T.I. on first time translucent white and silver swirl vinyl, Elvis' His Hand In Mine will be a much anticipated first-time audiophile dream release for Elvis fans everywhere!


    For a limited time only, we are also including a rare first-time gatefold artwork presentation including the original 1960 artwork elements, plus a dynamic 24 x 24 poster of the front cover art, truly enhancing your Elvis Presley listening hours.


    As usual, we are also enclosing a poly bag to protect your album cover and poly sleeve to help keep your Elvis vinyl in mint shape. Elvis Presley's His Hand In Mine A history-making country gospel soul album from a historic legend, an original stereophonic first-time audiophile dream release first-time gatefold cover including a striking 24 x 24 poster is now an audiophile vinyl dream come true From your friends at Friday Music

    1. His Hand In Mine
    2. I'm Gonna Walk Dem Golden Stairs
    3. In My Father's House (Are Many Mansions)
    4. Milky White Way
    5. Known Only To Him
    6. I Believe In The Man In The Sky
    7. Joshua Fit The Battle
    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
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • Sabougla Voices Sabougla Voices Quick View

    $15.99
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    Sabougla Voices

    In today's frenetically paced world, uncovering a lost treasure is often met with great enthusiasm, excitement, and anticipation. Lost footage of Gene Kelly dancing. A Vincent van Gogh no one knew existed. An Arthur Crudup album lost in a vault for 40 years. Jimi Hendrix material coming to light after 40 years. Well, now we can also celebrate the "discovery" of a blues master stepping into the sunlight, and delivering the best gospel album since Elvis gave us "How Great Thou Art" in February, 1967. The paradox is that Leo Welch has been there all along, living in Sabougla, Mississippi, first playing blues, and then moving to gospel. Born in 1932, Welch grew up playing blues. As his style of blues became less popular, he began to play gospel because churches offered more opportunities to play. Consequently, he was overlooked because blues aficionados frequented juke joints. Most blues lovers would never think to find blues, or blues related music in a church.


    After an off-the-cuff call by Welch to Big Legal Mess Records, things continued to fall into place, and he was able to record his debut album, Sabougla Voices. It is really difficult to accurately describe this stunning album, and faithfully convey the vibe, the atmosphere, and way it moves a listener. Welch has poured a lifetime of learning, living, loving, playing, and praying into this work, and it shows!


    This album is stripped down, bare bones joyful gospel being played and sung from the heart. This is not your daddy's gospel though. Sabougla Voices is a shot of love to your heart, a cool cleansing breeze blowing through your soul, and an orgasm for your ears. The album opens with "Praise His Name," which is beautifully sparse, raw, and has a great bouncing beat. "You Can't Hurry God" is almost a gospel honky-tonk that has a juke joint vibe. "Take Care Of Me Lord" has a very early Magic Slim and The Teardrops sound to it. "Mother Loves Her Children" is really basic, slow, artfully delicate blues. "Somebody Touched Me" has a mid 1960s Rolling Stones blues flavor, and nice backing vocals. "A Long Journey" is delightfully slow, and begs to be pulled over you like a comforting blanket of blues. "His Holy Name" is gospel as a shuffle, and definitely has the church rocking! The album closes with "The Lord Will Make A Way," an acoustic performance that is slow and stark, but very moving.


    If this is Welch's debut alum, we can't wait for the follow-up! This album is definitely a must-have.


    - Barry Kerzner (American Blues Scene Magazine)

    1. Praise His Name
    2. You Can't Hurry God
    3. Me and My Lord
    4. Take Care of Me Lord
    5. Mother Loves Her Children
    6. Praying Time
    7. Somebody Touched Me
    8. A Long Journey
    9. His Holy Name
    10. The Lord Will Make A Way
    Leo Welch
    $15.99
    Vinyl LP - Sealed Buy Now
  • Moody Blue Moody Blue Quick View

    $29.99
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    Moody Blue

    180 Gram Audiophile Translucent BLUE Vinyl


    Limited Edition


    Gatefold Cover


    Mastered Impeccably by Joe Reagoso and Kevin Gray from the Original RCA Records tapes

    Manufactured at R.T.I


    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early
    fifties, 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 1977, his career ignited even further thanks to his highly successful tour and his much anticipated newly released LP Moody Blue.
    Already gaining popularity in advance thanks to two chart single smashes Moody Blue and Way Down, this masterwork album
    included a treasure trove of studio and concert performances that captured a very great time in the musical history of this iconic legend.
    In addition to the wonderful hit singles aforementioned, The King reaches back to his early Memphis days with a tribute to Johnny Ace
    with Pledging My Love and more fifties classics like The Diamonds' Little Darlin' and Jim Reeves' country smash He'll Have To Go.
    Even more hits abound with sensational interpretations of Al Hibbler's classic Unchained Melody which also hit the top ten of the
    country music charts, a gospel rockin' version of Let Me Be There and a brilliant reading of the Andrew Lloyd Webber/Tim Rice's classic It's
    Easy For You.


    Sadly, this was Elvis Presley's final album as he passed away suddenly on August 16, 1977. The world was never the same after the
    tragic news was told that day, as hoards of fans journeyed to his beloved Graceland to pay their heartfelt tribute to The King of Rock and Roll.
    Elvis Presley's Moody Blue album, of course already a huge seller prior to his death, would go on to become one of his biggest albums
    ever, as fans rushed to the stores to buy his final masterwork. Initially pressed on BLUE vinyl, this amazing album has been out of print on
    vinyl for several decades that is until now!
    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 album 180 Gram Audiophile BLUE vinyl release of the RCA Records classic Moody Blue by Elvis Presley.


    As we further continue our exciting Elvis Presley 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all
    its high fidelity glory. Mastered impeccably from the original stereophonic RCA Records tapes by Joe Reagoso at Friday Music Studios with
    Kevin Gray and manufactured at R.T.I., Moody Blue will be a much anticipated audiophile dream release for Elvis fans everywhere!
    For this exclusive presentation, we are including a first time beautifully pressed 180 Gram Translucent BLUE vinyl LP and limited
    gatefold album artwork which includes the original stunning LP cover elements. We are also enclosing a poly lined inner sleeve to help keep
    your limited edition Elvis Moody Blue vinyl album in mint shape.
    Elvis Presley's Moody Blue A history making album from a historic legend, an audiophile dream release first time 180 Gram
    Audiophile BLUE vinyl is now an audiophile vinyl dream come true From your friends at Friday Music Stay tuned for more Elvis Presley
    original RCA Records audiophile recordings from Friday Music.

    Side One
    1. Unchained Melody
    2. If You Love Me
    (Let Me Know)
    3. Little Darlin'
    4. He'll Have to Go
    5. Let Me Be There


    Side Two
    1. Way Down
    2. Pledging My Love
    3. Moody Blue
    4. She Thinks I Still Care
    5. It's Easy for You

    Elvis Presley
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Amos Lee Amos Lee Quick View

    $37.99
    Buy Now
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    Amos Lee

    Import


    Amos Lee is the self-titled debut album by American singer-songwriter Amos Lee, released by Blue Note Records in 2005. The album is produced by Lee Alexander, the bassist in Norah Jones' band. Norah Jones herself plays the piano on 2 tracks; Keep It Loose, Keep It Tight and Colors.


    The songs on the album incorporate themes of folk, soul, gospel and jazz. His style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.

    1. Keep It Loose, Keep It Tight
    2. Seen It All Before
    3. Arms Of A Woman
    4. Give It Up
    5. Dreamin'
    6. Soul Suckers
    7. Colors
    8. Bottom Of The Barrel
    9. Black River
    10. Lies Of A Lonely Friend
    11. All My Friends
    Amos Lee
    $37.99
    180 Gram Audiophie Virgin Vinyl LP - Sealed Buy Now
  • The Glory Road The Glory Road Quick View

    $26.99
    Buy Now
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    The Glory Road

    Her voice was all Saturday night, delivered on a Sunday
    morning. Patsy on Jesus. Elvis without the pelvis. Fern
    Jones' only album, released by Dot Records in 1959,
    captured 36-year-old Sister Fern as she anointed
    church music with the same untamed energy that
    younger white Southerners were bringing to their rock
    'n' roll. Produced by Mac Wiseman and showcasing crack
    Nashville session players Hank "Sugarfoot" Garland,
    Floyd Cramer, Joe Zinkan, and Buddy Harman fresh
    off their June 1958 session with The Pelvis, Singing A
    Happy Song should've taken Jones from dusty canvas
    big tops to the Opry's storied stage. But with no 45 to
    flog, Jones instead sold nary a record and never did hear
    herself on the radio. Her fiery rockabilly gospel was a
    few shades too radical for the conservative, traditional,
    near puritanical public she played to anyway. Fern
    Jones: The Glory Road collects her Singing A Happy
    Song LP and cuts including "Didn't It Rain," from her
    The Joneses Sing album, into one rousing package,
    rich with the details and imagery of a brief career
    spent tethered to the hard ground and gazing skyward.
    The Glory Road'ssound gnaws at the bit and stands in
    reverence, a runaway rockabilly tent show without a
    single drop of rain on the horizon.
    1. You Ain't Got Nothin'
    2. I Do Believe
    3. I Was There When It Happened
    4. Be Thankful You're You
    5. Strange Things Happening Every Day
    6. I Ain't Got Time
    7. Just A Little Talk With Jesus
    8. Keeps Me Busy
    9. Take My Hand, Precious Lord
    10. I Am A Pilgrim And A Stranger
    11. Let Tomorrow Be
    12. Didn't It Rain
    13. When I Meet You
    14. By And By
    15. I Don't Care What The World May Do
    16. This World Is Not My Home
    Fern Jones
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Patches (Pure Pleasure) Patches (Pure Pleasure) Quick View

    $34.99
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    x

    Patches (Pure Pleasure)

    Clarence Carter's first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter's singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though It's All in Your Mind was also a hit later in the year, and I Can't Leave Your Love Alone and Your Love Lifted Me could easily have joined it and topped the pop charts as well. Carter even provides a bracing authentic gospel approach to the then-new Beatles song Let It Be, taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on Till I Can't Take It Anymore, on which Carter starts to sound a bit like Elvis Presley, while on It's All in Your Mind he seems to invoke the ghost of Sam Cooke. On his own C.C. Blues, Carter's bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey's piano, and he returns to a soul sound for the finale, the soaring Getting the Bills (But No Merchandise).



    Musicians:



    • Clarence Carter (vocals, guitar)

    • Ronnie Eades (bassoon)

    • Aaron Varnell, Harvey Thompson (tenor saxophone)

    • Jack Peck (trumpet)

    • Albert Lowe Jr. (guitar)
    • Clayton Ivey (keyboard)

    • Bob Wray (bass)

    • Cornell McFadden (drums)

    • Charles Chalmers, Donna Rhodes (vocal)



    Recording: Sonny Limbo & Rick Hall

    Production: Rick Hall



    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. Willie And Laura Mae Jones
    2. Say Man
    3. I'm Just A Prisoner (Of Your Good Lovin')
    4. Let It Be
    5. I Can't Leave You Love Alone
    6. Your Love Lifted Me
    7. Till I Can't Take Anymore
    8. Patches
    9. It's All In Your Mind
    10. Changes
    11. C. C. Blues
    12. Getting The Bills (But No Merchandise)
    Clarence Carter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ray Charles (Awaiting Repress) Ray Charles (Awaiting Repress) Quick View

    $29.99
    Buy Now
    x

    Ray Charles (Awaiting Repress)


    First Time On 180 Gram Audiophile Vinyl!


    Ray Charles' Stunning Atlantic Records Debut!


    The One That Started The Genius Of Soul Phenomenon!


    Mastered For The First Time From The Original Monophonic Atlantic Records Tapes By Joe Reagoso


    Ray Charles was the premiere architect singer/songwriter/musician whose "genius" of combining jazz, blues
    with gospel most certainly began the American soul music movement. This modern form of R&B which would become
    an American way of life forever etched itself in total with the release of his classic #1 hit single I Got a Woman from
    his stunning debut 1957 album Ray Charles.


    Fused with heavy blues, gospel and rock and roll, I Got a Woman was one of Ray's very first top charting hits
    soon to be followed by other #1 smash hit singles like Mess Around and A Fool for You. More hit singles graced his first
    album as well with Hallelujah I Love Her So, Ain't That Love and This Little Girl of Mine. The Ray Charles album itself
    on its own merit is truly a Greatest Hits LP, whereby most of these early Ray Charles' hit tracks have been covered
    hundreds of times by some of the most important voices in popular music, like The Beatles, Elvis Presley, The Steve
    Miller Band, Van Morrison, Peggy Lee, Johnny Winter, Jerry Lee Lewis, Stevie Wonder and many others.


    Also included on this debut masterpiece are some of Ray Charles' more definitive blues rockers like the powerful
    Come Back Baby, the rockin' Greenbacks, the #1 blues rocker Mary Ann, and the brilliant soul sounds of Don't You
    Know, Drown in My Own Tears and Losing Hand.


    The Ray Charles album forever etched the name superstar and genius with Ray Charles as the LP reached the
    upper rungs of the popular, jazz and R&B charts and has become an American institution which will forever stand the
    test of time. Being one of his rarest LP's of his career, the magnificent album has not been officially released on vinyl
    in over five decades and fetches hundreds of dollars for a mint used copy if you can even find one.


    Friday Music is very honored to announce the first time ever 180 Gram Audiophile Vinyl LP of the Ray Charles'
    classic Ray Charles. As another installment in our treasured Ray Charles/Friday Music 180 Gram Audiophile Series, his
    amazing debut LP is mastered from the original monophonic Atlantic Records' tapes by Joe Reagoso at Friday Music
    Studios and at Capitol Mastering with Ron McMaster. This masterwork truly sounds exceptional and will become one
    of the more important roots albums to be reissued in quite some time for the audiophile vinyl domain.


    This limited edition release also comes with the original album cover graphics of Marvin Israel, featuring the
    stunning liner notes by Guy Remark.


    The album will be packaged in a poly bag to preserve the rich details of the legendary cover art as well as a poly
    lined inner sleeve to protect your vinyl purchase for years to come. I Got a Woman!!!

    1. Ain't That Love
    2. Drown in My Own Tears
    3. Come Back Baby
    4. Sinner's Prayer
    5. Funny (But I Still Love You)
    6. Losing Hand
    7. A Fool for You
    8. Hallelujah I Love Her So
    9. Mess Around
    10. This Little Girl of Mine
    11. Mary Ann
    12. Greenbacks
    13. Don't You Know
    14. I Got a Woman
    Ray Charles
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Live From Austin, TX (Jerry Lee Lewis) Live From Austin, TX (Jerry Lee Lewis) Quick View

    $30.99
    Buy Now
    x

    Live From Austin, TX (Jerry Lee Lewis)

    "Rock and Roll's the thing and Jerry Lee's the King " or so said an English fan once upon a time somewhere. Elvis fans might dispute that title, but nobody else in the history of popular music would dare call himself "The Killer." Of all the legends who came out of Sun Records in the 1950s - Elvis, Johnny Cash, Carl Perkins, Roy Orbison - no one would have bet the last one standing would be the pill-popping, whiskey-guzzling, gun-waving hellion from Ferriday, LA except The Killer, of course. Jerry Lee Lewis took black rhythm & blues, white gospel, and other funky Mississippi sounds and turned them into rock and roll. But Jerry Lee's life also is, and has always been, his piano; he has kicked and banged and set on fire (literally) many of them over the course of six-plus decades. He almost never made it to Austin City Limits. He canceled one appearance and, only weeks before this recording on October 17, 1983, his wife died in a freak swimming pool accident at their home. But he did make it, and what we have here is one of the most amazing performances ever to go down on the ACL stage. Throughout the day he was a perfect gentleman, showing up on time and acting very graciously to one and all, but once he hit the stage, all hell broke loose. The songs speak for themselves; they're ALL here. For many years later, Jerry Lee would carry a tape of this show to play for friends (and himself, many times). When I tried to book him again for a return performance, the response was, "Jerry Lee doesn't think he could possibly do a better show."


    - Terry Lickona (producer Austin City Limits)

    1. Keep My Motor Runnin'
    2. You Win Again
    3. Sweet Little 16
    4. 39 And Holding
    5. Think About It Darlin'
    6. Rock & Roll Over (Teenage Queen)
    7. Boogie Woogie Country Man
    8. C C Rider
    9. Chantilly Lace
    10. I'll Find It Where I Can
    11. In The Garden
    12. No Headstone On My Grave
    13. What'd I Say
    14. Great Balls Of Fire
    15. Whole Lotta Shakin' Goin' On
    Jerry Lee Lewis
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Little Niles (Pure Pleasure) Little Niles (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Little Niles (Pure Pleasure)

    Randy Weston, one of the world's foremost pianists and composers, a true innovator and visionary. Starting with the gospel of bop according to Thelonious Monk, Weston gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance, marked by a stabbing quality reminiscent of, but not totally indebted to Monk.



    Combining the Ellingtonish arrangements of Melba Liston with the rhythmically intriguing explorations of Randy Weston this album represented a high point in his career at the time. All the tunes, written by Randy Weston, were inspired by his children Niles and Pamela. The innocence, excitement, anticipation and tension of childhood are all displayed here in these warm vinyl grooves.



    Musicians:



    • Randy Weston (piano)

    • Johnny Griffin (tenor saxophone)

    • Ray Copeland, Idrees Sulieman (trumpet)

    • Melba Liston (arranger, trombone)

    • George Joyner (bass)

    • Charlie Persip ( drums)





    Recording: October 1958 at RCA Studios, NYC




    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. Earth Birth
    2. Little Susan
    3. Nice Ice
    4. Little Niles
    5. Pams Waltz
    6. Babes Blues
    7. Lets Climb a Hill
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Midnight Special (Speakers Corner) The Midnight Special (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Midnight Special (Speakers Corner)

    No attempt has ever been made to compare Harry Belafonte with other singers of his own generation or generations following. Perhaps this is because there simply is no other singer in the American folk scene who possesses anything remotely comparable to his uniquely silky yet dusky voice, or his genial mix of calypso, blues, gospel and traditional songs. The present album provides a wonderful testimony to the Jamaican singer's flexibility and multifariousness, which he learned to perfection of New York's jazz clubs. It includes songs such as "Midnight Special", a prisoner's nocturnal prayer for freedom, and "On Top Of Old Smokey", which Belafonte instils with intricate rhythm and Caribbean flair. And the tailor-made arrangements are no less thrilling: whether possessing all the drive of a stomping big band, filled with the intimacy of a smoochy small ensemble (with Bob Dylan on the mouth organ!) or with an earthy, folksy, blue grass sound - there's all that and plenty more! To put it in a nutshell: a veritable feast of traditional music which doesn't sound the least 'traditional'.



    Musicians:



    • Harry Belafonte (vocal)

    • Jimmy Jones (conductor, arranger)

    • Bob Dylan (harmonica)

    • Joe Wilder (trumpet)

    • Jerome Richardson (saxophone)

    • Millard Thomas, Ernie Calabria (guitar)

    • Norman Keenan (bass)

    • Don Lamond, Percy Brice (drums)




    Recording: 1962 by Bob Simpson

    Production: Hugo Montenegro





    About Speakers Corner



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



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



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



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



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



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



    1. The Midnight Special
    2. Crawdad Song
    3. Memphis Tennessee
    4. Gotta Travel On
    5. Did You Hear About Jerry?
    6. On Top Of Old Smokey
    7. Muleskinner
    8. Makes A Long Time Man Feel Bad
    9. Michael Row The Boat Ashore
    Harry Belafonte
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Emergency Ward (Speakers Corner) Emergency Ward (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Emergency Ward (Speakers Corner)

    We can thank our lucky stars that Nina Simone was well aware of her musical environment and enjoyed experimenting with it, despite her notorious eccentric personality. This was the only reason that so much basic repertoire, traditional blues numbers, black work songs and favourite white show melodies - all filled with a deep soul feeling - reached her fans. Emergency Ward! is no exception. First there is the explosive medley, recorded live, of George Harrison's My Sweet Lord and David Nelson's Today Is A Killer. Accompanied by a small combo and a gospel choir, Nina Simone ignites an 18-minute blazing bonfire which loses none of its spiritual fire for even a second.



    In contrast to the gentle Poppies, extravagantly produced with strings, woodwinds and chorus, is the questioning Isn't It A Pity, arranged for piano. Here, simple, throbbing harmonies are occasionally allowed to swell into clouds of chords, giving Nina Simone the opportunity to show off her highly diversified vocal timbre which, as so often, fades away into nothing like an unanswered question. This is an exceptional album filled with a wealth of feeling and one which will leave no one untouched.



    Musicians:



    • Nina Simone (piano, vocal)

    • Sam Waymon (vocal)

    • Orchestra




    Recording: November 1971 at Fort Dix and February 1972 at RCA Victor's Studio A,
    New York City, by Ed Begley

    Production: Nina Simone, Andrew Stroud and Weldon J. Irvine Jr.





    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. My Sweet Lord
    2. Today is a Killer
    3. Poppies
    4. Isn't It a Pity
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Howard Tate Howard Tate Quick View

    $19.99
    Buy Now
    x

    Howard Tate

    Singer Howard Tate cracked the R&B Top 20 three times in the late 1960s, left music and endured hardship and anonymity for nearly 30 years and beginning in the early 2000s returned to his rightful place as one of America's most revered soul performers.


    Tate was born in Macon, Georgia, in 1939 and moved with his family to Philadelphia as a young boy. In his teens, he joined a north Philadelphia gospel group, the Gainors, that also featured to-be star Garnet Mimms. The group recorded in the early 1960s for Mercury Records and Cameo Records before Tate left to become the featured singer of organist Bill Doggett's group.


    In the mid-'60s, Mimms urged producer Jerry Ragovoy to check out Tate, and from 1966 to 1969 Tate and Ragovoy recorded about 10 singles, the first for the Utopia label, the rest for Verve. Ain't Nobody Home (1966), Look At Granny Run Run (1966) and Stop (1967), all written or co-written by Ragovoy, each charted R&B Top 20. But to rock audiences, Tate was best known as the original performer of Get It While You Can, which became one of Janis Joplin's signature tunes. Tate's debut album, Get It While You Can, was released in 1966 to tremendous acclaim. Rolling Stone called the album a spectacular showcase of suave, muscular good-powered singing, heavily influenced by Sam Cooke, with a joyous, shrieking falsetto that became Tate's trademark.


    Tate recorded a few more singles for Lloyd Price's label, Turntable, before reuniting briefly with Ragovoy for sessions on Atlantic. After one more single on Epic in 1974, Tate all but vanished. Despite his success, he was unhappy with how the music business was treating him, never having seen any royalties.


    Tate sold securities in the New Jersey and Philadelphia areas into the 1980s when he succumbed to substance abuse and endured a very tumultuous period of homelessness and personal loss. He turned his life around and began work as a minister and counselor in the early 1990s. Then in 2001, a musician Tate had toured with back in the 1960s saw him in a supermarket and within hours Tate's old producer, Jerry Ragovoy, was calling, resulting in a return to the studio for the Grammy-nominated Rediscovered. He followed up with Howard Tate Live in 2006, A Portrait Of Howard - with guests Lou Reed, Carla Bley and Larry Goldings - in 2007 and Blue Day in 2008.


    Music luminaries have recognized and celebrated Tate's trademark voice throughout the years, with Elvis Costello calling him the missing link between Jackie Wilson and Al Green. Among the well-known musicians that have covered songs originally recorded by Tate are Joplin (Get It While You Can), Jimi Hendrix (Stop), Hugh Masekela (Stop), B.B. King (Ain't Nobody Home), Ry Cooder (Look At Granny Run Run) and Grand Funk Railroad (Look At Granny Run Run).


    This title is not eligible for discount.

    1. Look At Granny Run Run
    2. Sweet Sixteen
    3. Louisiana 1927
    4. Ill Be Home
    5. Dear Lord
    6. Aint Nobody Home
    Howard Tate
    $19.99
    180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
  • The Natch'l Blues (Pure Pleasure) The Natch'l Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Natch'l Blues (Pure Pleasure)

    Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like She Caught The Katy And Left Me A Mule To Ride and The Cuckoo -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, You Don't Miss Your Water ('Til Your Well Runs Dry) and Ain't That A Lot Of Love, which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on You Don't Miss Your Water, which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. Ain't That a Lot of Love, by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's Gimme Some Lovin'. This LP reissue includes a trio of bonus tracks: a faster-paced rendition of The Cuckoo with a more prominent lead guitar, the slow electric lament New Stranger Blues featuring some good mandolin-style playing on the guitar, and the rocking instrumental Things Are Gonna Work Out Fine, which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.




    Musicians:



    • Taj Mahal (harmonica, guitar)

    • Jesse Edwin (guitar, piano, arranger)

    • Al Kooper (organ, piano)

    • Gary Gilmore (bass)

    • Chuck Blackwell, Earl Palmer (drums)




    Recording: May & October 1968

    Production: David Rubinson




    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. Good Morning Miss Brown Corinna
    2. I Ain't Gonna Let Nobody Steal My Jellyroll
    3. Going Up To The Country, Paint My Mailbox Blue
    4. Done Changed My Way Of Living
    5. The Cuckoo (alternative version)
    6. She Caught The Katy And Left Me A Mule To Ride
    7. The Cuckoo
    8. You Don't Miss Your Water ('Til Your Well Runs Dry)
    9. A Lot Of Love
    10. New Stranger Blues
    11. Things Are Gonna Work Out Fine
    Taj Mahal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina At The Village Gate (Pure Pleasure) Nina At The Village Gate (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Nina At The Village Gate (Pure Pleasure)

    In the intimate ambiance of The Village Gate, Nina Simone made pure magic with her voice and on the keyboard, one Manhattan evening back in 1961. She sang and played with a trio, which featured her favorite guitarist, Al Shackman. We are so fortunate that the moment was captured and recorded.



    I can't really categorize Nina's sound or her music and call her 'just' a fabulous jazz vocalist. Although, she plays extraordinary jazz with her voice, as in Just In Time. She has been often called a musical anomaly, because there is no one category for her work. She was trained as a classical pianist, and in cuts like Bye Bye Blackbird, the complexity of her piano comes through loud and clear. Her folk songs, like the biting House Of The Rising Sun, and Zungo, an African work song, place her at the top of a long list of folk singers. Ms. Simone's gospel songs, i.e., Children Go Where I Send You, can raise the roof and bring down the house, as she did at the Gate in '61. She is a protest singer, Brown Baby, and an actress, capable of an extraordinary range of emotions.



    Nina has the rare ability to dig into her material and bring unexpected meaning to familiar lyrics. She is eclectic with her taste and her repertoire. But whatever touches Nina, and whatever Nina touches, will reach you and evoke an emotional response. Her music is as fresh today, as it was 42 years ago, singing for that Manhattan audience. They could not have loved her more then, than we do now.




    Musicians:



    • Nina Simone (piano, vocal)

    • Al Schackman (guitar)

    • Chris White (bass)

    • Bob Hamilton (drums)




    Recording: 1961 in New York City

    Production: Cal Lampley



    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. Just In Time
    2. He Was Too Good to Me
    3. House of the Rising Sun
    4. Bye Bye Blackbird
    5. Brown Baby
    6. Zungo
    7. If He Changed My Name
    8. Children Go Where I Send You
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beck, Bogert & Appice (Speakers Corner) Beck, Bogert & Appice (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beck, Bogert & Appice (Speakers Corner)

    On the whole, the supergroups of the Seventies didn't last very long, but for that - all the more notably. This certainly applies to the Anglo-American trio made up of the extremely talented though narcissistic guitarist Jeff Beck, the bass-player Tim Bogert, and the drummer Carmine Appice. As early as 1970, the British Beck wanted to engage the two American musicians for a joint project. This plan however had to be postponed for two years because the speed-mad Beck had had a serious car accident and needed time to recover. 1973 saw the release of the trio's first and only studio album, which not only demonstrated Beck's powerful-hectic style of guitar playing but also allowed his musical companions to show off their prowess. The trio applied their musical talents to all facets of rock 'n' roll, right from the bluesy first number (Black Cat Moan), via the agile rock sound of Lady, ending up with the moans of a vocal love ballad (Oh To Love You), followed by a really convincing gospel song (Sweet And Surrender) and the super funky beat of Lose Myself With You.
    The trio seemed to lust for more - but this was not to be. For the very next year, during the intense preparations for their next studio album, the moody Jeff Beck dissolved the group on the spur of the moment.



    Musicians:



    • Jeff Beck (guitar, vocal)

    • Jimmy Greenspoon (piano)

    • Duane Hitchings (keyboards,melophone, piano)

    • Tim Bogert (bass)

    • Carmine Appice (drums, vocal)

    • Danny Hutton (background vocal)




    Recording: 1973 by Baker Bigsby and Gray Starr

    Production: Don Nix and The Boys




    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. Black Cat Moan
    2. Lady
    3. Oh To Love You
    4. Superstition
    5. Sweet Surrender
    6. Why Should I Care
    7. Lose Myself With You
    8. Livin' Alone
    9. I'm So Alone
    Jeff Beck, Tim Bogert & Carmine Appice
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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