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  • Elvis Is Back! (Pre-Order) Elvis Is Back! (Pre-Order) Quick View

    $32.99
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    Elvis Is Back! (Pre-Order)

    Release Date: June 15, 2018*

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

    Friday Music Is Proud To Present His 1959 Rock & Rhythm & Blues Masterpiece Elvis Is Back

    First Time 180 Gram Translucent Blue Vinyl & Original Gatefold Cover Art & Original Front Cover Sticker Art

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

    Features His Classic Hits: Such A Night, Fever, Make Me Know It, The Girl Of My Best Friend, Reconsider Baby, Soldier Boy

    Elvis Is Back! is the tenth studio album by American singer and musician Elvis Presley. It was originally released on RCA Victor Records in April 1960. Recorded over two sessions in March and April, the album marked Presley's return to recording after his discharge from the U.S. Army.

    In 1957, as Presley's fame was soaring, he received a draft notice from the Memphis Draft Board, but was given a deferment so he could finish his latest film production, King Creole. During Presley's two-year military service in Germany, RCA Victor and Paramount Pictures progressively released material he had completed prior to enlistment. During his last months in the Army, Presley experimented with new sounds and worked on further improving his performance. He also prepared material for his first session in Nashville, which was scheduled to take place upon his return. Presley returned to the United States on March 2, 1960. The singer reunited with his original band The Blue Moon Boys, excepting bassist Bill Black. The first session was held on March 20-21 and the second session was held on April 3-4, completing the album.

    Elvis Is Back! topped the UK Albums Chart and reached number two in Billboard's Top LPs. Initially, the release received mixed reviews, but over subsequent years its critical reception became progressively more positive. The album was certified Gold by the Recording Industry Association of America in 1999.

    *Please note that release dates are subject to change.

    1. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby
    12. Reconsider Baby
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • On Stage - February 1970 (Pre-Order) On Stage - February 1970 (Pre-Order) Quick View

    $32.99
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    On Stage - February 1970 (Pre-Order)

    Release Date: May 25, 2018*


    The Elvis Presley - Friday Music 180 Gram Audiophile Vinyl Series Continues!!!


    Celebrating His Landmark Live Album - Over 10 Million Sold Worldwide


    The Wonder Of Elvis Recorded Live At The International Hotel In Las Vegas


    First Time 180 Gram Audiophile Vinyl - Black & Blue Swirl Vinyl


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


    Mastered Impeccably By Joe Reagoso At Friday Music Studios & Capitol Mastering In Hollywood, CA


    Pressed At R.T.I.


    Features The Number One Single The Wonder Of You & More Smash Hits: Polk Salad Annie, Sweet Caroline, Runaway, Let It Be Me, Proud Mary


    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. 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, forever etching "The King Of Rock And Roll" trademark to his name. He would eventually become the most successful solo artist of all time!


    Throughout the late 60's into the early 70's, Elvis returned triumphantly to the stage and would go on to perform his hits in front of tens of thousands of Elvis fans every year until his untimely passing in 1977. It's no secret that his shows in Las Vegas were second to none. The whole world wanted to get a glimpse of the genius superstar powerhouse performances and RCA was lucky to be rolling tape in and recorded his On Stage-February 1970 Lp during appearances at the International Hotel.


    Ever proving that he was always on top of his game, the amazing album featured his number one hit single The Wonder Of You as well as a treasure trove of his most important live renditions of Neil Diamond's Sweet Caroline, CCR's Proud Mary and the funk soul vibe of Tony Joe White's classic Polk Salad Annie.


    The blockbuster 1970 release soon went on to achieve gold and platinum status and become one of his most memorable live albums in his huge arsenal of masterful albums. Thanks to more great hits like his Release Me, his vocal prowess on the rocker See See Rider and of course the soul drenched Beatles classic Yesterday, these live performances of Elvis Presley were just what the fans were screaming for, and the entire album was built around the framework of hit singles at the time and album tracks that spanned his later career.


    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 180 Gram Audiophile Vinyl release of the RCA Victor classic On Stage - February 1970 by Elvis Presley. As another installment in our exciting Elvis Presley/Friday Music 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its 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 black and blue swirl vinyl, Elvis Presley's On Stage - February 1970 will be a much-anticipated audiophile dream release for Elvis fans everywhere!


    We are also including first-time gatefold artwork presentation including the original 1970 artwork elements and a super rare 24 x 24 poster, 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 On Stage - February 1970 A history making rock album from an historic legend, an audiophile dream release from your friends at Friday Music.

    *Please note that release dates are subject to change.

    1. See See Rider
    2. Release Me (And Let Me Love Again)
    3. Sweet Caroline
    4. Runaway
    5. The Wonder Of You
    6. Polk Salad Annie
    7. Yesterday
    8. Proud Mary
    9. Walk A Mile In My Shoes
    10. Let It Be Me (Je T'Appartiens)
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • Bob Dylan (Mono) (Pre-Order) Bob Dylan (Mono) (Pre-Order) Quick View

    $49.99
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    Bob Dylan (Mono) (Pre-Order)

    Bob Dylan On Numbered Limited Edition 180 Gram Mono 45RPM 2LP From Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Mastered From The Original Master Tapes And Strictly Limited To 3,000 Copies


    Mobile Fidelity Mono 45RPM 2LP Features Unparalleled Directness And Sound Dylan, Producers Originally Intended


    Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness-the husk and bark to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.


    As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album-making the mono mix all the more historically valuable and truthful.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's See That My Grave Is Kept Clean, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin. It all starts here.


    This title is not eligible for discount.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Pithecanthropus Erectus (Speakers Corner) (Pre-Order) Pithecanthropus Erectus (Speakers Corner) (Pre-Order) Quick View

    $34.99
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    Pithecanthropus Erectus (Speakers Corner) (Pre-Order)

    It was a fairly ordinary quintet that entered the Audio-Video Studios in New York City on 30 January 1956: one tenor saxophone, one alto saxophone, a pianist, a drummer and ... you guessed: an extraordinary man on the double bass! Not just an instrumentalist, but also an imaginative composer, wayfarer between all kinds of jazz, arranger and enfant terrible.


    The Suite Pithecanthropus Erectus is - among other things - programme music. Having learned to walk upright, having achieved alleged superiority over animals, and having caused devastation, the destruction of mankind's natural resources follows. The composer Mingus gives his fellow mankind/musicians the widest possible freedom, which all exploit to the full both in interplay and in the solos. Bedded down in noise and sound collages, the piece is the result of an experimental workshop. The Gershwin classic A Foggy Day takes on the role of intermediary between the jazz styles of the 1930s and free jazz. And in Profile Of Jackie and Love Chant the arranger calls for his soloists to go to the very limits of their artistic improvisation.


    Charles Mingus was certainly not an easy person to deal with for his family, friends and fellow musicians. But that fades into the background when it comes to such outstanding music. Luckily, we outsiders can once again enjoy the music of this genius 60 years after the studio recording, in its original format.


    Musicians:


    • Jackie McLean (alto saxophone)
    • J.R. Monterose (tenor saxophone)
    • Mal Waldron (piano)
    • Charlie Mingus (bass)
    • Willie Jones (drums)


    Recording: January 1956 at Audio-Video Studios, New York City by Tom Dowd & Hal Lustig in mono

    Production: Nesuhi Ertegun


    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. Pithecanthropus Erectus
    2. A Foggy Day
    3. Profile Of Jackie
    4. Love Chant
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed PRE-ORDER Buy Now
  • Jazz Waltz (Pure Pleasure) (Pre-Order) Jazz Waltz (Pure Pleasure) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Jazz Waltz (Pure Pleasure) (Pre-Order)

    Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number (I'm Gonna Go Fishin') written by Duke Ellington for the soundtrack to the film Anatomy Of A Murder and featuring the leader's rich flÜgelhorn. The lyrical take of the centuries-old folk melody Greensleeves alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful Be As Children almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's Echoes of Harlem, featuring Paul Horn on flute, is refreshing. Only Bobby Scott's A Taste of Honey is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades. -Ken Dryden/AMG


    Musicians:


    • Bud Shank (alto saxophone)
    • Bill Perkins, Bob Cooper (tenor saxophone)
    • Paul Horn (alto saxophone, flute)
    • Shorty Rogers (flugelhorn)
    • Bill Hood (bassoon)
    • Al Porcino (trumpet)
    • Joe Burnett (trumpet, flugelhorn)
    • Harry Betts (trombone)
    • Lou Levy (piano)
    • Larry Bunker (vibraphone)
    • Joe Mondragon (bass)
    • Mel Lewis (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'm Gonna Go Fishin'
    2. Greensleeves
    3. Walk On The Wild Side
    4. Witchcraft
    5. Be As Children
    6. Jazz Waltz
    7. Echoes Of Harlem
    8. A Taste Of Honey
    9. Terence's Farewell
    10. The Streets Of Laredo
    Shorty Rogers & His Giants
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Inside HiFi (Pure Pleasure) (Pre-Order) Inside HiFi (Pure Pleasure) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Inside HiFi (Pure Pleasure) (Pre-Order)

    This excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are Everything Happens to Me, All Of Me, and Star Eyes, but all eight performances are well played and swinging.
    Scott Yannow


    The introduction of Konitz's tenor during this period is emblematic of this. His premiere tenor recordings on '56's Inside Hi-Fi document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barnburners as "Indiana" (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor's capacity for broader, bolder strokes to such fine alto performances as the bluesy "Cork 'N' Bib". The contrasts between Konitz's alto and tenor are well-represented on "Kary's Trance", which includes choruses on both horns; the track is also one of guitarist Billy Bauer's finest.


    - Bill Shoemaker



    Musicians:



    • Lee Konitz (alto saxophone, tenor saxophone)

    • Billy Bauer (guitar)

    • Sal Mosca (piano)

    • Arnold Fishkind, Peter Ind (bass)

    • Dick Scott (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. Kary's Trance
    2. Everything Happens To Me
    3. Sweet And Lovely
    4. Cork 'n' Bib
    5. All Of Me
    6. Star Eyes
    7. Nesuhi's Instant
    8. Indiana
    Lee Konitz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • First Impressions (Pure Pleasure) (Pre-Order) First Impressions (Pure Pleasure) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    First Impressions (Pure Pleasure) (Pre-Order)

    For a label that wasn't around long, Strata East achieved the same sort of label recognition that Impulse! or Blue Note managed to build. In other words, you knew what you were getting when you bought a record on the label, even if you didn't know the names on the outside of the cover. This is no exception. Who is Shamek Farrah? Who knows? Who cares? It's the music that's important. This is the standard spiritually intense new jazz one learns to expect from the label, soaked in some Eastern influences but always with its ear to the street. Musicians took their roles as leaders and spokesmen very seriously back then. This very adult statement from a group of very serious men is no exception. However, what might be an average, forgettable session is rescued by the propulsive engine of Milton Suggs' bass. He adds the fire and the drive that keeps things interesting and prevents the music from wandering into a circular spiritual morass. For fans of the sound or the label, this can be heartily recommended.



    Musicians:



    • Shamek Farrah (alto saxophone)

    • Norman Person (trumpet)

    • Sonelius Smith (piano)

    • Milton Suggs (bass)

    • Ron Warwell (drums)

    • Kenny Harper (percussion)

    • Calvert 'Bo' Satter-White (conga)



    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. Meterologicly Tuned
    2. Watch What Happens Now
    3. Umoja Suite
    4. First Impressions
    Shamek Farrah
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Capra Black (Pure Pleasure) (Pre-Order) Capra Black (Pure Pleasure) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Capra Black (Pure Pleasure) (Pre-Order)

    Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.



    Musicians:



    • Billy Harper (saxophone)

    • Dick Griffin, Julian Priester (trombone)

    • Jimmy Owens (trumpet)

    • George Cables (piano)

    • Reggie Workman (bass)

    • Billy Cobham, Elvin Jones, Warren Smith (drums)

    • Barbara Grant, Gene McDaniels, Laveda Johnson, Pat Robinson (vocals)



    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. Capra Black
    2. Sir Galahad
    3. New Breed
    4. Soulfully, I Love You/Black Spiritual Of Love
    5. Cry Of Hunger
    Billy Harper
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Tomb Raider (Original Motion Picture Soundtrack) (Pre-Order) Tomb Raider (Original Motion Picture Soundtrack) (Pre-Order) Quick View

    $43.99
    Buy Now
    x

    Tomb Raider (Original Motion Picture Soundtrack) (Pre-Order)

    Import


    180-Gram Audiophile Vinyl


    Gatefold Sleeve With Unique Hologram


    PVC Protective Sleeve


    Includes 2 Printed inner sleeves


    Contains Exclusive Movie-Poster


    Brand New Blockbuster Movie Feat. Alicia Vikander As Lara Croft


    Score By Multiple Award Winning Tom Holkenborg AKA Junkie Xl


    First Pressing Of 1500 Numbered Copies On Clear & Red Mixed Coloured Vinyl, Black Vinyl Thereafter


    The score of the new Tomb Raider movie is composed by Tom Holkenborg aka Junkie XL. The Grammy-nominated, multi-platinum producer, musician and composer has been given the opportunity to create a whole new score that captures the fierceness of Lara Croft that will bring her character and world to life. In recent years Tom has become one of the most talented and influential composers around the globe. He rose to fame in 2002 after his remix of Elvis Little Less Conversation reached the top spot in multiple countries. His work includes scores of Batman v. Superman, Deadpool, Mad Max: Fury Road, Black Mass, Point Break, The Dark Tower and many more.


    Lara Croft is the fiercely independent daughter of an eccentric adventurer who vanished when she was scarcely a teen. Now a young woman of 21 without any real focus or purpose, Lara navigates the chaotic streets of trendy East London as a bike courier, barely making the rent, and takes college courses, rarely making it to class.


    The vinyl package of Tomb Raider contains an exclusive film-poster, and the 180 gram records are housed in 2 exclusive printed innersleeves. The first pressing of Tomb Raider is pressed on transparent vinyl mixed with red vinyl. This limited edition of 1500 copies is individually numbered and is housed in gatefold gloss laminate finish.

    LP 1
    1. Return To Croft Manor
    2. Seeking Endurance
    3. The Bag
    4. Path Of Paternal Secrets
    5. The Devil's Sea
    6. Let Yamatai Have Her
    7. Figure In The Night
    8. Remember This


    LP 2
    1. Never Give Up
    2. Karakuri Wall
    3. What Lies Underneath Yamatai
    4. There's No Time
    5. Becoming The Tomb Raider
    6. The Croft Legacy

    Tom Holkenborg
    $43.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Roots In The Sky (Speakers Corner) (Pre-Order) Roots In The Sky (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Roots In The Sky (Speakers Corner) (Pre-Order)

    If there was ever a group that successfully amalgamated Asian and African music with jazz and classic, then it was surely Oregon. With a wide range of instruments and the musicians' unusually receptive ears for everything here, there and everywhere, Oregon certainly enjoyed the optimal prerequisites. John Towner, Paul McCandless, Glen Moore and in particular Colin Walcott laid the foundations for their music in the musical heaven of their time. Oboe, cor anglais, bass clarinet, six- and twelve-string guitars, piano, flugelhorn, percussion, bass, sitar, tabla - such a versatile range of instruments - lent the nine numbers their, until then, rarely heard sound colouring and mark the transition from the band's more hippy-like, country sound when they recorded for the Vanguard label to their later classic sound when signed to ECM. In this respect, Roots In The Sky is an important contemporary document in the world of music between 1970 and 1980. A rare black disc on which there is much to discover!


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:



    • Paul McCandless (clarinet, horn, oboe)

    • Ralph Towner (fluegel horn, guitar, piano, percussion)

    • Collin Walcott (guitar, percussion)

    • Glen Moore (bass)



    Recording: December 1978 at Longview Farms, North Brookfield, MA., and April 1979 at Columbia Recording Studios, New York, by David Greene

    Production: Oregon



    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. June Bug
    2. Vessel
    3. Sierra Leone
    4. Ogden Road
    5. House Of Wax
    6. Hungry Heart
    7. Orrington's Escape
    8. Roots In The Sky
    9. Longing, So Long
    Oregon
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • To Bonnie From Delaney (Speakers Corner) (Pre-Order) To Bonnie From Delaney (Speakers Corner) (Pre-Order) Quick View

    $34.99
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    x

    To Bonnie From Delaney (Speakers Corner) (Pre-Order)

    The married couple and musical duo Delaney & Bonnie ignited critics, fans and famous musical colleagues to veritable bursts of exultation. Mick Jagger of the Rolling Stones talked matter-of-factly of »convincing white gospel song«, while Eric Clapton regarded the duo as the »best pop band in the world«. Clapton's enthusiasm went so far that he invited the pair to accompany him on a peaceful tour of Europe and was booed by German fans because he stood in the background as a mere accompanist and did not play any solos. The master of the guitar may have had good reasons for staying out of the limelight, if one is to believe the Chicago Daily News, who declared that Delaney & Bonnie were better than Aretha Franklin and Ray Charles together.


    Indeed the combined voices in the arrangements are so closely knit that there is not a millimeter of space between the singer and backing. In Hard Luck And Troubles, a dry cantankerous groove, the vocals cling to a sinewy bass line, crisscrossed by short chords on the organ. Gospel is celebrated spiritually, yet not too much so, in a rocking, rhythmic and dense interplay between the soloist and chorus. And what is more: the great ballad, hovering above a vibrating carpet of sound on the organ (The Love Of My Man) and crisp, firm winds (Alone Together) are included in this exquisite collection of great and even great songs.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:



    • Delaney Bramlett (guitar, vocals)

    • Bonnie Bramlett (vocals)

    • Duane Allman (guitar)

    • Little Richard (piano)

    • Jim Gordon (keyboard)

    • Tommy McClure (bass)

    • Sammy Creason (drums)

    • Sam Clayton (conga)

    • Alan Estes (conga, percussion)

    • Jerry Jumonville (alto saxophone)

    • King Curtis (tenor saxophone) & The Memphis Horns




    Recording: 1970 at Decca Studios, New York, by Don Casale, and Atlantic South-Criteria Studios, Miami Fl., by Ron Albert & Chuck Kirkpatrick

    Production: Delaney Bramlett, Jerry Wexler and Tom Dowd





    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. Hard Luck And Troubles
    2. God Knows I Love You
    3. Lay Down My Burden
    4. Medley: Come On In My Kitchen / Mama, He Treats Your Daughter Mean / Going Down The Road Feeling Bad
    5. The Love Of My Man
    6. They Call It Rock & Roll Music
    7. Soul Shake
    8. Miss Ann
    9. Alone Together
    10. Living On The Open Road
    11. Let Me Be Your Man
    12. Free The People
    Delaney & Bonnie & Friends
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • All I See Is War (Pre-Order) All I See Is War (Pre-Order) Quick View

    $22.99
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    x

    All I See Is War (Pre-Order)

    Release Date: May 11, 2018*

    Pressed On Colored Vinyl


    Sevendust has been a band for over 24 years. In that time span, they've not only retained their original line-up, but
    they've sold over 3 million albums (in the US alone), 4 of which have been certified Gold, and 8 have sold over 100,000
    units. They've also toured the world over with the likes of Iron Maiden, Korn, Nickelback, & more.


    Sevendust has recently joined forces with Rise Records to record their 12th full-length album "All I See Is War". "All I
    See Is War" was recorded with producer, Michael "Elvis" Baskette (Alter Bridge, Slash, Chevelle), and the result is
    phenomenal. The album is a follow up to "Kill The Flaw," which brought the band their highest sales chart position of
    their career. "All I See Is War" is sure to exceed expectations that are set by fans and critics, alike. Sevendust will be
    supporting this album on a US headlining tour this spring, along with appearances at Welcome to Rockville, Fort Rock
    and Carolina Rebellion.

    *Please note that release dates are subject to change.

    1. Dirty
    2. God Bites His Tongue
    3. Medicated
    4. Unforgiven
    5. Sickness
    6. Cheers
    7. Risen
    8. Moments
    9. Not Original
    10. Descend
    11. Life Deceives You
    12. The Truth
    Sevendust
    $22.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • Mozart - Eine Kleine Nachtmusik (Speakers Corner) (Pre-Order) Mozart - Eine Kleine Nachtmusik (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Mozart - Eine Kleine Nachtmusik (Speakers Corner) (Pre-Order)

    Mozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death.



    From what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl MÜnchinger proves that this favourite can be imbued with significance.



    The historical roote of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, MÜnchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun.
    This LP is distinguished by its musical and tonal balance and is one of DECCA's best sound recordings.





    Musicians:



    • Stuttgart Chamber Orchestra

    • Karl MÜnchinger (conductor)




    Recording: November 1960, Victoria Hall at Geneva by Roy Wallace

    Production: James Walker





    About Speakers Corner



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



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



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



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



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



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


    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Mozart: Mass in C Minor (Speakers Corner) (Pre-Order) Mozart: Mass in C Minor (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Mozart: Mass in C Minor (Speakers Corner) (Pre-Order)

    It is not often that incomplete works enjoy great popularity. And it is even rarer that a torso should exercise such great importance in music history, but this is the case with Mozart's Great Mass, K. 427. The C minor Mass is always spoken of as if it were complete: it is spoken of with reverence, eyes looking towards Heaven, lost in the beauty of the music, transported to celestial heights. Mozart combines the compositional style of the Baroque masters with the more modern style of the Viennese Classic. Lofty arioso sections alternate with tremendous choral sections for up to eight parts whose splendid and spectacular timbre broke the bounds of tradition and set new standards for the genre.



    This Mass is, of course, not merely performed but celebrated, as the Berlin RSO under its Principal Conductor Ferenc Fricsay has so admirably demonstrated in this recording. Precise entries, strict tempi, a polished orchestral timbre and vocal soloists so brilliant one might think they were standing in one's own front room lend this recording top marks for musical quality and repertoire value.




    Musicians:



    • Maria Stader

    • Hertha Töpper

    • Ernst Haefliger

    • Ivan Sardi

    • Chorus

    • The Berlin Radio Symphony Orchestra

    • Ferenc Fricsay (conductor)




    Recording: September/ October 1967 at the Haus des Rundfunks, Berlin by Werner Wolf

    Production:Otto Gerdes





    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • LaVern Baker Sings Bessie Smith (Speakers Corner) (Pre-Order) LaVern Baker Sings Bessie Smith (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    LaVern Baker Sings Bessie Smith (Speakers Corner) (Pre-Order)

    It was 1958 when a passably successful R&B singer entered the recording studio with an all-star band to tape a dozen songs from the global repertoire of a legendary blues vocalist. The old-fashioned style in LaVern Baker's tribute to Bessie Smith might seem somewhat strange in the midst of popular R&B numbers and the growing productivity of the Motown hit machines, but it certainly found favour with the public. And for a very good reason too! Right from the very first number, Gimme A Pigfoot, the snappy bass line conjures up the ballroom atmosphere of the Twenties. A bluesy dialogue with the trumpet (Baby Doll, I Ain't Gonna Play No Second Fiddle), alternating with robustly orchestrated swing rhythms (On Revival Day), and time and again cool, faltering blues (Black Water Blues) guarantee great listening and entertainment. The great names in the band read like a Who Is Who of outstanding musicians - Nat Pierce, Buck Clayton, Paul Quinichette, Urbie Green and Jimmy Cleveland, all who crown the fantastic sound of their performance with relaxed and easy-going solos and finely balanced background playing that would hardly be more authentic on a live stage. And by the way, fans of traditional big-band swing will love this album too.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:


    • LaVern Baker (vocals)

    • Paul Quinichette (tenor saxophone)

    • Jerome Richardson (bassoon)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Buck Clayton (trumpet)

    • Nat Pierce (piano)

    • Danny Barker (guitar)

    • Wendell Marshall (bass)

    • Joe Marshall (drums)



    Recording: 1958 by Tom Dowd

    Production: Nesuhi Ertegun


    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. Gimme A Pigfoot
    2. Baby Doll
    3. On Revival Day
    4. Money Blues
    5. I Ain't Gonna Play No Second Fiddle
    6. Backwater Blues
    7. Empty Bed Blues
    8. There'll Be A Hot Time In The Old Town Tonight
    9. Nobody Knows You When You're Down And Out
    10. After You've Gone
    11. Young Woman's Blues
    12. Preaching The Blues
    LaVern Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) (Pre-Order) Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) (Pre-Order)

    Schoenberg, Zemlinsky, Korngold - Bruno Walter knew them all: musicians who sought refuge from the henchmen of the Nazi Party in the New World and found artistic fulfilment there. And they all knew him and his meteoric rise to success at all the great houses in Europe. Formed by working with Gustav Mahler in Hamburg, under whose wing he rose from rÉpÉtiteur to Chorus Director and then to Kapellmeister, Walter took on further posts as Chief Conductor in Vienna, Munich and Leipzig where the talented artist matured to become a true maestro.


    Just when the aged Walter was wanting to retire into private life, Columbia motivated him to record several symphonic works - including Beethoven's Symphonies - at a time when stereo recording, with its previously undreamt technical possibilities, was just dawning. Even without any knowledge of the still existent recordings of the rehearsals of the Fourth and Fifth Symphonies, the final recording reflects the lifelong experience and meticulousness of the great conductor. In a taut and relaxed manner, and certainly not mellowed with age, Walter brings the scores to glow. The players weave a web that holds the formal symphonic components together with sophistication and richly contrasted, whereby the conductor's love for tonal detail manifests itself in easily identifiable instruments.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:



    • Ludwig van Beethoven (composer)
    • The Columbia Symphony Orchestra conducted by Bruno Walter

    Recording: January and February 1958 at American Legion Hall, Hollywood, USA


    Production: John McClure


    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.

    Symphony No. 4 In B-flat Major, Op. 60
    1. Adagio; Allegro Vivace
    3. Adagio
    3. Allegro Vivace. Trio. Un Poco Meno Allegro
    4. Finale: Allegro Ma Non Troppo
    Symphony No. 5 In C Minor, Op. 67
    5. Allegro Con Brio
    6. Andante Con Moto
    7. Scherzo (Allegro Vivace)

    8. Finale: Allegro
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) (Pre-Order) Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) (Pre-Order)

    Let us recall that great American and citizen of the world who trod every musical pathway and who held his audience riveted with unbounding energy and charisma. Whether as a composer of operas or musicals, performer, conductor or mentor, "Lenny" felt at home everywhere. And all who were privileged enough to get to know him can confirm this, whether they experienced him as a circumspect teacher who taught interested amateurs about church music, or even as a pianist bawling out hit songs in a bar.



    Quality was guaranteed with records sporting the words "Bernstein conducts ...", and no music lover ever missed adding such gems to his collection. But most recordings of Bernstein as a master of the keyboard lie buried in the archives.



    Where some musicians fail due to a lack of perspicacity or false self-judgement, Bernstein appears to take himself beyond his normal bounds in his double function as solo pianist and conductor. His interpretation of Mozart is richly nuanced but free of all romantic trimmings; his Mozart is what we have learned to value over the past few years of the present century. This recording is absolutely first class, both musically and technically, and is thus a true collector's object.



    Musicians:



    • Vienna Philharmonic Orchestra

    • Leonard Bernstein (conductor)




    Recording: March 1966 at Sofiensaal, Vienna by Gordon Parry

    Production: Erik Smith





    About Speakers Corner



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



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



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



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



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



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



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
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