Authorized & Certified VPI Dealer

A World of Vinyl

Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Elvis Preorders

'
  • 1
Results per page:
  • Elvis Is Back! (Pre-Order) Elvis Is Back! (Pre-Order) Quick View

    $32.99
    Buy Now
    x

    Elvis Is Back! (Pre-Order)

    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.

    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
  • Bob Dylan (Mono) (Pre-Order) Bob Dylan (Mono) (Pre-Order) Quick View

    $49.99
    Buy Now
    x

    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
    Buy Now
    x

    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.



    This title is not eligible for discount.

    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
  • Swiss Movement (Speakers Corner) (Pre-Order) Swiss Movement (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Swiss Movement (Speakers Corner) (Pre-Order)

    Les McCann had already been playing his way through the clubs and record studios on the US west coast for ten years when his appearance on 21 June 1969 at the relatively new and jazz-soaked festival in Montreux on Lake Geneva changed all that. There, he celebrated his greatest musical success, his number one hit. Half ironically, but proudly in later concerts, when the piano stool could hardly bear him due to his size and weight, he stressed that Swiss Movement had supported him, his wife, children and grandchildren.


    Compared To What is a catchy melody that is heard on the radio, again and again, all around the world, today, tomorrow and the day after It is unmistakable, still groovy, full of soul, humorous, stirring. And Cold Duck Time is no way inferior: Eddie Harris blows for all he is worth. Everyone can hear that Benny Bailey was challenged by the unknown themes, but this maestro still managed to capture the audience's ear and attention.


    Swiss Movement is, and will remain forever, a highlight among all the jazz LPs that have been recorded live and it shouldn't be missing from any collector's shelf. Along with Benny Goodman's Carnegie Hall Concert from 1938, Charlie Parker & Co.'s Massey Hall concert from 1953, and Ella Fitzgerald's Berlin concert from 1960 - and very few others


    Musicians:


    • Eddie Harris (tenor saxophone)
    • Benny Bailey (trumpet)
    • Les McCann (piano, violin)
    • Leroy Vinnegar (bass)
    • Donald Dean (drums)


    Recording: June 1969 live at Montreux Jazz Festival

    Production: Joel Dorn & 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.



    This title is not eligible for discount.

    1. Compared To What
    2. Cold Duck Time
    3. Kathleen's Theme
    4. You Got It In Your Soulness
    5. The Generation Gap
    Les McCann & Eddie Harris
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 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.


    This title is not eligible for discount.

    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
  • The Best Of Atlantic Soul 1962-1965 (Pre-Order) The Best Of Atlantic Soul 1962-1965 (Pre-Order) Quick View

    $25.99
    Buy Now
    x

    The Best Of Atlantic Soul 1962-1965 (Pre-Order)


    The First Domestic Vinyl Collection Of His Groundbreaking Atlantic Recordings Released Since 1966


    Each LP Is Individually Numbered And Strictly Limited Based On Pre Orders


    180g, Black Vinyl Pressed At Record Industry Comes In A Single Sleeve UV-Gloss, Old School Tipon Stoughton Sleeve With Brand New Artwork


    Solomon Burke helped to shape the sound of rhythm and blues as one of
    the founding fathers of soul music. He had a litany of hit singles in the
    1960s for Atlantic Records including "Cry to Me," "If You Need Me," "Down
    in the Valley," and "Everybody Needs Somebody to Love," to name a few.
    Atlantic Records' co-founder Jerry Wexler has referred to Burke as "the
    greatest male soul singer of all time" and it was reported that he signed a
    "handshake" deal with the label within ten minutes of originally entering
    Wexler's office. His signing helped to reinvigorate the label, as stars Bobby
    Darin and Ray Charles had just left.


    Drawing inspiration from gospel, jazz, country and blues-Burke developed
    his own unique style and was often called "The King of Rock 'n' Soul"
    earning him a wide bi-racial audience. Due to his spiritual background he
    refused to be classified as an R&B singer because of its labeled stigma
    by the church. During his almost six decades of performing, he released
    38 studio albums-selling at total 17 million-and had 35 charting singles
    including 26 that made the Billboard R&B charts.


    In 2001, he was inducted into the Rock N Roll Hall of Fame as a performer
    and has been ranked by Rolling Stone on their list of "100 Greatest
    Singers of All Time." Burke is one of the most important male vocalists in
    music history and has influenced legendary rockers such as the Rolling
    Stones, Elvis Costello, Van Morrison, the Animals and Tom Petty

    1. Just Out of Reach (Of My Two Open Arms)
    2. Cry To Me
    3. Down in the Valley
    4. Looking For My Baby
    5. Baby (I Wanna Be Loved)
    6. I'm Hanging Up My Heart For You
    7. Home In Your Heart
    8. If You Need Me
    9. Stupidity
    10. Go On Back to Him
    11. Got To Get You Off My Mind
    12. Can't Nobody Love You
    13. Goodbye Baby (Baby Goodbye)
    14. Everybody Needs Somebody to Love
    Solomon Burke
    $25.99
    180 Gram Audiophile Virgin 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.



    This title is not eligible for discount.

    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.



    This title is not eligible for discount.

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Greatest Hits And Some That Will Be (Pre-Order) Greatest Hits And Some That Will Be (Pre-Order) Quick View

    $44.99
    Buy Now
    x

    Greatest Hits And Some That Will Be (Pre-Order)


    180 Gram Audiophile Translucent Gold Vinyl


    Featuring twenty of his most familiar top charting hit singles and stellar Lp tracks, Willie Nelson's Greatest Hits And Some That Will Be went on to become one of the most memorable titles in his huge arsenal of legendary albums.


    Thanks to some of the finest recordings of our time like Good Hearted Woman, Georgia On My Mind, If You Could Touch Her At All and of course his biographical On The Road Again, this collection of major hits were just what the fans were screaming for, showcasing 4 big album sides of nothing but classic Willie Nelson.


    The 1981 album also was another blockbuster for Willie Nelson as it topped the upper rungs of the country and pop charts, making this one of his biggest albums of his career as well as one of his most revered. Willie Nelson's Greatest Hits And Some That Will Be truly proved once again that his music is loved by millions and millions of fans around the world.


    Greatest Hits And Some That Will Be also included some of his finest top charters like his brilliant Elvis tribute with Heartbreak Hotel featuring the late great Leon Russell, plus his interpretation of Kris Kristofferson's Help Me Make It Through The Night and the Willie Nelson staple Mammas Don;t Let Your Babies Grow Up To Be Cowboys. In total, the album features his most important Columbia hit 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, Friday Music is very proud and honored to announce the first time 180 Gram Translucent Gold Audiophile Vinyl Anniversary Edition release of the classic Greatest Hits And Some That Will Be by Willie Nelson.


    As another installment in our exciting Willie Nelson 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its stereophonic glory. Mastered impeccably by Joe Reagoso and manufactured at R.T.I., Greatest Hits And Some That Will Be will be a much anticipated first time audiophile dream release for Willie fans everywhere!


    For a limited time only, we are also including the original gatefold artwork presentation including the original 1981 artwork elements, plus a striking very limited 24 x 24 poster of the front cover art.


    As usual, we are also enclosing a poly bag to protect your album cover and poly sleeves to help keep your vinyl in mint shape.


    Greatest Hits And Some That Will Be by Willie Nelson A history making album from an historic legend, an original stereophonic first time audiophile dream release on stellar gold vinyl awesome gatefold cover and first time 24 x 24 album cover poster, is now an audiophile vinyl reality.....Willie Nelson style!

    LP 1
    1. Railroad Lady
    2. Heartaches Of A Fool
    3. Blue Eyes Crying In The Rain
    4. Whiskey River
    5. Good Hearted Woman
    6. Georgia On My Mind
    7. If You've Got The Money I've Got The Time
    8. Look What Thoughts Will Do
    9. Uncloudy Day
    10. Mammas Don't Let Your Babies Grow Up To Be Cowboys


    LP 2
    1. My Heroes Have Always Been Cowboys
    2. Help Me Make It Through The Night
    3. Angel Flying Too Close To The Ground
    4. I'd Have To Be Crazy
    5. Faded Love
    6. On The Road Again
    7. Heartbreak Hotel
    8. If You Could Touch Her At All
    9. Till I Gain Control Again
    10. Stay A Little Longer

    Willie Nelson
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs PRE-ORDER Buy Now
  • Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner) (Pre-Order) Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner) (Pre-Order)

    Dmitri Shostakovich: Cello Concerto No. 1 in E-flat major op. 107; Symphony No. 1 in F minor, op. 10


    That every beginning has its magic may almost have become forgotten these days, when true world premieres of musical works are almost non-existent. But this special magic still remains in the present recording of Shostakovich's Cello Concerto No. 1, which was first heard with these artists in 1959. Shostakovich dedicated the work to his friend Mstislav Rostropovich who committed the virtuoso solo part to memory in only four days, before the concert took place. The cellist tackles the work dauntlessly right from the beginning and swirls the burlesque staccatos through space. With a lovely sound and quite in accordance with the title of the movement, Espressivo, the soloist lets the melody breathe, supported by wonderfully sonorous orchestral writing, answered by calls on the solo horn.


    The Finale makes itself heard with a robust inflection, which the soloist counters with an imperturbable steadfastness of rhythm that not only demands refinement but also playing in the top regions and double-stopped harmonics.


    That this recording is indisputably a work of reference is underlined by its coupling with the First Symphony, which is well worth listening to. Shostakovich composed this work as his graduation piece at the Leningrad Conservatory more than 30 years earlier.


    Musicians:


    • Mstislav Rostropovich and the Philadelphia Orchestra conducted by Eugene Ormandy


    Recording: November 1959 at Broadwood Hotel, Philadelphia, USA, by Stan Tonkel

    Production: Thomas Frost


    About Speakers Corner


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



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



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



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



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



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



    This title is not eligible for discount.

    Concerto For Cello In E Flat, Op. 107
    I - Allegretto
    II - Moderato / III - Andantino - Allegro / IV - Allegro Non Troppo


    Symphony No. 1 In F Major, Op. 10
    I - Allegretto
    II - Allegro
    III - Lento
    IV - Allegro Molto

    Dmitri Shostakovitch
    $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.



    This title is not eligible for discount.

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • 1
Go to top