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  • Kreisleriana (Speakers Corner) Kreisleriana (Speakers Corner) Quick View

    $34.99
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    Kreisleriana (Speakers Corner)

    It is always tempting with the Kreisleriana, a portrayal of E.T.A. Hoffmann's wild, eccentric and genial Kapellmeister Kreisler, to study both the literary figure and to try to identify the characteristics of the composer Robert Schumann himself. In the eight Fantasies, as Schumann called them, we find a romantically coloured reflection of the ups and downs of life, which an artist such as Vladimir Horowitz could empathize with. Right in the very first movement furious chains of triplets »like electrical fire« (Hoffmann) seem to leap out of the keyboard. With a cool mind and extreme sensitivity Horowitz treats the extreme tempo markings such as 'very heartfelt, very agitated, very fast' with restrain, resulting in a haunting and controlled expression. The result is an effusion of gently flowing melodies and swift, pulsating movement full of spirited rhythm which heightens to nervous emotion. Rich, saturated sounds from the piano breathe life into even the quietest passages and the listener's highest expectations are totally fulfilled - as such a key work deserves. It only takes a little imagination to conjure up something of the irony and humour of the romanticist when »the music vibrates in the play of facial muscles« of the Kapellmeister Kreisler.




    Recording: February and December 1964 at Columbia's 30th Street Studio, New York, by Fred Plaut

    Production: Richard Killough




    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.

    Robert Schumann: Andantino from Sonata No. 3, Op. 14, Kreisleriana, Op. 16 - Vladimir Horowitz
    Robert Schumann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Horowitz At Carnegie Hall Horowitz At Carnegie Hall Quick View

    $64.99
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    Horowitz At Carnegie Hall

    The musical rest is defined as being a pause during which no sound is heard until the next tone is sounded. And the same goes for a musician who makes a long pause, which is then ended by thundering applause from an enraptured audience. This is exactly what happened on 9 May 1965, the day on which Vladimir Horowitz stepped onto the stage at Carnegie Hall after an absence of 12 years.
    As so often, the maestro ignored all types of works from Viennese Classicism, and certainly no one missed them. Busoni's arrangement of Bach's Toccata in C major, BWV 564 is precise, has enormous presence and is yet impressively transparent; Schumann's Fantasy op. 17 is emotional, at times breathless and charming; Horowitz captures the spirit of Scriabin and Chopin with virtuosity and heartfelt emotion, allowing the works to waft over the audience.
    As a finale to this celebrated comeback, Horowitz performs a delightfully light and fresh rendering of Moszkowski's Etude in A major, op. 27, and brings the evening to a peaceful end with Schumann's unique TrÄumerei (Dreaming) from Kinderszenen (Scenes from Childhood). In this live recording of just one of several comebacks, the discerning listener will notice the tension and nervousness at this literally high-temperature event - the noisy air-conditioning had been shut at the request of the recording engineers.




    Musicians:



    • Vladimir Horowitz (piano)



    Recording: May 1965 live at Carnegie Hall, New York, by Fred Plaut
    Production: Thomas Frost



    1. J.S. Bach / Ferruccio Busoni: Organ Toccata in C major
    2. Robert Schumann: Fantasy in C Major, Op. 17; TrÄumerei (Dreaming) from Kinderszenen (Scenes from Childhood) Op. 15
    3. Alexandr Scriabin: Poem in F-sharp major, Op. 32, No. 1; Etude in C-sharp minor, Op. 2, No. 1
    4. Frederic Chopin: Mazurka in C-sharp minor, Op. 30, No. 4; Etude in F major, Op. 10, No. 8; Ballade in G minor, Op. 23
    5. Claude Debussy: Serenade For the Doll (from Children's Corner)
    Vladimir Horowitz
    $64.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • How's Your Process? (Work) How's Your Process? (Work) Quick View

    $18.99
    Buy Now
    x

    How's Your Process? (Work)


    Mastered By Bernie Grundman Studios


    Pressed On Audiophile-grade European Vinyl


    Features Cover Art From Award-winning Photographer,
    Ryszard Horowitz


    Fronted By Josh Klinghoffer, Guitarist Of Red Hot Chili
    Peppers


    Dot Hacker is a band featuring LA-based musicians Josh
    Klinghoffer, Clint Walsh, Eric Gardner, and Jonathan
    Hischke. Their 2012 debut album, Inhibition, was called
    "one of the year's best debuts and a rewarding trip"
    (ARTISTdirect). The band will release How's Your Process? in
    two parts, beginning with How's Your Process? (Work).


    How's Your Process? was mastered by Bernie Grundman
    in Hollywood. The cover features a photo from award-winning photographer, Ryszard Horowitz. The LP is
    pressed on audiophile-grade 140gram vinyl at Record
    Industry in the Netherlands.

    1. Aim
    2. First In Forever
    3. Floating Up The Stairs
    4. Elevator
    5. Whatever You Want
    6. Sermon Of Sorts
    Dot Hacker
    $18.99
    Vinyl LP - Sealed Buy Now
  • You And Me You And Me Quick View

    $32.99
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    You And Me

    Import


    You & Me is the fifth studio album by American blues rock musician Joe Bonamassa. Produced by Kevin Shirley, it was released on June 6, 2006 by J&R Adventures and topped the US Billboard Top Blues Albums chart.


    Music website Allmusic gave You & Me 3.5 out of five stars, with reviewer Hal Horowitz calling the album a solid blues-rock release and arguably his best work to date.

    1. High Water Everywhere
    2. Bridge to Better Days
    3. Asking Around For You
    4. So Many Roads
    5. I Don't Believe
    6. Tamp Em Up Solid
    7. Django
    8. Tea For One
    9. Palm Trees Helicopters and Gasoline
    10. Your Funeral and My Trial
    11. Torn Down
    Joe Bonamassa
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Proud To Be (20th Anniversary Edition) Proud To Be (20th Anniversary Edition) Quick View

    $19.99
    Buy Now
    x

    Proud To Be (20th Anniversary Edition)

    Proud to Be, the Epitaph debut of Dead Fucking Last (referred to in retail land and heretoafter as DFL), appeared on the punk scene in 1995, making 2015 the glorious 20th anniversary of this bombshell of sheer hardcore energy. In celebration, Epitaph is releasing Proud to Be for the first time on full-length vinyl, in a glorious 20th anniversary edition. A missive from the days when 20 tracks of adolescent guitar/vocal angst clocked in at 30 minutes. And of course, produced by Adam Horowitz (Beastie Boys).
    1. Proud To Be DFL
    2. Word Of Mouth
    3. Lost Cause
    4. Return Of The Knucklehead
    5. Mr. Popular
    6. Function At The Center
    7. Home Is Where The Heart Is
    8. Hit The Floor
    9. Club Stupid
    10. Minus Adam
    11. Better Off Dead
    12. S.B.C.G.
    13. Free Haircut
    14. Society's Pressure
    15. Self Pity
    16. Action Everybody
    17. Sourpuss
    18. Insane Authority
    19. Good Cop, Bad Cop
    20. What's The Difference
    DFL
    $19.99
    Vinyl LP - Sealed Buy Now
  • Prokofiev: Symphony #5 (Discontinued) Prokofiev: Symphony #5 (Discontinued) Quick View

    $33.99
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    Prokofiev: Symphony #5 (Discontinued)

    It has been said that the Fifth Symphony embodies the highest achievements of Prokofiev the orchestrator,uniting an intoxicating many-colored palette with a clean discipline of orchestral development. Nowhere in recorded form have these orchestral colors been captured with such startling fidelity in large part due to the efforts of Everest as a pioneer in the art of 35MM magnetic tape recording under the supervision of Bert Whyte. These Prokofiev 5th sessions were recorded in 1959 at Walthamstow Town Assemby Hall, London (location of many Wilkinson / Decca recordings) with Sir Malcolm Sargent conducting the London Symphony and directly onto 3 channels of 35MM magnetic tape. The original edited 3 track 35MM master tapes were used for this historic project of remastering for the Classic Everest 35MM LP and HDAD Series. Using a specially modified Ampex 1551, with Len Horowitz running the tape machine, Bernie Grundman does the honors of transferring to lacquer these 45+ year old gems of recorded history. For the first time ever LP lovers can hear what was captured onto those tracks all those years ago in amazing fidelity and with a Presence that is lost in most recordings. Not to be missed!


    Sir Malcolm Sargent with The London Symphony Orchestra
    $33.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Symphony No. 5 (Discontinued) Prokofiev: Symphony No. 5 (Discontinued) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Symphony No. 5 (Discontinued)

    It has been said that the Fifth Symphony embodies the highest achievements of Prokofiev the orchestrator,uniting an intoxicating many-colored palette with a clean discipline of orchestral development. Nowhere in recorded form have these orchestral colors been captured with such startling fidelity in large part due to the efforts of Everest as a pioneer in the art of 35MM magnetic tape recording under the supervision of Bert Whyte. These Prokofiev 5th sessions were recorded in 1959 at Walthamstow Town Assemby Hall, London (location of many Wilkinson / Decca recordings) with Sir Malcolm Sargent conducting the London Symphony and directly onto 3 channels of 35MM magnetic tape. The original edited 3 track 35MM master tapes were used for this historic project of remastering for the Classic Everest 35MM LP and HDAD Series. Using a specially modified Ampex 1551, with Len Horowitz running the tape machine, Bernie Grundman does the honors of transferring to lacquer these 45+ year old gems of recorded history. For the first time ever LP lovers can hear what was captured onto those tracks all those years ago in amazing fidelity and with a Presence that is lost in most recordings. Not to be missed!

    1. Prokofiev: Symphony No. 5 in B flat major, Op. 100
    Sir Malcolm Sargent with The London Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Parker Millsap Parker Millsap Quick View

    $18.99
    Buy Now
    x

    Parker Millsap

    You can't get much more small-town America than growing up in an Oklahoma burg with a population of less than 6,000. But it's to singer/songwriter Parker Millsap's credit that he doesn't let that, or his upbringing in a Pentecostal household, get in the way of writing detailed, personality-driven story songs; ones that tell larger truths of the human condition without coming off as preachy or disparaging. That, combined with the 20 year old's weathered vocals and knack for combining folk, blues and country into melodies that feel lived in yet not familiar, makes this an early contender for one of the most notable debuts from a new artist this year.


    It's that diversity which lets him appeal to a variety of audiences, opening concerts for acts as varied as Jimmy Lafave, Jimmie Vaughan and the Old Crow Medicine Show. His approach is sometimes brooding yet never sterile. Tales of a twisted religious killer ("Old Time Religion"), the loser looking for his future in a lottery ticket ("Yosemite") and the man ready to take his wife and leave his small town for good ("Disappear") are relatable since the personalities are probably not far removed from ones we have encountered, or at least read about.


    Everything is written in a first person narrative as if we are living their thoughts and providing a window into these protagonist's souls. It's particularly effective with the Okie leaving for a better political and physical environment on the Delta blues slide guitar and harmonica driven "Land of the Red Man." The slow blues of "Forgive Me" inserts us inside the mind of a self-confessed sinner who understands his darkest impulses prevent him from interacting with normal people. Horns provide mournful accompaniment making the song a cousin to Randy Newman's "Guilty," impressive company, especially for someone just in his twenties.


    Like the best of his peers, Millsap lets his music and lyrics do the talking, keeping the production sparse, not stark, and creating a terrific, even audacious first effort. Millsap's subtle style allows the listener to discover the emotional vortex of his often confused characters, helping us identify with their motives without casting judgment.

    - Hal Horowitz (American Songwriter)

    1. Old Time Religion
    2. Truck Stop Gospel
    3. Forgive Me
    4. The Villian
    5. Disappear
    6. Quite Contrary
    7. At The Bar
    8. When I Leave
    9. Yosemite
    10. Land of the Red Man
    Parker Millsap
    $18.99
    Vinyl LP - Sealed Buy Now
  • If You Knew My Mind If You Knew My Mind Quick View

    $24.99
    Buy Now
    x

    If You Knew My Mind

    Capps is a southern rock troubadour with an eye on the human condition and a pen to write about it. -- OffBeat Magazine


    Grayson Capps is like a whiskey-soaked, back-alley poet sired by Tom Waits and Robert Johnson. -- Razor Magazine


    It takes less than 30 seconds for the debut album from this New Orleans-based singer/songwriter to pull you in. A lone harmonica blows over a softly strummed electric guitar as a lazy rhythm section props up the beat. Grayson Capps' weathered voice then enters: Yesterday was a very fine day indeed, I got a pint of beer, went outside and brushed my teeth. That about sums up this impressive yet unassuming bluesy debut from one of the many musicians who sound like what New Orleans feels like: languid, a little grimy and dangerous, but with a sense of history and self that wafts up from the streets. Those who listened closely to the soundtrack of the movie A Love Song for Bobby Long will recognize Capps, as his music was used to excellent effect in that rather obscure flick. In fact, Lorraine's Song, the most recognizable tune on that soundtrack, is a Capps composition and gets a suitably impressive and subtle performance here, as does the song whose title inspired the movie. He has a way with a drowsy melody, and after a few spins, these tracks gradually take hold. Certainly anyone who has explored the back streets of New Orleans will recognize the downtrodden characters who populate this album. Capps mythologizes their misery and sadness in songs that are heartfelt and edgy, but he never shortchanges melodies in exchange for gritty, often poetic lyrics. Guitar solos, such as the one in the Crazy Horse-styled Buckshot, are short, tight, and succinct, just like the band that ably supports Capps. His voice sounds like he just woke up and started singing before his first cup of coffee, but that adds to the effect. The album loses a little steam as it winds down, yet this is still a stirring first effort. It conveys the sense, sounds, and dark allure of New Orleans and many of its residents more effectively than a stroll through the French Quarter.

    - Hal Horowitz (All Music)

    1. Get Back Up
    2. If You Knew My Mind
    3. Slidell
    4. I Can't Hear You
    5. A Love Song For Bobby Long
    6. Graveyard
    7. Mercy
    8. Lorraine's Song
    9. Washboard Lisa
    10. Buckshot
    11. How Was I To Know
    12. I See You
    Grayson Capps
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
    Buy Now
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    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    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. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Scarlatti: Sonatas Scarlatti: Sonatas Quick View

    $21.99
    Buy Now
    x

    Scarlatti: Sonatas

    Scott Ross was an American-born harpsichordist who spent much of his life in France and attended the conservatories of Nice and Paris. He was notably the first musician to record the complete keyboard sonatas - 555 in all - of Domenico Scarlatti (1685-1757).


    In 1985, to celebrate the 300th anniversary of Scarlatti's birth, French radio broadcast a weekly series of Scarlatti Sonatas played by Scott Ross. By the end of the series, Ross had recorded the world's first complete version of the 555 Scarlatti sonatas. Many of the sonatas had never been recorded before, even though a limited selection had featured in the repertoire of major pianists - including Horowitz, Michelangeli, Gieseking, Meyer, Haskil and Gilels - for decades.Scott Ross's personal favourite among the sonatas was No 208, which he described as: "the most beautiful, even if it is also the slowest, and the happiest - it's the sunniest of all of them."

    1. Sonata K. 1 D minor
    2. Sonata K. 9 D minor
    3. Sonata K. 14 G major
    4. Sonata K. 27 B minor
    5. Sonata K. 141 D minor
    6. Sonata K. 208 A major
    7. Sonata K. 213 D minor
    8. Sonata K. 296 F major
    9. Sonata K. 380 E Major
    10. Sonata K. 490 D Major
    11. Sonata K. 491 D Major
    12. Sonata K. 492 D Major
    13. Sonata K. 555 F minor
    Scott Ross
    $21.99
    Vinyl LP - Sealed Buy Now
  • Liszt: Piano Concertos Nos. 1 & 2 (Speakers Corner) Liszt: Piano Concertos Nos. 1 & 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Liszt: Piano Concertos Nos. 1 & 2 (Speakers Corner)

    Liszt's Piano Concertos occupy a special position in the genre for several reasons. Firstly they mirror the amazing keyboard virtuosity of the composer, and secondly they point the way to modern music through their daring harmonies and free treatment of traditional compositional forms. Any pianist who tackles the mighty E flat major Concerto, which was premiered by Liszt himself under the baton of Berlioz in 1855, soon realises that he has taken on a mammoth task. Instead of an over-dimensional, weighty performance, Byron Janis and the Moscow Philharmonic present a compact reading of this tightly-knit composition. Janis, a pupil of Horowitz, displays his bravura in the appropriate places, but also knows how to use his technical prowess - perfected in his early years - to produce finely-chiselled keyboard poetry, freeing the work from its often-cited bulkiness. This is particularly effective in the intoxicating Finale, where the pianist's brilliance amalgamates with triumphal orchestral playing.



    In the Second Concerto, too, it is clear that great care has been taken with the score. Beginning with the elegiac entry, via the pulsating Agitato up to the expressive melodic playing, Byron Janis and Gennadi Rozhdestvensky fill this visionary symphonic poem with wonderful timbral colouring which is brought to a climax in the sparkling Finale. When music from the New German School sounds like it does here by means of Russian hands, then it certainly deserves a place in our Russian Edition.



    Recording: June 1962 in Bolshoi Hall of the Tchaikovsky Conservatory, Moscow, Russia,

    by C.R. Fine and Robert Eberenz / Production: Wilma Cozart



    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.

    Byron Janis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Meal You Can Shake Hands With In The Dark (Pure Pleasure) (Awaiting Repress) A Meal You Can Shake Hands With In The Dark (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
    Buy Now
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    A Meal You Can Shake Hands With In The Dark (Pure Pleasure) (Awaiting Repress)

    Pete Brown was a Londoner and a veteran of the underground scene. Born in 1940, he first came to prominence as a poet. He was just 14 when his first poem appeared in Evergreen Revue in the US. Then in the early sixties he worked alongside another British poet Mike Horowitz. His direct involvement with rock music came when he was asked to form a songwriting partnership with Jack Bruce to write lyrics for Cream and the partnership proceeded to produce the lyrics for many of their finest songs: Wrapping Paper, I Feel Free, Sunshine Of Your Love and White Room. After the demise of Cream, Brown continued to write with Bruce but also began his own recording career with The Battered Ornaments who included Chris Spedding. After an initial 45, which with its wailing saxes and effective vocals was underrated, the band recorded this album which was a mixture of jazz-rock and blues. Dark Lady, The Old Man and Station Song were among the fine tracks and the latter later got a further airing on the Before Singing Lessons compilation. Station Song and Dark Lady had earlier featured along with Travelling Blues on the ultra-rare promo-only Harvest Sampler in 1969.



    Brown then suffered the humiliation of being thrown out of the band the night before they had a Hyde Park gig with The Rolling Stones. Brown's response was to form a new band, Piblokto!



    This release breaks the long sides down to four sides of vinyl which enhances the sound quality considerably. Also of interest is that it has been mastered in the same studio at Abbey Road as was the initial release and from the same original analogue tape masters.




    Musicians:



    • Pete Brown (vocal, trumpet)

    • Nisar A. Khan (tenor saxophone)

    • Dick Heckstall-Smith (tenor saxophone)

    • Chris Spedding (guitar)

    • Charlie Hart (organ)

    • Butch Porter (bass)

    • Rob Tait (drums)

    • Pete Bailey (conga)




    Production: Andrew King and Dick Heckstall-Smith



    About Pure Pleasure



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



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



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



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



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



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



    LP1
    1. Dark Lady
    2. The Old Man
    3. Station Song
    4. The Politician


    LP2
    1. Rainy Taxi Girl
    2. Morning Call
    3. Sandcastle
    4. Travelling Blues (Or The New Used Jew's Dues Blues)

    Pete Brown
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
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