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  • Eric Clapton: Life In 12 Bars  (Original Motion Picture Soundtrack) (Pre-Order) Eric Clapton: Life In 12 Bars (Original Motion Picture Soundtrack) (Pre-Order) Quick View

    $109.99
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    Eric Clapton: Life In 12 Bars (Original Motion Picture Soundtrack) (Pre-Order)

    Release Date: July 20, 2018*


    Universal is set to release the complementary OST to the new Eric Clapton documentary, Life In 12 Bars. From Showtime Documentary Films and directed by Oscar-winner, Lili Fini Zanuck, the film takes an unflinching and deeply personal look into the life of the legendary 18-time Grammy Award-winning guitarist and multi-million selling recording artist.


    The OST, available as a 4-LP, comprises 32 tracks spanning Clapton's long and illustrious career. It includes tracks by The Yardbirds, John Mayall's Bluesbreakers, Cream, Blind Faith, Derek and the Dominos, The Beatles, Aretha Franklin, Muddy Waters and Clapton's solo work.


    Of the 32 featured there are five previously unreleased tracks:


    From the Cream era there is a version of Spoonful, an incredible 17-minute tour-de-force, recorded live at the LA Forum in October 1968 during the group's final US, Goodbye tour. There are two from Derek and The Dominos - firstly a recording of High, originally recorded during the 1971 sessions at Olympic Studios for their unreleased 2nd album. This track was later revisited and re-recorded for Eric Clapton's 1975 album, There's One In Every Crowd. Secondly, the track Little Wing, a tribute to Jimi Hendrix, recorded live during the Domino's late set at The Fillmore East on October 24th, 1970. Finally, there are two previously unreleased Eric Clapton tracks from 1974; the first ever release of the entire full-length recording of the international hit version of Bob Marley's I Shot The Sheriff, recorded during the sessions for 461 Ocean Boulevard and a live performance of Little Queenie, the Chuck Berry rock 'n' roll classic, recorded at Long Beach Arena, California in July 1974 during Clapton's comeback tour to promote 461 Ocean Boulevard.


    In addition, there are two alternative mixes made for Eric Clapton's 1970 debut album. Separate mixes were made for the album, by Delaney Bramlett and Tom Dowd (in LA) and also by Clapton himself (in London). Featured in this collection are Clapton's rare mixes of album highlights, After Midnight and Let It Rain.


    *Please note that release dates are subject to change.

    LP 1
    1. Big Bill Broonzy: Backwater Blues - The Big Bill Broonzy Story 1957
    2. Muddy Waters: My Life Is Ruined - Chess single 1953
    3. Muddy Waters: I Got Mojo Working - Live At Newport Jazz Festival 1960
    4. The Yardbirds: I Wish You Would - studio version
    5. The Yardbirds: For Your Love - For Your Love 1965
    6. John Mayall & The Bluesbreakers: Steppin' Out - John Mayall Bluesbreakers with Eric Clapton 1966
    7. John Mayall & The Bluesbreakers: All Your Love - John Mayall Bluesbreakers with Eric Clapton 1966
    8. Cream: I Feel Free - Fresh Cream 1966
    9. Cream: Strange Brew - Disraeli Gears 1967
    10. Cream: Sunshine of Your Love - studio version
    11. Aretha Franklin: Good to Me As I Am To You - Lady Soul / Recorded on December 16 and 17, 1967


    LP 2
    1. Cream: Crossroads live - Wheels Of Fire / Recorded 10 March 1968 at Winterland, San Francisco, CA16
    2. The Beatles: While My Guitar Gently Weeps - The Beatles / Recorded 5-6 September 1968
    3. Cream: Badge - Goodbye / Recorded October 1968 at IBC Studios in London
    4. Cream: White Room live - Live Cream II / recorded October 4, 1968 at the Oakland Coliseum Arena
    5. Cream: Spoonful - live from Goodbye tour - LA Forum October 19, 1968*
    6. Blind Faith: Presence Of The Lord - studio version


    LP 3
    1. Delaney & Bonnie & Friends featuring Eric Clapton: Comin' Home - Live at Fairfield Halls
    2. Eric Clapton: After Midnight - alternate mix from Eric Clapton (first album) 1970
    3. Eric Clapton: Let It Rain - alternate mix from Eric Clapton (first album) 1970
    4. Derek and The Dominos: High - (Olympic Studios, April 1971) Derek and The Dominos album*
    5. George Harrison: My Sweet Lord - All Things Must Pass 1970
    6. Derek and The Dominos: Thorn Tree In The Garden - Layla & Other Assorted Love Songs 1970
    7. Derek and The Dominos: Nobody Knows You When You're Down And Out - Layla & Other Assorted Love Songs 1970
    8. Derek and The Dominos: Bell Bottom Blues - Layla & Other Assorted Love Songs 1970


    LP 4
    1. Derek and The Dominos: Layla - Layla & Other Assorted Love Songs 1970
    2. Derek and The Dominos: Little Wing - Live At The Fillmore 1970
    3. Derek and The Dominos: Got To Get Better In A Little While - studio version
    4. Eric Clapton: I Shot The Sheriff - previously unreleased full-length version from 461 Ocean Blvd 1970*
    5. Eric Clapton: Little Queenie live - Long Beach Arena, Long Beach, California, July 19/20, 1974*
    6. Eric Clapton: Mainline Florida - 461 Ocean Boulevard 1974
    7. Eric Clapton: Tears In Heaven - studio version


    *Previously unreleased

    Various Artists
    $109.99
    Vinyl LP - 4 LPs Sealed PRE-ORDER Buy Now
  • Centipede Hz Centipede Hz Quick View

    $21.99
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    Centipede Hz

    Centipede Hz was co-produced by Animal Collective and Ben H. Allen III and recorded at Sonic Ranch studios in Tornillo TX (outside of El Paso) by Ben H. Allen III and mixed at Maze Studios in Atlanta, GA by Ben H. Allen III.



    Centipede Hz is the tenth full length Animal Collective album following the widely celebrated Merriweather Post Pavilion (2009) and also the first since Strawberry Jam (2007) to feature all four original band members: Avey Tare, Panda Bear, Geologist and Deakin. As the album's opening bars of drum crashes and radio interference on "Moonjock" immediately make clear, having returned as a four piece, Animal Collective have made their most widescreen and fully realized music to date.


    Once touring for Merriweather Post Pavilion was concluded at the end of 2009, Animal Collective released their visual album Oddsac on DVD. The film was also screened internationally at theaters and film festivals. The band created Transverse Temporal Gyrus, an installation for the Guggenheim Museum in New York City and subsequently released a 12" single of the performance and launched a website to distribute music from the event. The period between Merriweather Post Pavilion and Centipede Hz also saw the release of two solo albums: Avey Tare's Down There (2010) and Panda Bear's Tomboy (2011).


    Regrouping as a four piece with original member Deakin once more in the band, Animal Collective reconvened in their native Baltimore in January-March of 2011 to write material for Centipede Hz with a further session later in the year. Rather than swapping ideas over the internet and file-sharing Animal Collective were, for the first time in many years, exchanging ideas in the same room by playing live instruments.


    As a result Panda Bear returned to playing a sit-down drum kit for the first time since Here Comes The Indian (2003) and Geologist began playing live keyboards again. Along with using some of the samplers and sequencers with which they had previously been writing, the sound of Centipede Hz draws on the dynamics and energy of Animal Collective playing together as a band. The return of Deakin is at its most marked in "Wide Eyed," a song that he wrote, featuring his first ever lead-vocal performance and whose title captures the mood of Centipede Hz perfectly.


    Part of the inspiration for Centipede Hz included the band's memories of growing up listening to station announcements and commercials on the radio and imagining the after life of radio signals from the past, forgotten transmissions that are now lost in space and broadcasting music from other planets for other life forms. This is reflected in the sound of Centipede Hz, which features the white noise of radio interference and buried frequencies overlaid with the band's peerless melodic sensibilities and compositional methods. The result is a panoramic set of songs that shimmer with the confidence and wonder of Animal Collective's unique inner logic and the luminous warmth of their sound world.


    Animal Collective: Avey Tare (vocals, synthesizers, piano, guitar, sampler, sequencer, percussion); Panda Bear (vocals, drums, sampler, percussion); Deakin (vocals, baritone guitar, sampler, percussion); Geologist (sampler, synthesizers, piano, percussion) with: Dave Scher (Beachwood Sparks, All Night Radio) lap steel guitar on "Today's Supernatural," "New Town Burnout," "Pulleys," and "Gotham," and melodica on "Rosie Oh" and Riverside Middle School Choir, which sings on "Father Time" and "New Town Burnout."


    1. Moonjock
    2. Today's Supernatural
    3. Rosie Oh
    4. Applesauce
    5. Wide Eyed
    6. Father Time
    7. New Town Burnout
    8. Monkey Riches
    9. Mercury Man
    10. Pulleys
    11. Amanita
    Animal Collective
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • New York Before The War New York Before The War Quick View

    $16.99
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    New York Before The War

    Jesse Malin returns in the New Year with a brand new album: New York Before The War, preceded by a single, Addicted.


    Arriving almost five years on from his last record (2010's Love It to Life), Jesse's artistic ambitions for New York Before the War, were high: he knew he had to make it count. "I wanted to make a record that encompassed everything I've done, since I started with my hardcore band, Heart Attack, when I was twelve or or thirteen through bands like D Generation and then my solo career, but I also wanted to challenge the listeners who have been with me - and challenge myself."


    Pared down from close to forty songs, New York Before the War album more than matches that ambition: A soundtrack to a life lived with meaning. "This is an era when music is so disposable," Malin worries. "People talk about the death of the album and even the death of rock & roll. But this is not just a shuffle of songs. There is a cinematic thread, a story."


    Sessions for the album began in Virginia, Nashville before moving on to New York, finishing up at the Magic Shop in Soho. Players include such downtown New York all-stars as guitarist Derek Cruz, bassist Catherine Popper and drummer Randy Schrager. Don Dilego produced early sessions for the album in Virginia, and Malin and Cruz co-produced in New York. Brian Thorn, who worked on David Bowie's The Next Day, engineered and mixed the album.


    Opening with The Dreamers, a haunting ballad that evokes both the alienation and the sense of deep connection that travel can bring (and very nearly became the album's title track), the album moves on through darker meditations like She's So Dangerous and Bar Life. Elsewhere, taut, upbeat rockers like Freeway (which features a blistering solo by the MC5's Wayne Kramer) and Turn Up the Mains (with Alejandro Escovedo on backing vocals) dictate the pace and Peter Buck contributes a vintage R.E.M.-style guitar part to I Would Do It For You, a tale of personal loyalty filled with longing and an aching sense of conviction.

    1. The Dreamers

    2. Addicted
    3. Turn Up The Mains
    4. Oh Sheena
    5. She's So Dangerous
    6. The Year That I Was Born
    7. Boots of Immigration
    8. Freeway
    9. Bent Up
    10. She Don't Love Me Now
    11. Death Star
    12. I Would Do It For You
    13. Bar Life
    Jesse Malin
    $16.99
    Vinyl LP - Sealed Buy Now
  • Broke Til Midnight Broke Til Midnight Quick View

    $19.99
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    Broke Til Midnight

    East coast-to-LA transplants Roll The Tanks have signed to Epitaph and will release release their hook-laden debut album Broke Til Midnight in 2014.


    Broke Til Midnight hits right in the gut upon first listen. A record that leaves no room for uncertainty in 13-tracks that beg listeners to hit repeat and enjoy the ride. It helps that band members Danny Carney (vocals/guitar), Aaron Stuart (guitar/ vocals), Mike Wakeman (bass/vocals), and Joe Sirois (drums) are fans of enduring songsmiths Tom Petty & The Heartbreakers, The Pixies, and The Clash from where they draw inspiration to carry on the torch. "We're going to make records because that's what we want to do - make records," says Carney. "No clunkers, no fillers. Records where you almost die making them." Though the band didn't die while making the album, they did have to wait until 12 AM for when their paychecks cleared at the bank in order to pay their bar tabs; hence the album title Broke Til Midnight.


    Epitaph Label CEO and Bad Religion guitarist/songwriter Brett Gurewitz shares his thoughts on the signing:


    "Roll The Tanks write the kind of songs that make you want to be a songwriter. The kind of inspiring rock n roll songwriting that made me want to devote myself to this crazy life in the first place. They bring to mind Strummer, Pixies, Petty, The Kinks but not because that's what they sound like, rather because they're cut from the same cloth. These guys are a great band, I can't wait for people to hear them."


    An unpretentious, classic rock inspired "band's band," Roll The Tanks are primed and ready to carry the torch for energetic, solid rock music. They know the value of a dollar from grinding their days away waiting tables, driving trucks, and working as carpenters to pay the bills so they can dedicate their evenings (and as much time as they can put into the stage and the road) to honing their already formidable songwriting chops. Music is their passion. And as their name implies, they are prepared to flatten all obstacles.

    1. 24th & Buckets
    2. Broke Til Midnight
    3. Toeing The Line
    4. Waiting on a Storm
    5. Goddnight Jimmy Lee
    6. Computer Money
    7. Record Players
    8. Hornet
    9. Lock Your Daughters Up
    10. Assumption Army
    11. Insufficient Funds
    12. My Soapbox
    13. Pistolero
    Roll The Tanks
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Walkin' This Road By Myself Walkin' This Road By Myself Quick View

    $21.99
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    Walkin' This Road By Myself

    Walkin' This Road By Myself was originally released in 1962.


    Hopkins' style emanated from playing most of his life unaccompanied at his own insistence. His fingerstyle picking of playing alternating and monotonic bass, rhythm, lead, and percussion all the while improvising lyrics, even 'talking' his lyrics. He incorporated creative, chromatic turnarounds and single note lead lines. Tapping or slapping the body of his guitar adding his own percussive effects. While most of his songs are standard 12-bar blues, his phrasing was loose and free.


    Hopkins is the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act. - Robert Mack McCormick, Lightnin's producer in the '50s and Smithsonian musicologist


    One of the great country blues and perhaps the greatest single influence on rock guitar players. - New York Times, January 31, 1982

    Side A
    1 Walkin' This Road By Myself
    2 Black Gal
    3 How Many More Years I Got To Let You Dog Me Around

    4 Baby Don't You Tear My Clothes
    5 Worried Life Blues


    Side B
    1 Happy Blues For John Glenn
    2 Good Morning Little School Girl

    3 The Devil Jumped The Black Man

    4 Coffee Blues
    5 Black Cadillac

    Lightnin' Hopkins
    $21.99
    Vinyl LP - Sealed Buy Now
  • Big Joe Rides Again (Speakers Corner) Big Joe Rides Again (Speakers Corner) Quick View

    $34.99
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    Big Joe Rides Again (Speakers Corner)

    That the experts inducted 'Big Joe' Turner into the Blues Hall of Fame in 1983, i.e. during his lifetime, is surely in order when one considers how he expressed his attitude to life with his 12-bar stylistic freedom. That he was additionally honoured by being posthumously inducted into the Rock and Roll Hall of Fame, however, makes one wonder whether the incorruptible experts had made a mistake. No matter what: this giant of a man with his big, gentle voice had certainly earned a place of honour in the era of swing as well.


    Turner, who appeared on stage with Goodman, Ellington, Tatum and - in later years - with Gillespie and Eldridge, offers his listeners many facets of the blues. The opening number, Switchin' In The Kitchen, is a fairly fast boogie-woogie where the vocal swings freely with sharp blasts in the background. Other swinging numbers, in which jazz champions such as Coleman Hawkins and Ernie Royal perform solos, include several ballad-like evergreens (Pennies From Heaven), which Turner and his band elaborate to become an imposing aria (Until The Real Thing Comes Along).


    The grooves of this LP are distinguished by means of the open, unfiltered Atlantic sound. The saxophone solos in particular, complete with the clicking of the valves and blowing noise, give one the feeling that the soloist is performing in your living room.


    Musicians:


    • Big Joe Turner (vocals)
    • Coleman Hawkins (tenor saxophone)
    • Jerome Richardson (alto saxophone)
    • Ernie Royal, Jimmy Nottingham (trumpet)
    • Lawrence Brown (trombone)
    • Jimmy Jones (piano)
    • Jim Hall (guitar)
    • Doug Watkins (bass)
    • Charlie Persip (drums)


    Recording: September 1959 by Len Frank, Phil Iehle and 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. Switchin' In The Kitchen
    2. Nobody In Mind
    3. Until The Real Thing Comes Along
    4. I Get The Blues When It Rains
    5. Rebecca
    6. When I Was Young
    7. Don't You Make Me High
    8. Time After Time
    9. Pennies From Heaven
    10. Here Comes Your Iceman
    Joe Turner
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Paradise & Lunch (Speakers Corner) Paradise & Lunch (Speakers Corner) Quick View

    $34.99
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    Paradise & Lunch (Speakers Corner)

    A good 20 years have passed since a band with ancient musicians from Cuba - the Buena Vista Social Club - took the world by storm. Behind the project, in the wings yet right in the midst of this unheard-of music, was Ry Cooder, who regarded this encounter as the greatest musical event of his entire life. The bottleneck guitar hero had always been very interested in the music from the other Americas ever since the solo albums he made in his early years, in which he told the story of the American folk and blues in a multitude of styles. The LP Paradise And Lunch is no exception and begins with gospel-like grooves that smell of native soil. The faint smell of a wooden church from pioneering days wafts out of the processional antiphonal song Jesus On The Mainline and a healthy 12-bar blues paints a picture of what silent witnesses could tell if they could (If Walls Could Talk). Cooder and his sidemen felt themselves perfectly at home when adventuring further afield and this is testified to in the laid-back calypso rhythm of It's All Over Now and the clip-clop of Mexican Divorce.


    This wonderful album is highly recommended for each and every number, but if you want a tip for a very special track, then just listen to the ragtime piano rolls in Bo Diddley's Ditty Wah Ditty.


    Musicians:



    • Ry Cooder (guitar, mandolin, bass, vocal)

    • Ronnie Barron (piano, organ)

    • Earl Hines (piano)

    • Plas Johnson (alto saxophone)

    • Oscar Brashear (cornet)

    • Red Callender (bass)

    • John Duke (bass)

    • Russ Titelman (electric bass)

    • Chris Ethridge (electric bass)

    • Milt Holland (drums, percussion)

    • Jim Keltner (drums)




    Recording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg

    Production: Lenny Waronker & Russ Titelman




    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. Tamp 'Em Up Solid
    2. Tattler
    3. Married Man's a Fool
    4. Jesus on the Mainline
    5. It's All Over Now
    6. Fool for a Cigarette/Feelin' Good
    7. If Walls Could Talk
    8. Mexican Divorce
    9. Ditty Wah Ditty
    Ry Cooder
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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