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  • The Magician's Birthday The Magician's Birthday Quick View

    $24.99
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    The Magician's Birthday


    Influential 1972 Record Delves into Moody Fantasy Worlds, Thematically Bookends British Band's Demons and Wizards


    Organic Production and Tonal Shadings Exude Revered Early 70s Hi-Fi Sound: Reissue Faithfully Replicates Original Gatefold Sleeve and Pressed on Colored Vinyl


    Loosely based on a story by Ken Hensley, The Magician's Birthday continues Uriah Heep's adventurous immersion into fantasy worlds at a time when similarly sci-fi pop-culture releases such as Star Wars and Dungeons and Dragons were still years away. Influential in concept, appearance, and sound, the 1972 record remains a thematic bookend to Demons and Wizards, released the same year and, akin to this set, recognized as the group's high-water mark. Both records resonate with a newfound vitality in a 21st century engrossed in a resurgence in comic-book superheroes and gothic tales.


    Pursuing a more streamlined, cleaner sound that scales back harder arrangements and accentuates prog-rock and blues elements, the British band accentuates texture and hooks throughout. Uriah Heep attains a dynamic balance between brief, punchy fare (Spider Woman) and spooky, cosmic piano balladry (Echoes in the Dark), with guitarist Mick Box supplying versatile leads and underlying narratives with exceptional tonal shadings. Space-rock synthesizers and subtle xylophones help in further setting the moods. The Magician's Birthday skirts the parody that befell many albums that copied its formula by way of fine-tuned songwriting, David Byron's passionate singing, and cohesive playing. Groups ranging from Iron Maiden to Emerson Lake and Palmer drew from its example.


    Boasting arguably the strongest production of Uriah Heep's career, the record exudes early 70s warmth and organic sonics. As soon as your turntable's needle hits the grooves, an era renowned for wood-encased receivers, tube amplifiers, and vintage instruments will emerge in front of your eyes. Whether it's the whirring organ and eerie frequency effects on the crunchy FM radio favorite Sweet Lorraine or the ringing bells on the epic multi-part title track, The Magician's Birthday pulls you into its spell with ethereal power and supernatural charm.


    Complete with a faithful replication of the original gatefold sleeve, and replete with dead-quiet surfaces, this Wax Cathedral reissue is pressed at RTI, America's best record plant. Better still, it's on colored vinyl, to boot!

    1. Sunrise
    2. Spider Woman
    3. Blind Eye
    4. Echoes in the Dark
    5. Rain
    6. Sweet Lorraine
    7. Tales
    8. The Magician's Birthday
    Uriah Heep
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • The Magician's Birthday The Magician's Birthday Quick View

    $22.99
    Buy Now
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    The Magician's Birthday

    Reissue of their 5th studio album, originally released in 1972. Album reached #31 on the US Album Charts and is RIAA-Certified GOLD. Includes the singles "Blind Eye" and "Sweet Lorraine.



    Loosely based on a story by Ken Hensley, The Magician's Birthday continues Uriah Heep's adventurous immersion into fantasy worlds at a time when similarly sci-fi pop-culture releases such as Star Wars and Dungeons and Dragons were still years away. Influential in concept, appearance, and sound, the 1972 record remains a thematic bookend to Demons and Wizards, released the same year and, akin to this set, recognized as the group's high-water mark.


    Both records resonate with a newfound vitality in a 21st century engrossed in a resurgence in comic-book superheroes and gothic tales. Pursuing a more streamlined, cleaner sound that scales back harder arrangements and accentuates prog-rock and blues elements, the British band accentuates texture and hooks throughout. Uriah Heep attains a dynamic balance between brief, punchy fare (Spider Woman) and spooky, cosmic piano balladry (Echoes in the Dark), with guitarist Mick Box supplying versatile leads and underlying narratives with exceptional tonal shadings.


    Space-rock synthesizers and subtle xylophones help in further setting the moods. The Magician's Birthday skirts the parody that befell many albums that copied its formula by way of fine-tuned songwriting, David Byron's passionate singing, and cohesive playing. Groups ranging from Iron Maiden to Emerson Lake and Palmer drew from its example. Boasting arguably the strongest production of Uriah Heep's career, the record exudes early 70s warmth and organic sonics.


    As soon as your turntable's needle hits the grooves, an era renowned for wood-encased receivers, tube amplifiers, and vintage instruments will emerge in front of your eyes. Whether it's the whirring organ and eerie frequency effects on the crunchy FM radio favorite Sweet Lorraine or the ringing bells on the epic multi-part title track, The Magician's Birthday pulls you into its spell with ethereal power and supernatural charm.

    1. Sunrise
    2. Spider Woman
    3. Blind Eye
    4. Echoes In The Dark
    5. Rain
    6. Sweet Lorraine
    7. Tales
    8. The Magician's Birthday
    Uriah Heep
    $22.99
    Vinyl LP Reissue - Sealed Buy Now
  • Stone Flower (Speakers Corner) Stone Flower (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stone Flower (Speakers Corner)

    Around the year 1970, almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. Adventurous musicians such as Luis Bonfa, Baden Powell, Charly Byrd, João and Astrud Gilberto, and the saxophonist Stan Getz lent fire and sentiment to the "new trend". First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song Desafinado and the genial One Note Samba were heard all over the globe.
    That the man from Ipanema still had a lot to say is proved by the present album, which presents Jobim's creativity at the height of his maturity. Right from the very first number, where Urbie Green on the trombone 'sings' Tereza My Love so purely in the top register, it is clear that the late bossa with its typical rhythm is structurally far more refined than the early hot dance numbers. The melodies are woven through, as it were, with shining gold and silver threads of rhythm, and clusters of sound are light and airy. However, here and there, the musicians let their hair down, such as in the Latin classic Brazil.



    With that magician of sound Deodato as arranger and conductor, and Rudy van Gelder as recording engineer, this LP is certainly a Bossa masterpiece. There's no more to be said!



    Musicians:



    • Antonio Carlos Jobim (piano, electric piano, violin, vocal, guitar)

    • Joe Farrell (soprano saxophone)

    • Urbie Green (trombone)

    • Hubert Laws (flute)

    • Eumir Deodato (guitar, arranger, conductor)

    • Harry Lookofsky (violin)

    • Ron Carter (bass)

    • Airto Moreira, Everaldo Ferreira (percussion)

    • João Palma (drums)



    Recording: June 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Tereza My Love
    2. Children's Games
    3. Choro
    4. Brazil (Ary Barroso)
    5. Stone Flower
    6. Amparo
    7. Andorinha
    8. God and the Devil in the Land of the Sun
    9. Sabia
    Antonio Carlos Jobim
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ultra-High Frequencies: The Chicago Party Ultra-High Frequencies: The Chicago Party Quick View

    $31.99
    Buy Now
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    Ultra-High Frequencies: The Chicago Party

    For 23 straight Saturday nights of 1982, The Chicago
    Party dance show assaulted Chicagoland UHF eyeballs
    with Spandex, Southside fly guys, tender tenderonies,
    magicians, contortionists, prismatic video gimmickry,
    and lip-synched singles by a rising regime of local post-disco
    casualties. Unfettered nightlife and outlandish
    humor poured out of oddball outpost The CopHerBox
    II and onto TV screens, presented here as a 100 minute
    video mixtape on DVD. Its companion compilation
    features five previously unreleased tracks, joined by
    music culled from a trove of self-released 45s and
    small-time 12"s. Die-cut cathode-ray jacket and six in-package
    stills put the Party at your fingertips.


    Each edition of Ultra-High
    Frequencies: The Chicago Party will arrive in one of six
    cover configurations, all of which are interchangeable
    via printed inner sleeves and enclosed booklet. It also includes our entertaining DVD mix tape,
    isolating the most absurd and outrageous moments from
    the original broadcasts. Play functions enable viewers
    to enjoy 23 unique musical performances, as well as a
    mini-documentary about the creation and realization
    of The Chicago Party. For fans of electronic soul with
    a public access aesthetic, Ultra-High Frequencies: The
    Chicago Party is the place to be.

    1. The Chicago Party Theme - Jesus Wayne
    2. Girl You're Too Cool - Magnum Force
    3. Love Explosion - Donnell Pitman
    4. Rush - Jesus Wayne
    5. Garden Of Eve - Yvonne Gage
    6. Think - Rahmlee
    7. Master's Plan - Central Power System
    8. Burning Up - Donnell Pitman
    9. Let Yourself Go - Closencounter
    10. Pull Up - Universal Togetherness Band
    11. Blow Me Away - MC2
    12. Another Day - Keni Rightout
    13. Into New Dimensions - IND
    14. Freedom (Sweet) Freedom - Ken Allison
    15. Say Yes - New Testament Band
    16. This Is Our Love Story - Harvey-Allison Experience
    Various Artists
    $31.99
    Vinyl LP + DVD - 2 LPs Sealed Buy Now
  • Remain In Light Remain In Light Quick View

    $24.99
    Buy Now
    x

    Remain In Light

    Ranked 126/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Cut from the Original Analog Masters and Pressed at RTI for Stunning Sound!


    Formed in the mid 70s by art school chums David Byrne, Chris Franz, and Tina Weymouth and ex-Modern Lover Jerry Harrison, Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands of all time. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius.


    From their 1977 debut through their Brian Eno and self-produced classics and on to their swan song (1988's Steve Lillywhite-produced Naked), Talking Heads constantly broke creative boundaries while also scoring smart radio hits including "Burning Down The House," "Wild Wild Life," and, from 1980's Remain In Light, the brilliant "Once In A Lifetime."


    Considered by many fans and critics alike to be the band's best album, Remain In Light was the third release in the Heads/Eno trilogy and fourth overall. More melodic and funkier sounding than that of its predecessors, the recording finds the band further exploring the African rhythms hinted at on 1979's Fear of Music with the help of a growing personnel that now included Adrian Belew (guitar), Bernie Worrell (keyboards), Steven Scales (percussion) and backing vocalists. As propulsive and essential as ever here on 180 gram vinyl courtesy of Warner Bros. Records!


    "On this New Wave watershed, the avant-punk avatars became polyrhythmic pop magicians. David Byrne and Co. combined the thrust of P-Funk, the kinky grooves of Afropop and the studied adventurousness of producer Brian Eno - and they still had a pop hit with 'Once in a Lifetime'." - Rolling Stone


    The Great Curve
    Crosseyed and Painless
    Born Under Punches (The Heat Goes On)
    Houses In Motion
    Once In A Lifetime
    Listening Wind
    Seen and Not Seen
    The Overload
    Talking Heads
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Firebird (Speakers Corner) Stravinsky - Firebird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Firebird (Speakers Corner)

    Ernest Ansermet's long friendship with Igor Stravinsky enabled him to witness the birth of some of the composer's most important creations. This proved to be of incalculable worth in his interpretation of the works he premiered for Stravinsksy.



    Here Ansermet directs the OSR in a performance of Stravinsky's The Firebird. It is the composer's first major ballet, brought him world fame and continues to gain in popularity to this day. The story - which combines the motifs of several Russian fairy tales with a magic Firebird, a vanishing castle, an evil magician, and a hero who saves the maiden - inspired Stravinsky to write some of his most fascinating and mysterious music.



    The OSR is fully equal to its fine reputation. Ernest Ansermet's competence as an interpreter is evident throughout.



    Acoustically, this pressing offers advantages over the original. Here the orchestra resonates with a full, natural and mellow sound that blossoms into a veritable garden of tonality extending around and behind the loudspeakers.
    This new edition of Stravinsky's The Firebird is a true stereophonic delight.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording date and venue: May 1955 at Victoria Hall, 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.

    Ernest Ansermet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Holst The Planets (Out Of Stock) Holst The Planets (Out Of Stock) Quick View

    $54.99
    x

    Holst The Planets (Out Of Stock)

    Zubin Mehta conducts the Los Angeles Philharmonic Orchestra for this audiophile recording of Holst's The Planets.


    The scoring of the Planets is rich and extravagant (quadruple wood-wind, enormous brass and a percussion section requiring three players, not to mention such exotic additions as bass flute, bass tuba and organ) and yet the sound is always clear and transparent. There are two other ingredients to add to this formula - melodic invention and a great sense of rhythm. Holst had these in plenty. If his methods seemed novel during his life-time they have become commonplace since - but never dull.


    The suite opens with Mars, the Bringer of War with its relentless, hammering five four rhythm. The movement is in simple ternary form. Brass dominates in the tremendous build-up and release of forces....


    Venus, the Bringer of Peace is also the goddess of love and Holst allows his music more sensuality than elsewhere. Gone are the harsh pounding rhythm and snarling brass. They are replaced by serenity and coolness...


    Mercury, the Winged Messenger is a symphonic scherzo of unparalleled lightness and volatility. The effect is obtained by mixing tonalities and time signatures. The distant keys of B flat and E are juxtaposed and there is a constant mixture of triple and duple time...


    Jupiter, the Bringer of Jollity comes as a contrast to the vapid Mercury, with its boisterous dances and broad hymn tune...The king of gods would surely have been pleased with such a regal anthem...


    Saturn, the Bringer of Old Age is Holst at his deepest and most intensely personal. It is an excursion into cold and dreary open spaces so often explored right up to the end of his life. The syncopated oscillations between two dissonant chords seem to be borrowed from Schoenberg while the slow melody of the double basses surely epitomizes senescence itself...


    Uranus, the Magician: Trumpets and trombones blare out a portentous invocation, echoed by tubas and timpani. Bassoons are next on the scene to establish the piece's galumphing 6/4 gate...


    Neptune, the Mystic: This is real music of the stars - free from all earthly sentiment. It is a vision of remote beauty and ideal perfection. Silvery sounds unfold yet without the remotest suggestion of a theme to disturb the spiritual concentration. There is constant shifting of harmony and changing tone colour. The icy tinkling of celesta and glockenspiel and the wordless, disembodied female chorus which floats over and around the closing pages were later (some 35 years later) to find their way into Vaughan Williams' Sinfonia Antarctica. There is, and can be, no end to this music - it fades away but cannot die: it is as infinite as space itself and as intangible as the most distant parts of the subconscious. - from liner notes


    This title is not eligible for discount.

    Gustav Holst (1874-1934)
    The Planets - suite
    LP1
    1. I. Mars, the Bringer of War - Allegro
    2. II. Venus, The Bringer of Peace - Adagio
    3. III. Mercury, the Winged Messenger - Vivace
    4. IV. Jupiter, the Bringer of Jollity - Allegro giocoso


    LP2
    5. V. Saturn, the Bringer of Old Age - Adagio
    6. VI. Uranus, the Magician - Allegro
    7. VII. Neptune, the Mystic - Andante

    Zubin Mehta
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Temporarily out of stock
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