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  • Man Of The Woods Man Of The Woods Quick View

    $19.99
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    Man Of The Woods

    Ten-time Grammy® winner and four-time Emmy® winner Justin Timberlake is set to release his fourth studio album, Man of the Woods via RCA Records.


    Man of the Woods marks Timberlake's most ambitious album to date, both sonically and lyrically. Combining the sounds of traditional American rock with the modern influences of collaborators The Neptunes, Timbaland, Chris Stapleton, and Alicia Keys, this new material explores storytelling inspired by his son, his wife, and his personal journey from Memphis to where he is today.


    Multi-talented actor and musician Justin Timberlake has sold over 32 million albums worldwide, sold out arenas all across the globe, received numerous awards and nominations and has wildly become one of the most highly respected entertainers in the business.


    All three of Timberlake's solo albums (Justified, FutureSex/LoveSounds and The 20/20 Experience) have received various platinum or multi-platinum certifications worldwide. In the US, Timberlake has received five #1 songs on the Billboard Hot 100 with seventeen being in the top ten as well as garnered the most Mainstream Top40 Top 10's among solo males in the chart's 25-year history (18 total).


    Most recently, Timberlake released the 4X platinum-selling song "CAN'T STOP THE FEELING!" from the film TROLLS which debuted #1 on the Billboard Hot 100, became the singer's first #1 debut on the chart and ultimately the best-selling US single for 2016. Additionally, it marked Timberlake's tenth Grammy Award® and garnered a nomination for an Academy Award® and Golden Globe Award®.


    A gifted actor, Timberlake has appeared in diverse films including ALPHA DOG, BLACK SNAKE MOAN and SHREK THE THIRD. He won strong reviews for his performance in Oscar®-nominated THE SOCIAL NETWORK. His other credits include BAD TEACHER, FRIENDS WITH BENEFITS, IN TIME, INSIDE LLEWYN DAVIS, RUNNER RUNNER, TROLLS and WONDER WHEEL. Timberlake has also won four Emmys for his appearances on "Saturday Night Live."

    1. Filthy
    2. Midnight Summer Jam

    3. Sauce
    4. Man of the Woods
    5. Higher, Higher

    6. Wave

    7. Supplies

    8. Morning Light (feat. Alicia Keys)
    9. Say Something (feat. Chris Stapleton)

    10. Hers (Interlude)

    11. Flannel

    12. Montana

    13. Breeze Off the Pond
    14. Livin' Off the Land

    15. The Hard Stuff

    16. Young Man
    Justin Timberlake
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Newest Youth Rebellion The Newest Youth Rebellion Quick View

    $15.99
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    The Newest Youth Rebellion

    Index for Potential Suicide combine experimental sounds with the extremities of noisy, discordant hardcore. Powerful, pissed, and chaotic for fans of Dillinger Escape Plan, The Locust, and Prevail (an ex member of Prevail played on this LP). Guest appearances by Eric Wood of Man Is The Bastard and Neil Burke of Mens Recovery Project and Sinking Body.
    1. The Newest Youth Rebellion
    2. Flavor of the Month
    3. Remote Control and Mousepads
    4. Eat Lightning, Crap Thunder
    5. Global Injustice
    6. Rock Out With Your Cock Out
    7. Arriving at Suicide
    8. Escape Unsuccessful
    9. Death Toll Confirmed
    10. Electronics Sabotage And Surveillance
    11. Escape From Uncle Bill's Lap
    12. The Nine Envelopes Contents
    13. How to Build a Silencer for a Semi-Automatic Weapon
    14. Mongroid Manipulation
    15. Silence, Completed
    16. 2 1 2, Fuck You
    Index For Potential Suicide
    $15.99
    Vinyl LP - Sealed Buy Now
  • I've Got My Own Album To Do I've Got My Own Album To Do Quick View

    $36.99
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    I've Got My Own Album To Do

    I've Got My Own Album To Do is the first solo album by Ron Wood, released in September 1974. An all-star project recorded outside of his activities with the Faces. Wood has said that the album title originated from contributors such as George Harrison and Mick Jagger nagging me to let them go home and finish their own projects.


    During this period, Wood assisted Jagger in writing and recording the Rolling Stones' 1974 single It's Only Rock 'n Roll, while Jagger reciprocated by helping Wood with this album's opening track, I Can Feel the Fire. Keith Richards was another participant at the sessions, in addition to performing concerts in London with Wood to promote the release.


    Wood's collaboration with Harrison, Far East Man, was re-recorded by Harrison and appeared on the former Beatle's Dark Horse album three months after the release of I've Got My Own Album To Do. Other musicians on the record include Rod Stewart, fellow Faces Ian McLagan and Kenney Jones, Mick Taylor of the Rolling Stones, and the all-American rhythm section of Willie Weeks and Andy Newmark.

    1. I Can Feel The Fire
    2. Far East Man
    3. Mystifies Me
    4. Take A Look At The Guy
    5. Act Together
    6. Am I Grooving You
    7. Shirley
    8. Cancel Everything
    9. Sure The One You Need
    10. If You Gotta Make A Fool Of Somebody
    11. Crotch Music
    Ron Wood
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gimme Some Neck (Speakers Corner) Gimme Some Neck (Speakers Corner) Quick View

    $34.99
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    Gimme Some Neck (Speakers Corner)

    'Gimme Some Neck' - words with a double meaning! Ron Wood's demand for a guitar and/or a bottle serves well to demonstrate both his lifestyle and his commitment to music. On the one side he is a rock'n'roll legend who played his way up the career ladder beginning with the Jeff Beck Group via The Faces to become a member of The Rolling Stones. On the other side we hear a man who was not adverse to the odd drink now and again, but who was a musician through and through, and whose slick hands conjured magical waves of sound on his slide guitar. This sound is brilliantly demonstrated in the opening number I Don't Worry No More, with its bluesy, earthy honky-tonk groove. It is followed by Breakin' My Heart, which gives us a glimpse of Wood's soul by means of sharp organ chords which come from a psychedelic abyss. Then he turns another corner to take us to the gentle, sensitive poetry of Delia with an unamplified guitar.


    Woods presents Buried Alive and Come To Realize with powerful vocals and enough power for a stage performance, and then comes a previously unreleased song by Bob Dylan - Seven Days, in which he sounds more like Big D than D himself. But this is no cover version for Wood's personality is more than alive and kicking. Ron Wood remains Ron Wood - totally distinctive and quite inimitable.

    Musicians:



    • Ron Wood (guitar, vocal, harmonica)

    • Bobby Keys (saxophone)

    • Mick Jagger, Keith Richards (guitar, vocals)

    • Dave Mason (guitar)

    • Ian McLagan (keyboards)

    • Swamp Dogg, Harry Phillips (piano)

    • Mick Taylor (bass, guitar)

    • Mick Fleetwood, Jim Keltner, Charlie Watts (drums)



    Recording: January - March 1978 at Pathe Marconi Studios, Paris, and October - December 1978 at Cherokee Studios, Los Angeles

    Production: Roy Thomas-Baker

    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. Worry No More
    2. Breakin My Heart
    3. Delia
    4. Buried Alive
    5. Come To Realise
    6. Infekshun
    7. Seven Days
    8. We All Get Old
    9. F.U.C. Her
    10. Lost And Lonely
    11. Don't Worry
    Ron Wood
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I've Got My Own Album To Do (Pre-Order) I've Got My Own Album To Do (Pre-Order) Quick View

    $32.99
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    I've Got My Own Album To Do (Pre-Order)

    180 Gram Audiophile Translucent Blue Vinyl

    I've Got My Own Album To Do is the first solo album by Ron Wood, released in September 1974. An all-star project recorded outside of his activities with the Faces. Wood has said that the album title originated from contributors such as George Harrison and Mick Jagger nagging me to let them go home and finish their own projects.

    During this period, Wood assisted Jagger in writing and recording the Rolling Stones' 1974 single It's Only Rock 'n Roll, while Jagger reciprocated by helping Wood with this album's opening track, I Can Feel the Fire. Keith Richards was another participant at the sessions, in addition to performing concerts in London with Wood to promote the release.

    Wood's collaboration with Harrison, Far East Man, was re-recorded by Harrison and appeared on the former Beatle's Dark Horse album three months after the release of I've Got My Own Album To Do. Other musicians on the record include Rod Stewart, fellow Faces Ian McLagan and Kenney Jones, Mick Taylor of the Rolling Stones, and the all-American rhythm section of Willie Weeks and Andy Newmark.

    1. I Can Feel The Fire
    2. Far East Man
    3. Mystifies Me
    4. Take A Look At The Guy
    5. Act Together
    6. Am I Grooving You
    7. Shirley
    8. Cancel Everything
    9. Sure The One You Need
    10. If You Gotta Make A Fool Of Somebody
    11. Crotch Music
    Ron Wood
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • Chelsea Light Moving Chelsea Light Moving Quick View

    $21.99
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    Chelsea Light Moving

    Includes Bonus 7 with Hidden Tracks!


    Chelsea Light Moving is the new band from Sonic Youth's Thurston Moore, recently named the #1 Guitarist Of All Time by Spin. Featuring the backing talents of Keith Wood on guitar, Samara Lubelskion bass and John Moloney on drums. This is the same band from Thurston's last solo album Demolished Thoughts -- but this time it hits hard with rock n roll noise. The man himself describes the tracks as chug & shred burners, and they hit the usual mindblowing variety of rock-historical referencepoints and the primal clatter Thurston's pinoeered for over two decades.

    1. Sleeping Where I Fall
    2. Alighted
    3. Lip
    4. Groovy & Linda
    5. Burroughs
    6. Empires Of Time
    7. Frank O'Hara Hit
    8. Mohawk


    Bonus 7
    9. Heavenmetal
    10. Communist Eyes

    Chelsea Light Moving
    $21.99
    Vinyl LP + 7 - Sealed Buy Now
  • Beck-Ola Beck-Ola Quick View

    $28.99
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    Beck-Ola

    Jeff Becks position in the pantheon of great electric guitarists is indisputable. As visionary a musician as Jimi Hendrix, Beck made his name as the second of three hall of fame stringbenders for the legendary Yardbirds (following in the Slowhand shoes of Eric Clapton and preceding the pre-Zep/session gigging Jimmy Page). Known for his blistering leads and the wild chances he took as one of the first axemen to widely employ feedback during a solo, Beck immediately launched his solo career upon leaving the Yardbirds in 1967. Together with vocalist Rod Stewart and multi-instrumentalist Ron Wood on bass, he cut a pair of albums that expanded on the greatness of his previous work.


    A year after Truth, Beck & company returned with the even thicker sound of Beck-Ola, an album often sited as one of heavy metals firestarters. Along with Stewart, Wood and pile-driving new drummer Tony Newman, the album features the inspired addition of storied session man Nicky Hopkins on keyboards. Hopkins added welcome texture to the albums seven tracks, most notably on the Hopkins-composed Girl From Mill Valley. Elsewhere, group tears through two Elvis Presley covers and four band compositions with an intensity that practically leaps from the stylus to the speakers.


    Could a band this heavy, this hard-hitting last? Unfortunately no, it could not. Following the completion of the album, the group splintered on the eve of the Woodstock festival with Stewart and Wood leaving to join the Faces. Of course, Beck went on to future triumphs in a variety of genres and styles and Stewart and Wood found wider fame and fortune as well. How fortunate, then, that we have this time capsule from June, 1969, to document their seminal collaboration. Relive those electrifying moments on this superb Sundazed Music reissue, sourced directly from the original Epic analog session tapes and purposely pressed on high-definition vinyl. Its guaranteed to leave you All Shook Up!

    1. All Shook Up
    2. Spanish Boots
    3. Girl From Mill Valley
    4. Jailhouse Rock
    5. Plynth (Water Down the Drain)
    6. The Hangman's Knee
    7. Rice Pudding

    Jeff Beck
    $28.99
    Vinyl LP - Sealed Buy Now
  • Beck-Ola (Deluxe Edition) Beck-Ola (Deluxe Edition) Quick View

    $31.99
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    Beck-Ola (Deluxe Edition)

    Deluxe Edition 180 Gram Audiophile Green Vinyl With Gatefold Cover


    Jeff Becks position in the pantheon of great electric guitarists is indisputable. As visionary a musician as Jimi Hendrix, Beck made his name as the second of three hall of fame stringbenders for the legendary Yardbirds (following in the Slowhand shoes of Eric Clapton and preceding the pre-Zep/session gigging Jimmy Page). Known for his blistering leads and the wild chances he took as one of the first axemen to widely employ feedback during a solo, Beck immediately launched his solo career upon leaving the Yardbirds in 1967. Together with vocalist Rod Stewart and multi-instrumentalist Ron Wood on bass, he cut a pair of albums that expanded on the greatness of his previous work.


    A year after Truth, Beck & company returned with the even thicker sound of Beck-Ola, an album often sited as one of heavy metals firestarters. Along with Stewart, Wood and pile-driving new drummer Tony Newman, the album features the inspired addition of storied session man Nicky Hopkins on keyboards. Hopkins added welcome texture to the albums seven tracks, most notably on the Hopkins-composed Girl From Mill Valley. Elsewhere, group tears through two Elvis Presley covers and four band compositions with an intensity that practically leaps from the stylus to the speakers.


    Could a band this heavy, this hard-hitting last? Unfortunately no, it could not. Following the completion of the album, the group splintered on the eve of the Woodstock festival with Stewart and Wood leaving to join the Faces. Of course, Beck went on to future triumphs in a variety of genres and styles and Stewart and Wood found wider fame and fortune as well. How fortunate, then, that we have this time capsule from June, 1969, to document their seminal collaboration. Relive those electrifying moments on this superb Sundazed Music reissue, sourced directly from the original Epic analog session tapes and purposely pressed on high-definition vinyl. Its guaranteed to leave you All Shook Up!

    1. All Shook Up
    2. Spanish Boots
    3. Girl From Mill Valley
    4. Jailhouse Rock
    5. Plynth (Water Down the Drain)
    6. The Hangman's Knee
    7. Rice Pudding

    Jeff Beck
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Trinity Lane Trinity Lane Quick View

    $19.99
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    Trinity Lane

    This record was written mostly in the summer of 2016 in my apartment off of Trinity Lane. A few tunes came out on the road as well. After moving out of an ex's house, I settled into a new neighborhood down the road. Shortly after, I picked up a tour with my good friend John Moreland where we went to the West Coast and back. I was trailing them in my little 2002 Honda Accord that has literally been all over the country with me. A woman in my early 30s, I found myself sick of my same old shit. I was inspired by the landscape of the west. My faith was tested on the curves of the Highway 101 through the Red Woods. I got terrifyingly stoned on weed gummy bears in Denver. I saw real cowboys in Wyoming and drove through a flood in Arkansas. I felt displaced, but connected.

    Upon returning to the south, my home of Tennessee, I slunk back into my nook off of Trinity. I went over all the things I'd seen. There had been a freedom in being so far away - a lack of responsibility, a distance from some of the issues, if you will, though I'd carried them right with me, back to my birthplace of Los Angeles, peering over the ocean, wondering how you can come so far yet end up in the same place. I contemplated fleeing and just staying in California, but the south is my home and I had to deal with what needed to be dealt with. I started to write. And go to the park. And listen to records. And play my guitar every night. Every time I wanted a man, I picked up my guitar. Every time I wanted a drink, I picked up my guitar.

    Love will take you to the darkest places but also to the most honest places if you let it. Learning how to love myself is something I've always been lousy with, and I spent some time on that. I thought about my sobriety, what that means to me, the struggles I'd had throughout the years, since I was a 27-year-old and hung up my toxic drinking habit. I thought about my mother, who took her own life when I was a baby, not far from my age at 30 years old, and I related to her more than ever. As you can see, there was plenty of time spent on my own. I didn't talk to that many folks, albeit a few close friends, and leaned into my family. I stayed away from men, and danced alone in the evenings, looking out my window observing my humble and lively neighborhood. I found power in being by myself. I found peace in the people I was surrounded with - we didn't really know one another, but we smiled when passed on the street. One time I almost rear-ended an older woman in her car backing out of my driveway and I said, Oh man, I'm just not used to any cars coming around this bend. She replied, This is our little hideout, baby. And it really was. The woods were behind me, Dickerson Pike was in the front.

    So after a while, I had all these songs to play, and wanted to share them. I wanted to get out of town to get some distance from everything, so after an ongoing conversation with Michael Trent, I took my band to Johns Island, SC and we holed up for a few weeks. I poured my heart out, and trusted them with it, and these guys gave it right back. I think we all understood what it's like to question home, intention, demons, love....I think most people understand that. I hope you love this record, I made it for you.

    1. All Kinds Of People
    2. The Night David Bowie Died
    3. Trinity Lane
    4. Everything I Had
    5. I Wanna Go Home
    6. Imposter
    7. Records
    8. Different, I Guess
    9. Rotterdam
    10. Sucker
    11. So Much You Don't Know

    12. See Ya Later
    Lilly Hiatt
    $19.99
    Vinyl LP - Sealed Buy Now
  • Dusty In Memphis Dusty In Memphis Quick View

    $21.99
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    Dusty In Memphis

    Ranked 89/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Britain's greatest pop diva Dusty Springfield was the finest white soul singer of her era and this landmark Atlantic Records album from 1969 is a masterpiece, a perfect marriage of pop and soul...contains her top 10 hit Son Of A Preacher Man plus several other hit singles and classic tracks...


    Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include Son Of A Preacher Man, So Much Love, Breakfast In Bed, Just One Smile, I Don't Want To Hear It Anymore and Just A Little Lovin'. Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians - collectively known as the Memphis Cats - include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

    1. Just A Little Lovin'
    2. So Much Love
    3. Son Of A Preacher Man
    4. I Don't Want To Hear It Anymore
    5. Don't Forget About Me
    6. Breakfast In Bed
    7. Just One Smile
    8. The Windmills Of Your Mind
    9. In The Land Of Make Believe
    10. No Easy Way Down
    11. I Can't Make It Alone
    Dusty Springfield
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Last Days of Oakland The Last Days of Oakland Quick View

    $23.99
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    The Last Days of Oakland

    Fantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit. In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to make it, who got it, and who lost it all. For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life.

    The first life ('who am I and where am I going?'). Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music. When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation. Shit was extra real in Oakland.

    By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette.

    The second life ('I want to be a star I think'). It didn't take long for Negrito to find himself entrenched in the 'Hollywood' lifestyle; clubs and bitches and bullshit politics that have nothing to do with great music. Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death.

    The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on 'what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit. He sold all of his shit and he quit.

    In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated. Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland.

    The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star. This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born.

    With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out. His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. Fuck what's hot now, what moves me? Negrito turned to the original DNA of all American music, the Blues. The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta.

    For Fantastic Negrito, derivative is the devil so to ensure his sound is his own, every chord comes from a place of immediacy. Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments.

    When you listen to Negrito, you're invited to hear the story of life after destruction. Your dream can die. You probably will give up. But from there, you can start everything over.

    1. Intro - The Last Days of Oakland
    2. Working Poor
    3. About A Bird
    4. Scary Woman
    5. Interlude - What Would You Do?
    6. The Nigga Song
    7. In the Pines (Oakland)
    8. Hump Thru the Winter
    9. Lost In A Crowd
    10. Interlude 2 - El Chileno
    11. The Worst
    12. Rant Rushmore
    13. Nothing Without You
    14. Push Back
    15. The Shadows
    Fantastic Negrito
    $23.99
    Vinyl LP - Sealed Buy Now
  • Made To Love Magic Made To Love Magic Quick View

    $24.99
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    Made To Love Magic


    Reissue


    The rarities collection, Made to Love Magic, contains demos captured in 1968 (when Drake was studying at Cambridge University) as well as solo-acoustic sketches of later songs - and a newly discovered piece, Tow the Line, which Drake scholars believe is one of the last things he committed to tape. The song, recorded in 1974, was found, unlabeled, at the end of a master tape when original engineer John Wood was mixing this album.


    Tow the Line, which lasts 2:16, is classic Drake, as simple as Pink Moon or any of his later works but almost more compelling because of its assertive, driving rhythm. Drake was an unerringly precise guitarist, and Tow the Line is an excellent showcase for his devices: He outlines the verses using a tapestry of delicate, yet tense, descending chords, and then chops out blunt, almost growly blues references on the refrain.


    There are other delights on Magic, among them a solo treatment of River Man (from Five Leaves Left) without the string orchestra; the somber, anguishing love ode Clothes of Sand; and a relaxed journey through Rider on the Wheel. Far more interesting than typical demos, laced with the shadowy moods some artists spend years chasing in studios, these casual performances suggest that there was never anything casual about Drake's art: Even when he was just jotting down some idea, he couldn't help infecting it with that strange, mournful magic.


    - Tom Moon (Rolling Stone)

    1. Rider On The Wheel
    2. Magic
    3. River Man
    4. Joey
    5. Thoughts Of Mary Jane
    6. Mayfair
    7. Hanging On A Star
    8. Three Hours
    9. Clothes Of Sand
    10. Voices
    11. Time Of No Reply
    12. Black Eyed Dog
    13. Tow The Line
    Nick Drake
    $24.99
    Vinyl LP - Sealed Buy Now
  • Last Exit Last Exit Quick View

    $26.99
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    Last Exit

    Limited 45th Anniversary Edition on 180 Gram Vinyl with Rare Gatefold Cover and Original UK Photos of Dave Mason, Stevie Winwood, Chris Wood and Jim Capaldi


    Mastered by Joe Reagoso from Original Island Records Tapes at Friday Music Studios with Kevin Gray


    Traffic were one of the premier architects of the acid rock movement in the sixties and blossomed further into one of the most important super groups of the seventies. Their recordings are the soundtrack to a generation of music enthusiasts that continues to this day and will forever stand the test of time.


    In 1968, the legendary founding members Stevie Winwood, Dave Mason, Jim Capaldi and Chris Wood went back to the recording studio after releasing two smash albums with Dear Mr. Fantasy and Traffic and continued their winning streak with their groundbreaking third LP Last Exit.


    Known for their superior progressive rock, jazz and pop influences, the multi-faceted music of Last Exit offers non-stop entertainment which truly illustrates the legendary talent of this English quartet. Whether standout tracks from the pens of Dave Mason like his classic rock opener Just For You or the prog-rock Winwood and Capaldi's classic Withering Tree, the Last Exit album has surely earned its currency over the years as one of the more important albums of their highly embraced musical catalog.


    Filled with the piano driven melodies and vocals of the legendary Stevie Winwood, the hard rocking vocals and guitar work of the masterful Dave Mason, the explosive sax breaks by the late Chris Wood and the power drumming and vocals of the late great Jim Capaldi, the Last Exit album will always be one of the most revered albums in their extraordinary career.


    Even further classics ensued with each of the hard rockin' seven tracks that make up this masterwork how about the smash sounds of Shanghai Noodle Factory or another Traffic classic Medicated Goo, plus more Windwood/Capaldi/Mason collaborations like Something's Got A Hold Of My Toe In addition to all of these brilliant tracks, there are two lengthy live performances captured at the Fillmore West with the jam vibes of Feelin' Good or the Bobby Blue" Bland belter Blind Man. No matter what track is your favorite, it's all about Traffic, classic Traffic, and it just doesn't get much better than this.

    1. Just For You
    2. Shanghai Noodle Factory
    3. Something's Got A Hold Of My Toe
    4. Withering Tree
    5. Medicated Goo
    6. Feelin' Good (from the musical production "The Roar of the Greasepaint - The Smell of the Crowd")
    7. Blind Man
    Traffic
    $26.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Hunger And Thirst Hunger And Thirst Quick View

    $17.99
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    Hunger And Thirst

    Kyle Morton sings the first line of Typhoon's Hunger & Thirst, I've started a new beginning... suspiciously like the old one, only this time, I'm ready, with the bravery and trepidation of someone who is staring down a familiar path, with all its known challenges and potential pitfalls, surrounded by his dearest longtime friends. Fittingly, producer Paul Laxer recorded Hunger & Thirst in Morton and his bandmates' beloved old Victorian rental house. The lease was about to be up; the landlady was about to be back from Korea - all 12 band members knew their time there was limited, that they were crafting an aural snapshot using room mics and dining rooms. That house can be heard all over the record if you're listening for it, spaciously framing Typhoon's lush, well-edited orchestration, its wood floors perfectly warming Morton's empowered, concerned, delicate vocals in a way that any studio environment would be hard-pressed to capture.


    These are songs about striving for what you want, then realizing that once you have it, you don't want it anymore; that maybe that elusive thing was never really the issue anyway. Morton sings about the searches, in all their permutations, the bruises healed by those important to you, impermanence, joy, and finding peace within the incessant desire that has always been man's burden. He sings with strength and hope about renewal (Starting Over), with the entire band in gospel-chorus about confronting and progressing (the .47 second The Mouth of the Cave) and with brutal honesty about struggling with a lifelong illness (The Sickness Unto Death). Everyone has their own unique path to follow, and Hunger & Thirst is a record that should remind us of the preciousness of exploration, the value of those we meet along the way, and the power within that sustains us on our quests.

    1. Starting Over (Bad Habits)
    2. White Liars
    3. CPR - Claws Part 2
    4. Ghost Train
    5. Body of Love
    6. Intermission
    7. Happy People
    8. Old Haunts, New Cities
    9. Mouth of the Cavern
    10. Belly of the Cave
    Typhoon
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rubber Soul (Awaiting Repress) Rubber Soul (Awaiting Repress) Quick View

    $22.99
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    Rubber Soul (Awaiting Repress)

    Ranked 5/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Sourced From the Original Master Tapes


    Cut at Abbey Road Studios


    Pressed on 180 gram vinyl


    From a modern perspective, this is where things start to get very interesting. Breaking out of the routine of squeezing albums between touring, Rubber Soul is the result of their first extended period in the studio.


    The production is open and spacious, adorned but not yet overcrowded with new instruments and ideas. The songs themselves are like little Pop Art vignettes, where the lyrics are starting to match the quality of the melodies and arrangements. Even a simple, witty rocker such as Drive My Car is played with such tight grooviness (listen to the synchronised bass and guitar) that it practically sparkles with self-amusement.


    Lennon, whose personality and leadership has been strongly at the fore throughout the early Beatles, really raises his game on Rubber Soul, with such thoughtful, breakthrough classics as Norwegian Wood (which showcases Harrison on a sitar), Nowhere Man, Girl and the utterly majestic In My Life (replete with George Martin's flighty harpsichord solo), surely one of the most perfect songs ever written.


    Lyrically, McCartney lags behind, but in some ways his lighter, poppier songs help keep Rubber Soul fresh and bubbly, while his melodic bass-playing takes a huge leap forward, propelling everything. There is a crisp innocence about this album, a sense of sweet delight and joyful discovery.


    A team consisting of some of the best producers and engineers in the recording industry were brought together and would spend 4 long years mixing and mastering with some of the most state of the art recording equipment. Treating these records much like a science experiment, engineers ran extensive tests before copying the analog master tapes over into a digital format using 24-bit/192 kHz resolution, and carefully removing clicks, vocal pops and poor edits. Never altering the original songs them selves, just polishing them up a bit.




    1. Drive My Car
    2. Norwegian Wood (This Bird Has Flown)
    3. You Won't See Me
    4. Nowhere Man
    5. Think For Yourself
    6. The Word
    7. Michelle
    8. What Goes On
    9. Girl
    10. I'm Looking Through You
    11. In My Life
    12. Wait
    13. If I Needed Someone
    14. Run For Your Life
    The Beatles
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Reach Beyond The Sun Reach Beyond The Sun Quick View

    $20.99
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    Reach Beyond The Sun

    Reach Beyond the Sun marks the fourth entry in Shai Hulud's storied catalog. The album was produced by current New Found Glory guitarist, Chad Gilbert, and notably, vocalist on Hulud's debut LP Hearts Once Nourished With Hope And Compassion. In addition to producing, Gilbert also returned to sing on the album - his first offering of recorded vocals with the band in over a decade. Not unlike Shai Hulud's previous releases, Reach Beyond the Sun was born of several years of toiling before ever entering a studio. The band's previous effort, Misanthropy Pure, a polished, metallic and frenzied piece of masterwork, is contrasted by the much more visceral, instinctively compositional songs found on Reach Beyond the Sun, an embracement of the raw hardcore/punk elements that sit at the cornerstone of the band's influences. Longtime bass player Mad Matt Fletcher asserts, "Anyone who really knows the band will agree this album is our definitive sound, encompassing all of our different influences and styles." He conclusively reiterates, "Yep, this sounds like Shai Hulud."


    In recording Reach Beyond the Sun, Shai Hulud welcomed the vocal talents of accomplished friends from throughout the hardcore community. Fans will note guest vocals from: Jay Pepito (Reign Supreme, Blacklisted) on "A Human Failing, John Vigil (The Ghost Inside) on "If A Mountain be My Obstacle," Louis Hernandez (Alpha & Omega) on "Man Into Demon," all officially recorded former Hulud vocalists Matt Mazalli, Damien Moyal, and Geert van der Velde on "Medicine to the Dead," as well as additional vocals throughout the album from the likes of Justin Krauss (With Life In Mind), Martin Stewart (Donnybrook, Terror), David Wood (Down To Nothing, Terror), among others.

    1. The Mean Spirits, Breathing
    2. I, Saturnine
    3. Reach Beyond the Sun
    4. A Human Failing
    5. Man Into Demon: And Their Faces Are Twisted With the Pain of Living
    6. Medicine to the Dead
    7. To Suffer Fools
    8. Think the Adder Benign
    9. Monumental Graves
    10. If a Mountain Be My Obstacle
    11. At Least a Plausible Case for Pessimism
    Shai Hulud
    $20.99
    Vinyl LP - Sealed Buy Now
  • Parting Glances Parting Glances Quick View

    $18.99
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    Parting Glances

    In 2010 Nicole Schneit aka Air Waves released Dungeon Dots, an album Aquarius Records called pretty much perfect pop music. For her new album Parting Glances, Schneit enlisted friends from Brooklyn's music community to contribute to the record, including members of Woods, Crystal Stilts, Ava Luna, and Hospitality. Additionally, Jana Hunter of Lower Dens contributes vocals to two songs. The album's title comes from the 1986 film Parting Glances in which Steve Buscemi portrays a gay man navigating the difficulties of being in a relationship in Reagan-era New York. More than just identifying with the story, Schneit is interested in the in the lasting effect of the parting glances we share with strangers in our everyday encounters. She explains You see all sorts of physical and emotional traits on the train. From people puking, making out, screaming, crying, laughing, dancing, grooming, etc. We encounter each other in the thick of our complex lives by simply looking at each other all the time. These glances are mundane and fleeting but also powerfully intimate. The lingering impact of those brief moments seeps into the details and imagery she delivers with energizing hooks and a disarming lack of pretense on Parting Glances.
    1. Horse Race
    2. Calm
    3. Lines
    4. Fantasy
    5. Frank
    6. Milky Way
    7. Touch of Light
    8. Thunder
    9. Sweet Talk
    10. Older
    11. 1000 Degrees
    12. Tik Tok
    Air Waves
    $18.99
    Vinyl LP - Sealed Buy Now
  • From Elvis In Memphis From Elvis In Memphis Quick View

    $29.99
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    From Elvis In Memphis

    Ranked 190/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


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

    Mastered by Joe Reagoso and Kevin Gray from the Original RCA Records Tapes/Manufactured at RTI


    Elvis' Groundbreaking Comeback Album!



    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early '50s, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known!


    The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long-term deal, and his first RCA single "Heartbreak Hotel" forever etched 'The King Of Rock And Roll' trademark to his name. For the remainder of the 1950's into the mid-60's, Elvis Presley would release several dozen more hit albums and smash singles, spend time in the Army, star in a plethora of top charting films, as well as sell out concert tours around the states and Canada making him the most successful solo artist of all time.


    As the turbulent '60s roared on, styles of music would change and rock and roll was becoming more infused with psychedelic and harder rock elements. Elvis wasn't a follower by any means, so he got back to his roots and began another chapter of his career which many have called The Elvis "Comeback" era. First witnessed on his impeccable Elvis television program on NBC-TV in 1968, a new and exciting rock superstar was truly back to reclaim his crown.


    Thanks to his chart topping smash recording of "In The Ghetto," this southern fried deep soul sounding Elvis Presley was just what the fans were screaming for and soon enough an entire album was built around this great new sound entitled From Elvis In Memphis. The 1969 album also was a blockbuster as it topped the upper rungs of the pop and country charts, making this one of his biggest albums of his career as well as one of his most revered. From Elvis In Memphis truly proved once again that his career was unlike any other in music history.


    Produced by Chips Moman, the From Elvis In Memphis album takes off with the two soul stirring rockers "Wearin' That Loved On Look" and the Jerry Butler Philly groove of "Only The Strong Survive." More Elvis favorites follow with the country ballad "Long Black Limousine" and the rockin' interpretation of Hank Snow's classic "I'm Movin' On." The album also features a nice helping of solid interpretations of Elvis' own favorites like Burt Bacharach's classic "Any Day Now," the timeless "Gentle On My Mind" by John Hartford, and of course the heartfelt Mac Davis composition "In The Ghetto." In total, the album showcases twelve important Elvis Presley recordings which have truly gone onto become definitive classics by any measure of popular music.


    In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the limited edition 180g audiophile vinyl release of the RCA Victor classic From Elvis In Memphis by Elvis Presley. As a third installment in their exciting Elvis Presley 180 Gram Audiophile Vinyl Series, Friday presents this masterwork in all its high fidelity glory. Mastered impeccably from the original stereophonic RCA Victor Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at R.T.I., From Elvis In Memphis will be a much anticipated audiophile dream release for Elvis fans everywhere!


    For this exclusive presentation, Friday is also including for the first time ever gatefold artwork which includes the groundbreaking original LP cover elements as well as more rare visuals from this historic Elvis Presley era. They are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your Elvis vinyl in mint shape.


    Musicians:

    - Elvis Presley (vocals, guitar, piano)

    - Tommy Cogbill (bass)

    - Bobby Emmons (organ)

    - Mike Leech (bass)

    - The Memphis Horns

    - Ronnie Milsap (piano)

    - Bobby Wood (piano)

    - Reggie Young (guitar)

    1. Wearin' That Loved On Look
    2. Only The Strong Survive
    3. I'll Hold You In My Heart (Till I Can Hold You In My Arms)
    4. Long Black Limousine
    5. It Keeps Right On A-Hurtin'
    6. I'm Movin' On
    7. Power Of My Love
    8. Gentle On My Mind
    9. After Loving You
    10. True Love Travels On A Gravel Road
    11. Any Day Now
    12. In The Ghetto
    Elvis Presley
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Fences Fences Quick View

    $20.99
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    Fences

    New Album Produced By John Vanderslice (Spoon, The Mountain Goats, Samantha Crain)


    Mastered By Bernie Grundman (Michael Jackson's Thriller, Dr. Dre's The Chronic, Carole King's Tapestry)


    180-Gram Vinyl Pressed By Quality Record Pressing


    Vinyl Lacquers Were Cut Directly From Analog Tape


    Dear listener,


    Fences is something new for our band Bombadil. It is more than just an album; it is a new path, a reset after several challenging years. The path began in January 2015, when a longtime member of Bombadil unexpectedly left our band. Daniel Michalak and I sat down to discuss our next steps. It was a time for soul searching. A duo of a bassist and drummer did not feel like a band. Moving forward seemed daunting, but we both felt like there was more to say with the band. We wanted to make music. So we began simply by making some. Writing and recording the Still Bombadil EP was fun. A fast and dirty exploration of a creative idea, no room for fiddling, deadline looming. Our last album, Hold On, had not been like that. It had been an ordeal.


    Daniel suggested composing songs using guitar instrumentals our old bandmate Bryan Rahija had written, and of limiting ourselves to a small palette for the next album: guitar, piano, upright bass, harmony vocals. The goal was to make a folk record, something easy to understand, something beautiful. He shared a demo for "Binoculars" and I loved it. It was simple, elegant. We added it to the live set almost immediately. Daniel continued writing, focusing on guitar, harmony, and emotion. The songs inconveniently had no drums (what was I going to play?!). He instead wrote parts for me to sing and we began collaborating on composing tunes with a similar approach. "Fence" was written together at a friends house in Crozet, Virginia to kill time on tour. An old song of mine, "Long Life," was revived and extended. Percussion parts started to show up. Daniel's commitment to songwriting continued to inspire, a new demo was in my inbox almost weekly. Daniel enlisted the help of an old friend and data scientist, Nasir Bhanpuri, to analyze the success of our old catalog of songs and make suggestions to guide our writing and arranging. It was an experiment that pushed us to take the songs further than we might have in the past. In part, we were throwing ideas at the wall to see what would stick, but we were also searching for something new, actively trying to push ourselves to new creative heights.


    We kept the Bombadil ship moving by accepting all shows, searching for more opportunities to play. We found wonderful people to tour in our band. There were good shows. There were bad ones, too. I learned to be a lead singer on the fly and on stage (with the help of an encouraging septuagenarian opera singer). And we kept writing, practicing, and recording. In July 2015, Stacy Harden sent me an email inquiring if we needed a musician. In his audition, he played through songs like he had been in the band all along. He even knew the harmonies. He had grown up a fan of the band, singing along in the car. In October, Stacy and I drove our equipment across the country for a West Coast tour in a four-day sprint and listened to every song the Beatles recorded. His easy-going spirit was infectious, his presence made the band more fun and more inspiring. We had found our man. "What's So Great About You" was the first collaboration between this new trio, and we started to discover what a new version of our band sounded like.


    In January 2016, the three of us left North Carolina for Littleton, Massachusetts to spend several weeks at a friend's farmhouse. We recorded all day long, cooked together, spent our breaks around a roaring wood stove carefully tended to by Daniel. The resulting demo recordings gave us a roadmap to follow. Our label, Ramseur Records, suggested a producer, a departure after self-recording our last three records. John Vanderslice was given the demos and was enthusiastic about the material. He insisted that we listen closely to Paul Simon's first record. He told us the songs needed a sense of danger, that our demos felt like we were being too careful, and that the songs needed more percussion. John is opinionated, talented, and inspirational. And most of all, making the record with him over 12 days in September 2016 at Tiny Telephone in San Francisco was easy. And fun. And fast. We used only analog equipment, recording to tape through high-end vintage equipment. Bryan came to play his guitar parts (which by this point Stacy had learned for live performances of the material). The recordings were all first takes, new ideas were quickly embraced, mistakes were left alone as intention, very little artificial reverb was used but John's concrete echo chamber was used extensively. We hoped to catch lightning in a bottle and I think that we did.


    To me, Fences represents the journey of the last two years. It is the discovery of a group voice, the willingness to explore collaboration between old friends, and an openness to let new voices into the fold. It is something I am proud to have been a part of and am excited to share with the world. To me, it is an example of the power and positivity of collaboration, of a group of human beings working diligently on a shared vision. If nothing else, I can say that we tried as hard as we possibly could. I can't wait to do it again.


    Thank you for listening,


    James Phillips/Bombadil

    1. What's So Great About You
    2. Not Those Kind of People
    3. Binoculars
    4. Math and Love
    5. Perfect
    6. Fence
    7. Good News Sadie
    8. I Could Make You So Happy
    9. Long Life
    10. Is This Danger
    11. No Snow in the Valley
    Bombadil
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Piano In The Background (Speakers Corner) Piano In The Background (Speakers Corner) Quick View

    $34.99
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    Piano In The Background (Speakers Corner)

    Big band fans, take note! These nine numbers, in precisely this version, belong in every collection. We are talking about the year 1960, and the 17 musicians involved have probably performed this very repertoire every night in a different venue all over the globe. But in the studio it all sounds fresh and new, well practised but never dull, cool, groovy and intoxicating. The difference to a great number of other Ellington LPs is that here not a single wind soloist stands in the foreground but the whole body of musicians.


    The arrangements are all new and some of them are even quite unusual, but Sam Woodyard on the drums has everything well under control - sometimes not at all 'Ellington-like'.
    Snapping the fingers is automatic, and tapping your foot is also not to be frowned on; however this recording demands careful listening! If you have the first version of these numbers in your collection then it would be a good idea to compare them with this recording. The Duke Ellington Orchestra remains young, dynamic and varied thanks to a continually changing ensemble. And the 'Piano Man', as the best 'pause-filling' pianist ironically called himself, sat full of vigour before the 88 keys of the keyboard at the age of 60.


    Not only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound.


    Musicians:


    • Duke Ellington (piano)
    • Johnny Hodges, Harry Carney, Russell Procope (saxophone)
    • Ray Nance, Willie Cook (trumpet)
    • Lawrence Brown, 'Booty' Wood (trombone)
    • Aaron Bell (bass)
    • Sam Woodyard (drums)



    Recording: May and June 1960 at Radio Recorders, Los Angeles

    Production: Henri Renaud


    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. Happy Go Lucky Local
    2. What Am I Here For
    3. Kinda Dukish / Rockin' In Rhythm
    4. Perdido
    5. I'm Beginning To See The Light
    6. Midriff
    7. It Don't Mean A Thing
    8. Main Stem
    9. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Another Life Another Life Quick View

    $16.99
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    Another Life

    James Maddock affirms his status as a fixture in downtown Manhattan's folk and Americana scene with his album 'Another Life.' As NPR says of the British transplant, "his timeless songwriting style, which seems to draw from great songwriters of every era, conveys quiet confidence and lovely intimacy."


    Nodding to '70s rock with shimmering acoustic guitars, an understated rhythm section and flourishes of fiddle, mandolin, piano and dobro, 'Another Life' bridges the mainstream appeal of songwriters like Jesse Harris and Norah Jones and the quirkier sensibility of Loudon Wainwright. With funding entirely from fan contributions through PledgeMusic, Maddock worked with producer Matt Pierson, multi-instrumentalist Larry Campbell (who's played with Bob Dylan and Levon Helm) and bassist Tony Scherr (who plays with Norah Jones).


    The 13 songs on 'Another Life' paint a portrait of a man reaching the midpoint of his life, a natural progression from themes in Maddock's earlier releases. He's looking back on roads not taken, and isn't always sure he chose the right one. On the title track, Maddock wants an extra 50 years to try "acting, white-water rafting," "some illegal substances," even having a kid or three. "I've Been There Too," built around an indelible guitar riff, shows Maddock's knack for instrumental hooks as well as lyrical ones. "Don't Go Lonely," in a well-timed moment of levity, hints at reggae with dub bass, bubbling organ and the chorus's entreaty to "go get high, go get found, go crazy on this town / don't go lonely."


    After fronting the Columbia Records band Wood, whose debut 'Songs From Stamford Hill' was featured prominently on TV shows such as "Dawson's Creek," Maddock moved from England to New York City in 2003. His 2009 album 'Sunrise On Avenue C' won a New York Music Award for Best Americana Album, while follow-up 'Wake Up And Dream' ranked among the top albums of 2011 in WFUV's (NYC) Listener Poll. He's performed with Bruce Springsteen, Willie Nile, Aaron Comess (Spin Doctors) and David Immergluck (Counting Crows), sang on an album with Susan McKeown, and is a resident artist at Rockwood Music Hall. According to radio legend Vin Scelsa, Maddock's heartbreakingly beautiful and exquisitely crafted music touches the soul.

    1. Another Life
    2. Arizona Girl
    3. Timing's Everything
    4. Ive Been There Too
    5. That's Heavy
    6. What I Miss
    7. Easy To Give
    8. Don't Go Lonely
    9. What Have I Done?
    10. Strategies For Life
    11. Better On My Own
    12. If I Had A Son
    13. Making Memories
    James Maddock
    $16.99
    Vinyl LP - Sealed Buy Now
  • Babel (Awaiting Repress) Babel (Awaiting Repress) Quick View

    $16.99
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    Babel (Awaiting Repress)


    Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.


    Fantastic 4 Star review from American Songwriter!



    There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.

    So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.


    Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.


    The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.


    While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.


    Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.


    There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.


    Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.


    1. Babel
    2. Whispers In The Dark
    3. I Will Wait
    4. Holland Road
    5. Ghosts That We Knew
    6. Lover Of The Light
    7. Lovers' Eyes
    8. Reminder
    9. Hopeless Wanderer
    10. Broken Crown
    11. Below My Feet
    12. Not With Haste
    Mumford And Sons
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Black, Brown And Beige (Speakers Corner) Black, Brown And Beige (Speakers Corner) Quick View

    $49.99
    Buy Now
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    Black, Brown And Beige (Speakers Corner)

    Black, Brown, & Beige is Duke Ellington's musical representation of the African-American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's Black, Brown, & Beige a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three-movement symphony or accept Ellington's own personalized terminology »Tone Parallel«, Black, Brown, & Beige matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.


    The history of Black, Brown, & Beige is in its own right momentous. Ellington premiered the work at Carnegie Hall on January 23, 1943, at Duke's first performance on that illustrious stage. The Maestro has created the Come Sunday Suite. Duke Ellington basically reduced his three movement work to its first, Black, elevating that movement's spiritual theme, Come Sunday, making it the melody of the edited work. Truncating the symphony Black, Brown, & Beige into the song Come Sunday works because Duke Ellington has expanded Come Sunday through numerous theme and variations unknown to the original. The piece de resistance: a sacred text, by Duke himself, a text sung by the best known African-American religious singer in history, Mahalia Jackson. There is no doubt that it is the presence and performance of Mahalia Jackson which secures a home in the pantheon for this recasting of Black, Brown, & Beige, a work that already resided there.


    And Duke Ellington pulled off this coup with one hand tied behind his back, or without the services of his right-hand man. Overlooked over the years since the album Black, Brown, & Beige was recorded in February 1958 is the absence of Johnny Hodges (Hodges did a gig with Strayhorn in Florida during this period), the Ellington band's premier soloist


    The sides C & D are released on vinyl for the first time with this issue.


    Recording in mono.


    Musicians:



    • Duke Ellington (piano)

    • Mahalia Jackson (vocal)

    • Clark Terry (trumpet)

    • Ray Nance (trumpet, vocal)

    • Quentin Jackson (trombone)

    • Harry Carney (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Jimmy Hamilton (clarinet)

    • Russell Procope (clarinet, alto saxophone)

    • Jimmy Woode (bass)

    • Sam Woody (drums)



    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.

    LP 1
    1. Part I
    2. Part II
    3. Part III (AKA Light)
    4. Part IV (AKA Come Sunday)
    5. Part V (AKA Come Sunday)
    6. Part VI (23rd Psalm)


    LP 2
    1. Track 360 (AKA Trains)(Alt. Take)
    2. Blues In Orbit (AKA Tender)(Alt. Take)
    3. Part I (Alt. Take)
    4. Part II (Alt. Take)
    5. Part III (AKA Light) (Alt. Take)
    6. Part IV (AKA Come Sunday)(Alt. Take)
    7. Part V (AKA Come Sunday)(Alt. Take)
    8. Part VI (23rd Psalm)(Alt. Take)
    9. Studio Conversation (Mahalia Swears)
    10. Come Sunday (A Capella)

    Duke Ellington & Mahalia Jackson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 2 LPs Sealed Buy Now
  • Temporary People (Out Of Stock) Temporary People (Out Of Stock) Quick View

    $12.99
    x

    Temporary People (Out Of Stock)

    Temporary People is the second LP by Joseph Arthur And The Lonely Astronauts, a NYC-based collective. Arthur, along with guitarists Kraig Jarret Johnson (The Jayhawks) and Jennifer Turner (Fur Slide, Natalie Merchant), drummer Greg Wieczorek (Twilight Singers) and bassist Sibyl Buck, descended upon the Catskill wilderness to conjure what Arthur testifies as a fully-realized, awesome explosion of rock and roll. The best and truest things are born out of necessity, Arthur explains. I hung onto the recording of this album like a man in the middle of the ocean would to a a piece of wood floating by, you can hear it in the songs and you can hear it in the band pulling together. This album is the sound of survival. The follow up to 2007's Let's Just Be, Temporary People finds the Astronauts steeped in rattling anthems (Faith, Temporary People), unearthly rock revivals (Dead Savior, Look into the Sky) and classic country inspired hymns (Say Goodbye, Turn You On).


    Jo is one of those rare writer-performers where you get the sense, whatever your belief, that something greater is being channeled through his music and voice. Like Patti Smith, Grant Lee Phillips, Thom Yorke, he trances and the voice, the meaning, becomes bigger than him, bigger than a few pop chords or words strung together. It touches something very deep and universal. - Michael Stipe, R.E.M.

    1. Temporary People
    2. Faith
    3. Say Goodbye
    4. Dead Savior
    5. Look into the Sky
    6. Sunrise Dolls
    7. Dream is Longer than the Night
    8. Heart's A Solder
    9. Turn You On
    10. Winter Blades
    11. Drive
    12. Good Friend
    Joseph Arthur And The Lonely Astronauts
    $12.99
    Vinyl LP - Sealed Temporarily out of stock
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