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  • MFSL Original Master Record Sleeves (50) MFSL Original Master Record Sleeves (50) Quick View

    $19.99
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    MFSL Original Master Record Sleeves (50)


    Quantity Discounts Available:


    2+ Packs - $18 each

    4+ Packs - $17 each

    10+ Packs - $16 each

    20+ Packs - $15 each



    Please update quantity in cart to receive discount.


    Imitation is the highest form of flattery, but don't be fooled! Only the Original Master Sleeves from Mobile Fidelity Sound Lab offer the finest protection for your valuable records. These imported, three-ply, anti-static, premium record sleeves have been used in MFSL LP packaging for decades and now you can use them to care for all your vinyl!

    Mobile Fidelity
    $19.99
    Rice Paper Record Sleeves Buy Now
  • Blues Jam At Chess (Pure Pleasure) Blues Jam At Chess (Pure Pleasure) Quick View

    $49.99
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    Blues Jam At Chess (Pure Pleasure)

    No introduction needed for this fabulous release. Arguably one of the greatest blues recordings laid down in the last 40 years! Just checking out the personnel above says it all. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must for all serious collectors and muso's alike!




    Musicians:



    • Fleetwood Mac

    • Otis Spann

    • Willie Dixon

    • Shakey Horton

    • J.T. Brown

    • Guitar Buddy

    • Honey Boy Edwards

    • S.P. Leary




    Recording: January 1969 at Chess Ter-Mar Studios, Chicago

    Production: Mike Vernon and Marshall Chess



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Side One

    1. Watch Out

    2. South Indiana - Take 1

    3. South Indiana - Take 2

    4. Last Night

    5. Red Hot Jam



    Side Two

    6. I'm Worried

    7. I Held My Baby Last Night

    8. Madison Blues

    9. I Can't Hold

    10. I Need Your Love

    11. I Got the Blues



    Side Three

    12. World's in a Tangle

    13. Talk with You

    14. Like it This Way

    15. Someday Soon Baby

    16. Hungry Country Girl



    Side Four

    17. Black Jack Blues

    18. Everyday I Have the Blues

    19. Rockin' Boogie

    20. Sugar Mama

    21. Homework

    Fleetwood Mac
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Blue Light 'Til Dawn (Pure Pleasure) Blue Light 'Til Dawn (Pure Pleasure) Quick View

    $49.99
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    Blue Light 'Til Dawn (Pure Pleasure)

    Cassandra Wilson started out as a jazz singer, doing gigs with several innovative bands (including Brooklyn's experimental M-Base collective) and at the same time recording typical jazz-singer let-me-entertain-you stuff - Night and Day and Blue Skies and shooby dooby dooby. Eventually the Mississippi-born New York-based vocalist, who reigned among the elite jazz singers of the 1980s, became restless, and began to look beyond torch songs for inspiration.




    Musicians:



    • Cassandra Wilson (vocal)

    • Don Byron (clarinet)

    • Olu Dara (cornet)

    • Brandon Ross, Chris Whitley (guitar)

    • Charlie Burnham (violin, mandocello)

    • Kenny Davis, Lonnie Plaxico (bass)

    • Tony Cedras (accordion)

    • Lance Carter, Bill McClellan (drums, percussion)



    Format: 2 LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. You Don't Know What Love Is
    2. Come On In My Kitchen
    3. Tell Me You'll Wait For Me
    4. Children of the Night
    5. Hellhound On My Trail
    6. Black Crow
    7. Sankofa
    8. Estrellas
    9. Redbone
    10. Tupelo Honey
    11. Blue Light 'Til Dawn
    12. I Can't Stand The Rain
    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Plays W.C. Handy (Pure Pleasure) Plays W.C. Handy (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Plays W.C. Handy (Pure Pleasure)

    The excellence of Louis' band is so high and so consistent that every man deserves commendation for his part in making this remarkably fine record. Trummy Young particularly should be singled out for his driving solos and for the way he 'boots' Louis in the final ensembles. The way I feel about this record can be summed up in this way: When I die, I want people to say, "That's the guy that if it hadn't been for him and Louis Armstrong and W. C. Handy, there wouldn't have been that great record, Louis Armstrong Plays W. C. Handy."
    (excerpt from the sleeve notes by George Avakian)



    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Velma Middleton (vocal)

    • Trummy Young (trombone)

    • Barney Bigard (clarinet)

    • Billy Kyle (piano)

    • Arvell Shaw (bass)

    • Barrett Deems (drums)



    Recording: July 1954 by Mason Coppinger
    Production: George Avakian




    About Pure Pleasure



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



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



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



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



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



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



    This title is not eligible for discount.

    1. St Louis Blues
    2. Yellow Dog Blues
    3. Loveless Love
    4. Aunt Hagars Blues
    5. Long Gone (From Bowling Green)
    6. Memphis Blues
    7. Beale Street Blues
    8. Ole Miss Blues
    9. Chantez Les Bas (Sing Em Low)
    10. Hesitating Blues
    11. Atlanta Blues (Make Me One Pallet On Your Floor)

    12. George Avakians Interview With W.C. Handy

    13. Loveless Love (rehearsal sequence)
    14. Hesitating Blues (rehearsal sequence)
    15. Alligator Story
    16. Long Gone (From Bowling Green) (rehearsal sequence)
    Louis Armstrong
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphony No. 9 (Speakers Corner) Beethoven: Symphony No. 9 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Symphony No. 9 (Speakers Corner)

    It was clear from the start that Beethoven's Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world's cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level.



    There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which "The Absolute Sound" journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven's rich abundance of ideas to ferment into a great whole.



    The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level.




    Musicians:



    • Pilar Lorengar, Stuart Burrows, and other soloists

    • The Chicago Symphony Chorus & Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1972 in the Krannert Centre of the University of Illinois, Chicago, by Kenneth Wilkinson and Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve



    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.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Any Day Now (Pure Pleasure) Any Day Now (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Any Day Now (Pure Pleasure)

    The material - many of the Dylan classics - is unsurpassable. Her voice is at its zenith, young, supple - neither undisciplined (as in her 1st records) nor the later, low vibrato warble. There is none of the self-conscious and silly Dylan vocal imitation found in Baez's later recording. Where Dylan's own singing is wonderfully raw and rough, Baez is clear and pure. Both are great for me, but very, very different from each other. These lovely renditions are like no one else's. Just pure Joan in her finest voice.



    She is backed here by several of the very best of '70s Nashville session musicians (pickers). Some folks think of Nashville sidemen as inevitably bound up with Country Music. While this is not counter-country, it fits much more into folk - as the names Dylan and Baez rightly connote.



    One Too Many Mornings is too often overlooked among Dylan's compositions, and this is among the best renditions I've heard. The full-length, unhurried treatment Sad Eyed Lady of the Lowland is spell-binding and satisfying. Perhaps my favorite, though, is the subtle and poignant Spanish Boots of Spanish Leather. Dylan's lyrical genius is fully manifest, in his gorgeous melody and Joan Baez's a wonderful performance.
    For many of us who listened both then and recently, this pristine work inevitably reminds us how much has aged in the decades since this earlier era - also recaptured so vividly in Dylan's own Chronicles. These are timely works, both for reminiscence and to introduce newbies to the non-acid experiences that stirred an earlier generation. But regardless of any social import, this is simply beautiful poetry and music.



    Musicians:



    • Joan Baez (guitar, vocal)

    • Fred Carter (mandolin)

    • Hargus 'Pig' Robbins (keyboards)

    • Stephen Stills, Pete Drake, Harold Rugg (guitar)

    • Tommy Jackson, Johnny Gimble (violin)




    Recording: 1968 by Selby Cofeen

    Production: Maynard Solomon



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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


    This title is not eligible for discount.

    1. Love Minus Zero/No Limit
    2. North Country Blues
    3. You Ain't Going Nowhere
    4. Drifter's Escape
    5. I Pity the Poor Immigrant

    6. Tears of Rage
    7. Sad-Eyed Lady of the Lowlands
    8. Love Is Just a Four-Letter Word
    9. I Dreamed I Saw St. Augustine

    10. The Walls of Redwing
    11. Dear Landlord
    12. One Too Many Mornings
    13. I Shall Be Released
    14. Boots of Spanish Leather
    15. Walkin' Down the Line

    16. Restless Farewell
    Joan Baez
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Duke Ellington's 70th Birthday Concert (Pure Pleasure) Duke Ellington's 70th Birthday Concert (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Duke Ellington's 70th Birthday Concert (Pure Pleasure)

    This double LP ranks as one of Duke Ellington's finest recordings of his final decade. The live performance gives listeners a good idea as to just how Duke's ensemble sounded in concert, and it serves as both a retrospective and a display of the strengths of Ellington's mighty band. Among the many highlights are definitive renditions of Rockin' in Rhythm and Take the 'A' Train (the latter has some wonderful Cootie Williams trumpet), a few features for altoist Johnny Hodges, a tenor battle on In Triplicate, a few guest spots for organist Wild Bill Davis, and a 16-and-a-half-minute, nine-song medley that really works well. The most memorable chorus of all is an incredible high-note display by Cat Anderson on Satin Doll that is arguably his most miraculous solo ever; each note he hits is virtually impossible to play on the trumpet, and is in tune, too. This gem is essential for all serious jazz collections.



    Musicians:



    • Duke Ellington (piano)

    • Johnny Hodges, Russell Procope (saxophone)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Lawrence Brown (trombone)

    • Wild Bill Davis (organ)

    • Victor Gaskin (bass)

    • Rufus "Speedy" Jones (drums)




    Recording: November 1969 live by Bob Auger

    Production: Noel Walker



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Side one:


    Rockin In Rhythm
    B.P.
    Take The A Train

    Tootie For Cootie


    Side Two:


    4:30 Blues
    El Gato
    Black Butterfly

    Things Aint What They Used To Be

    Laying On Mellow


    Side Three:


    Satin Doll
    Azure
    In Triplicate

    Perdido
    Fifi



    Side Four:


    Medley:
    Prelude To A Kiss

    Im Just A Lucky So And So

    I Let A Song Go Out Of My Heart
    Do Nothin Til You Hear From Me
    Just Squeeze Me
    Dont Get Around Much Anymore

    Mood Indigo
    Sophisticated Lady

    Caravan
    Black Swan
    Final Ellington Speech

    Duke Ellington
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Concierto (Pure Pleasure) Concierto (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Concierto (Pure Pleasure)

    Jim Hall's Concierto was arguably a masterpiece and possibly the greatest LP in the history of CTI. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall's interpretation of one movement from Rodrigo's Guitar Concerto, arranged by Don Sebesky. New tracks include alternate takes of You'd Be So Nice to Come Home To and Rock Skippin', plus Unfinished Business, an incomplete track that fades following Desmond's solo just as Hall starts to play (This song is actually La Paloma Azul, a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as The Blue Dove).



    Musicians:



    • Jim Hall (guitar)

    • Chet Baker (trumpet)

    • Paul Desmond (alto saxophone)

    • Roland Hanna (piano)

    • Ron Carter (bass)

    • Steve Gadd (drums)



    Recording: April 1975 at Van Gelder's Recording Studio, Englewood Cliffs, N.J., USA by Rudy Van Gelder

    Production: Creed Taylor



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. You'd Be So Nice To Come Home To
    2. Two's Blues
    3. The Answer Is Yes

    4. Concierto de Aranjuez
    5. Rock Skippin'
    6. Unfinished Business

    Bonus Tracks
    7. You'd Be So Nice To Come Home To (alternate take)

    8. The Answer Is Yes (alternate take)
    9. Rock Skippin' (alternate take)
    Jim Hall
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure)

    This is a wonderful live album. Recorded toward the end of Ella's career, by concert's end it is apparent that she has about lost her voice, but not the audience's adoration. The album showcases her in various settings: with the (obviously) reconstituted Chick Webb Orchestra, with Ellis Larkins, with Joe Pass and with Tommy Flanagan (of course); the album also has some nods to the Webb Orchestra, noteworthy for late-career blowing by 'Lockjaw' Davis. Highlights: Nice Work If You Can Get It, Good Morning Heartache (an intended and most worthy tribute to Lady Day), Miss Otis Regrets, the first encore of Some of these Days, and intended set-ender of Ella doing what she does best, scatting through Lemon Drop.



    Musicians:



    • Ella Fitzgerald (vocal)

    • Chick Webb Orchestra




    Recording: July 1973 at Carnegie Hall, New York



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. I've Gotta Be Me
    2. Good Morning Heartache
    3. Miss Otis Regrets
    4. Medley: Don't Worry 'Bout Me/These Foolish Things
    5. Any Old Blues
    6. A-Tisket A-Tasket
    7. Indian Summer
    8. Smooth Sailing
    9. You Turned The Tables On Me
    10. Nice Work If You Can Get It
    11. I've Got A Crush On You
    12. Medley: I Can't Get Started/The Young Man With The Horn/'Round Midnight
    13. Star Dust
    14. C Jam Blues
    15. Medley: Taking A Chance On Love/I'm In The Mood For Love
    16. Lemon Drop
    17. Some Of These Days
    18. People
    Ella Fitzgerald
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Painting Signs (Pure Pleasure) Painting Signs (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Painting Signs (Pure Pleasure)

    Painting Signs stands up as a complete work from beginning to end. Eric Bibb makes a fine case for blues as a music of introspection, warmth, and supreme nuance. Easily his most mature album to date, Painting Signs continues Bibb's formula of socially aware songs performed from an acutely personal point-of-view; standout tracks Don't Ever Let Nobody Drag Your Spirit Down and a cover of Hope In A Hopeless World hammer home his message of individual freedom and the responsibilities that accompany it. (It's no coincidence that Pops Staples, to whom Bibb dedicates this album, once recorded the latter song.) That's not to say Painting Signs is overly didactic or, indeed, 'heavy' in any way; even the most serious songs here, like the plea for peace and unity Got To Do Better, are leavened by a musical backdrop that's soulful and immediately accessible. Gospel-leaning backing vocals by Linda Tillery and her Cultural Heritage Choir help flesh out several cuts, and robust accordion fills by Bibb's longtime accompanist Janne Petersson add a subtle Louisiana flavor to the rolling, propulsive Kokomo and, to surprisingly good effect, the deep-grooved version of Jimmy Reed's Honest I Do. Elsewhere, he keeps a minimalist tone dominated by acoustic guitar, an arrangement that's particularly mesmerizing on the chilling title track. With its emphasis on sophisticated songcraft and its gentle blend of folk, gospel, and country influences, Painting Signs presents Bibb as an artist intent on blurring the line between blues and 'roots music' in general.



    Musicians:



    • Eric Bibb (vocal, guitar)

    • Wilson Pickett (vocal)

    • Dave Bronze (bass, guitar, vocal)

    • Robbie McIntosh (guitar)

    • Hans Theesink (mandolin)

    • Janne Petersson (organ, piano, electric piano, accordion)

    • Henry Spinetti (drums)

    • Linda Tillery & The Cultural Heritage Choir (backing vocal)



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Kokomo
    2. Hope In A Hopeless World
    3. Five Miles Above
    4. I Heard The Angels Singing

    5. Delia's Gone
    6. Got To Do Better
    7. The Light Was Worth The Candle

    8. Angel
    9. Walkin' Home

    10. To Know You
    11. Honest I Do
    12. Paintin' Signs
    13. Don't Ever Let Nobody Drag Your Spirit Down
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Couldn't Stand The Weather (Pure Pleasure) Couldn't Stand The Weather (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Couldn't Stand The Weather (Pure Pleasure)

    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80's. Vaughan drew equally from bluesmen like Albert King, Otis Rush, and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For the next seven years, Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.

    Musicians:



    • Stevie Ray Vaughan (vocal, guitar)

    • Jimmie Vaughan (guitar)

    • Stan Harrison (tenor saxophone)

    • Tommy Shannon (bass)

    • Chris "Whipper" Layton, Fran Christina (drums)



    Format: 2LPs 33rpm / standard sleeve



    About Pure Pleasure



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



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



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



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



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



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



    This title is not eligible for discount.

    Side 1
    1. Scuttlebuttin'
    2. Couldn't Stand The Weather
    3. Things That I Used To Do


    Side 2
    4. Voodoo Chile (Slight Return)
    5. Cold Shot


    Side 3
    6. Tin Pan Alley
    7. Honey Bee
    8. Stang's Swang


    Side 4
    9. SRV Speaks
    10. Hide Away
    11. Look at Little Sister
    12. Give Me Back My Wig
    13. Come On (Pt.3)

    Stevie Ray Vaughan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Clown (Speakers Corner) The Clown (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Clown (Speakers Corner)

    Who hasn't got an ancient, worn-out copy of The Clown on his shelf, with a tatty cover and torn inner sleeve? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. The Clown was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.


    In the present new release, The Clown can be enjoyed to the full from the very first note of Haitian Fight Song up until the words William Morris Sends Regrets in the title work.

    Musicians:



    • Charles Mingus (bass)
    • Curtis Porter (alto saxophone, tenor saxophone)
    • Jimmy Knepper (trombone)
    • Wade Legge (piano)
    • Dannie Richmond (Drums)
    • Jean Shepherd (Vocals)



    Recording: February and March 1957 in New York City by Tom Dowd and Larry Hiller in mono

    Production: Nesuhi ErtegÜn




    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. Haitian Flight Song
    2. Blue Cee
    3. Reincarnation of a Lovebird
    4. The Clown
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Desmond Blue (Pure Pleasure) Desmond Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Desmond Blue (Pure Pleasure)

    As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as My Funny Valentine, I've Got You Under My Skin, and Body and Soul, is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as My Funny Valentine, Late Lament, and Then I'll Be Tired of You. This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming Valentine, which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune I Should Care is »a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp,« according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond.



    Musicians:



    • Paul Desmond (saxophone)

    • Jim Hall (guitar)

    • Bob Prince (arranger, conductor & strings)



    Recording: 1962 at Webster Hall, New York City, by Ray Hall

    Production: George Aviakan



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    This title is not eligible for discount.

    1. My Funny Valentine
    2. Desmond Blue
    3. Then I'll Be Tired of You
    4. I've Got You Under My Skin
    5. Late Lament
    6. I Should Care
    7. Like Someone In Love
    8. Ill Wind
    9. Body and Soul
    Paul Desmond
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mahler - Symphony #2 (Speakers Corner) Mahler - Symphony #2 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Mahler - Symphony #2 (Speakers Corner)

    The search for the extra-musical world in Gustav Mahler's philosophical and programmatic works will doubtless continue to occupy future generations of music scholars. Today's music lovers, however, are wholly satisfied with the highly varied interpretations and impressive sound reproduction - which is precisely what Mahler himself wished for his rugged works. For decades Mahler's dramatic musical masterpieces were misunderstood and scorned as "kapellmeister music". Luckily interest in his works was revived and all nine symphonies were recorded in the 1960s by the recently deceased conductor Sir Georg Solti. Right up to this very day, his cycle has clearly lost nothing of its aura, its reputation for "never having been surpassed" - how could it otherwise have been so successful for so many years in the light of all the highly competitive, more recent recordings?



    After the success of the new pressing of Mahler's First Symphony (DECCA SXL 6113), it was high time that the Resurrection-Symphony became available on LP once more. And the result is most impressive. One can only hope that the complete Mahler cycle will one day be resurrected in vinyl.



    Musicians:



    • Heather Harper

    • Helen Watts

    • London Symphony Orchestra and Chorus

    • Sir Georg Solti (conductor)





    Recording : May 1966 at Kingsway Hall, London by Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve, booklet



    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.

    Gustav Mahler
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mahler - Symphony #3 (Speakers Corner) Mahler - Symphony #3 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Mahler - Symphony #3 (Speakers Corner)

    "My symphony will be something the world has never heard before. The whole of Nature will be lent a voice in it and will impart such deep secrets as those one might imagine in one's dreams." Mahler's vision of music which reflects the world finds its monumental culmination in his Third Symphony. The god Pan awakes to dull drum beats and rumbling basses. From afar a lied theme feels its way to the fore. The mild season of Spring dawns with song, sounds of nature and the budding of vegetation; then at last Summer marches in, grotesquely distorted in its exuberance, expressing the dualism of the innocence of Nature and its terrifying primeval force. Only in the finale are these contrarieties united in glorious harmony - although an undercurrent of doubt is always present.



    Sir Georg Solti and the London Symphony Orchestra are absolutely ideal for performing this mammoth, highly complex, multi-layered work. With fairly brisk tempi, clearly differentiated strings, and the usual excellent brass, Solti gives a gripping performance which no Mahler fan should miss - even if already has other recordings of the work in his collection.



    Musicians:



    • The London Symphony Orchestra

    • Sir Georg Solti (conductor)





    Recording: January 1968 at Kingsway Hall, London by Gordon Parry and James Lock

    Production: David Harvey




    Format: 2LPs 33rpm / gatefold sleeve, booklet



    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.

    Gustav Mahler
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Texas Flood (Pure Pleasure) Texas Flood (Pure Pleasure) Quick View

    $44.99
    Buy Now
    x

    Texas Flood (Pure Pleasure)

    It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood. Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre.



    When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, Love Struck Baby and Pride and Joy, then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's Tell Me, before building to the climax of Dirty Pool and I'm Crying. Vaughan caps the entire thing with Lenny, a lyrical, jazzy tribute to his wife.




    Musicians:



    • Texas Flood - Stevie Ray Vaughan (g, voc)

    • Tommy Shannon (b)

    • Chris "Whipper" Layton (dr)




    Recording: November 1982 at Down Town Studios, Los Angeles, and Riverside Sound, Austin (Texas) by Richard Mullen / September 1983 at The Palace, Hollywood, California

    Production: Stevie Ray Vaughan, Richard Mullen & Double Troubledeutsch



    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. Love Struck Baby
    2. Pride And Joy
    3. Texas Flood
    4. Tell Me
    5. Testify
    6. Rude Mood
    7. Mary Had A Little Lamb
    8. Dirty Pool
    9. Im Cryin
    10. Lenny


    Bonus Tracks:
    11. SRV Speaks
    12. Tin Pan Alley (AKA Roughest Place In Town)
    13. Testify (live)
    14. Mary Had A Little Lamb (live)
    15. Wham! (live)

    Stevie Ray Vaughan
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Lady Day (Pure Pleasure) Lady Day (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Lady Day (Pure Pleasure)

    Excerpt from George Avakian's notes on the album sleeve:



    When planning this album, I had a hellish time trying to choose what I thought were the absolute cream of Billie Holiday. In the course of this wrestling, it struck me that not only were Billie's vocals incredibly perfect, but that I could not remember a single instance of anyone playing a bad solo or even a bad phrase among the hundred or more performances I had to choose from in the golden period of her work. Checking over records (which was almost unnecessary, because I could still remember them almost note for note) was a rather beautiful and somewhat shattering experience. Jazz, a product of so many things - musical evolution, the social scene of a particular time, the economic atmosphere of the moment, what somebody had for breakfast that day - and none of those tings will ever come together again as they did when these records were made.



    Musicians:



    • Billie Holiday (vocal)

    • Ben Webster, Lester Young (tenor saxophone)

    • Johnny Hodges (alto saxophone)

    • Roy Eldridge, Buck Clayton (trumpet)

    • Benny Goodman, Art Shaw (clarinet)

    • John Truehart (guitar)

    • Teddy Wilson (piano)

    • John Kirby (bass)

    • Cozy Cole, Joe Jones (drums)




    About Pure Pleasure



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



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



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



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



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



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



    This title is not eligible for discount.

    1. Miss Brown To You
    2. I Wished On the Moon
    3. What A Little Moonlight Can Do
    4. If You Were Mine
    5. Summertime
    6. Billie's Blues
    7. I Must Have That Man
    8. Foolin' Myself
    9. Easy Living
    10. Me, Myself and I
    11. A Sailboat In the Moonlight
    12. I Cried For You
    Billie Holiday
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Friends (Pure Pleasure) Friends (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Friends (Pure Pleasure)

    Friends is the accurate and revealing title for New York bluesman Eric Bibb's tenth album since 1997. The cuts here feature rootsy folk and blues collaborations with different 'friends' in differing small group settings. The set starts with a killer acoustic slide duet between Bibb and Guy Davis on the nugget 99 ½ Won't Do. The contrast between Davis' sweet and smoky delivery and Bibb's husky wail - akin to Blind Willie Johnson's in places - offers a double-sided dimension in interpretation for the listener, as well. Elsewhere, Charlie Musselwhite gives a killer snaky harmonica performance on Six O' Clock Blues. Taj Mahal makes two appearances; one in a duet on Goin' Down Slow, and one in a trio with Bibb and Malian guitarist Djelimady Tounkara on a medley of the traditional Kulanjan and Bibb's own Sebastian's Tune. Speaking of Mali, and Mahal, Bibb also covers the elder bluesman's classic Lovin' in My Baby's Eyes, with the great kora player Mamadou Diabate that rivals the original. There's also a gorgeous version of Guy and Susanna Clark's The Cape, with guitarist Martin Simpson, Bibb's moving For You with Ruthie Foster, and Tain't No Such Thing, a bright new folk song written and sung with legendary folksinger Odetta. Mohan Veena ace Harry Manx performs with Bibb on the high lonesome, droning blues of Needed Time, and with Kristina Olsen on her If I Stayed. The set closes with the tender Dance Me to the End of Love, (an original, not the Leonard Cohen tune) with the Lovin' Spoonful Jerry Yester playing piano. Given that most records of this type are mixed bags at best, with 'star-studded' collabs serving to muck up or water down rather than enhance performances, Friends is an anomaly. There is nothing that's obvious or overblown here, everything is subtly shaded, and the performers serve the songs and not themselves. The listener gets no sense of back-patting or self-congratulation, only the great pleasure of hearing this music in a revealing, emotionally honest way. Bravo.



    Musicians:



    • Eric Bibb (arranger, guitar, vocal)

    • Odetta (vocal)

    • Ruthie Foster (vocal)

    • Guy Davis (arranger, harpsichord, vocal, guitar)

    • Taj Mahal (guitar, vocal, banjo)

    • Charlie Musselwhite (harpsichord)

    • Mamadou Diabate (kora)

    • Martin Simpson (guitar)

    • Michael Jerome Browne (fiddle, vocal, guitar, mandolin)





    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    This title is not eligible for discount

    1. 99 1/2 Won't Do
    2. Six O'Clock Blues
    3. Goin' Down Slow
    4. Lovin' In My Baby's Eyes
    5. For You
    6. The Cape
    7. 'Tain't Such A Much
    8. Needed Time
    9. If I Stayed
    10. Connected
    11. Ribbons And Bows
    12. Just Look Up
    13. Cowgirl Queen
    14. Kulanjan/Sebastian's Tune
    15. Dance Me To The End Of Love
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mobile Fidelity's PURE Record Rinse (Out Of Stock) Mobile Fidelity's PURE Record Rinse (Out Of Stock) Quick View

    $19.99
    x

    Mobile Fidelity's PURE Record Rinse (Out Of Stock)

    Mobile Fidelity PURE RECORD RINSE is the Purest of All Record Rinses... PERIOD! You Cannot Find a Fluid Anywhere this... PURE!


    Recommended as a Final Rinse Stage to Be Used With ANY Record Cleaning Solution to Remove Any and All Residual Detergents and Debris!


    Mobile Fidelity's PURE Record Rinse is the purest water you can find for cleaning records. Ultra-high purity Mobile Fidelity PURE Record Rinse is also used as the base of our other record cleaning fluids and is perfect for use as the final rinse step before putting LPs back into their sleeves (preferably into MoFi inner sleeves!).


    Every serious vinyl fan knows you should never rinse your records with tap water. Tap water contains trace minerals, chemicals and microscopic organic matter all of which can be deposited in freshly cleaned grooves. Bottled water comes from either the same sources as tap water or from natural springs which have an even larger amount of minerals.


    Purified water isnt subject to the same restrictions and regulations that apply to food or drugs, so purified doesn't necesarily mean PURE. Distilled water without additives is harder to find than ever and even water that has been distilled once or twice can still have contaminants.


    We highly recommend rinsing with Mobile Fidelity PURE Record Rinse. PURE is water that has gone through four stages of deionization, after which it is triple-distilled, then treated with high intensity ultraviolet light to kill all bacteria and microbiological particles. This leaves nothing in PURE to damage your vinyl.


    Mobile Fidelity has a history of setting industry standards. Now, we are the first to provide this extraordinary level of quality in our rinse water. Call us today to learn more about how analog lovers can benefit from Mobile Fidelity PURE Record Rinse.

    Mobile Fidelity
    $19.99
    32 oz. Record Cleaning Solution Temporarily out of stock
  • Weezer (Green Album) (Out Of Stock) Weezer (Green Album) (Out Of Stock) Quick View

    $34.99
    x

    Weezer (Green Album) (Out Of Stock)

    Weezer (Green Album) on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Concise, Tightly Played 2001 Power-Pop Album Features Back-to-Basics Approach


    Weezer's Fastest-Selling Release Includes "Hash Pipe," "Island in the Sun," "Don't Let Go"


    Record Launched One of Most Memorable Return-from-the-Dead Comebacks in History


    Mastered from the Original Master Tapes: Smooth, Big-Guitar Sound Resonates Like Never Before


    Weezer's self-titled third album, collectively known as the Green Album, nearly never came to pass. The band had all but broken apart, with leader Rivers Cuomo choosing to go back to college and the other members dismayed at the initial reception to 1996's Pinkerton. Persuaded at the turn of the century to return to the concert stage, the foursome launched one of the most enduring comeback stories in history, and in the process, penned 75 songs, the choicest of which grace 2001's concise, tightly played Green Album.


    Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue presents the music with by far the most dynamic range it's ever enjoyed. Cars icon Ric Ocasek's production comes into fuller relief, with guitar notes ringing with front-to-back depth and superb imaging. Cuomo's singing gains focus and clarity, and the rhythms that help give the tunes their incessant catchiness are better defined, with the low end finally present.


    That nearly everything on Green Album-from the cover to the producer to sonics-reflects those of Weezer's blockbuster debut isn't merely coincidence. The quartet, not yet realizing that Pinkerton had already become a cult classic (and, soon after, would be hailed as one of the most prized albums of its generation), intentionally pursued a back-to-basics approach that echoed its roots. Unadorned simplicity, skyscraper-sized hooks, and short-but-sweet arrangements are the hallmarks here, each a signpost on how rock albums can work their way into a listener's head and provide limitless satisfaction.


    Of course, however crucial, the music is just one component in Weezer's arsenal. Akin to its sibling efforts, Green Album wouldn't be the same devoid of Cuomo's lyrics, which exude charming personality and boyish awkwardness. Absent is the heart-on-a-sleeve obviousness of the fare of Pinkerton. The material here echoes with a related emotional universality whereby romantic yearning, fear of rejection, and getaway fantasies spark with the winking promise of enthusiasm and attainment. There's a reason every passage remains so accessible; playfulness and wryness abound. Power-pop efforts don't come more perfect.


    This title is not eligible for discount.

    1. Don't Let Go
    2. Photograph
    3. Hash Pipe
    4. Island in the Sun
    5. Crab
    6. Knock-Down Drag-Out
    7. Smile
    8. Simple Pages
    9. Glorious Day
    10. O Girlfriend
    Weezer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Tchaikovsky - Swan Lake (Speakers Corner) (Out Of Stock) Tchaikovsky - Swan Lake (Speakers Corner) (Out Of Stock) Quick View

    $69.99
    x

    Tchaikovsky - Swan Lake (Speakers Corner) (Out Of Stock)

    Here is a true delight for all ballet fans and music-lovers. This recording of what is probably Tchaikovsky's most popular ballet, Swan Lake, by Ernest Ansermet and his orchestra in a masterly performance is now available as a new pressing in vinyl. The Russian composer's first ballet is offered here on a double LP and although not a complete recording, this compilation (with a minimum of cuts) certainly comprises the most beautiful and expressive scenes, losing nothing in the process.



    "Ballet specialist" Ansermet and his wonderfully balanced Orchestre de la Suisse Romande offer here a recording which you'll want to hear again and again for it captures both the tragic moments of the fairy tale and the festive dance scenes. The precise winds in, for example No. 4, provide a marked contrast to the lively and exciting tutti (No. 5), while the gentle woodwinds blend charmingly with the dreamlike cantilena of the strings (No. 11). The various characteristics of the festive national dances (Polkas, Mazurkas, Hungarian Dance etc.) are performed with temperament, verve and rhythm, but it is the waltzes with their sweet dreaminess which invite the listener most of all to put on their dancing shoes and join in the dance.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October/November 1958 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker



    Format: 2LPs 33rpm / gatefold sleeve, booklet



    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. Swan Lake

    Pyotr Ilich Tchaikovsky
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • Out of the Afternoon (Speakers Corner) (Out Of Stock) Out of the Afternoon (Speakers Corner) (Out Of Stock) Quick View

    $34.99
    x

    Out of the Afternoon (Speakers Corner) (Out Of Stock)

    Roy Haynes - despite his 80 years still an active drummer and bandleader - can look back upon an extraordinary career. Almost more than any other drummer, he defined the rhythm of modern playing 'behind the drums'. A role in the background gave him no satisfaction, so it is no wonder that he has more than 30 LPs to his name.



    The present recording, which his Quartet made together with the blind multi-instrumentalist Roland Kirk in Rudy Van Gelder's studio in 1962, is certainly one of his very best. The seven numbers not only offer astounding moments of 'drum talk', and of syncopation carried out with absolute precision, they also offer the main soloist Roland Kirk the opportunity to display his amazing technique of simultaneous performance on some unusual instruments, in Moon Ray for example, or his use of various types of flute in Snap Crackle (see the cover text for further details), and his wealth of ideas in the ballads (If I Should Lose You).



    Perfect recording technique, brilliant arrangements of standard numbers, highly original evergreens, all played by true giants of their respective instruments - what better reasons are there to obtain this fantastic LP with its lavish gatefold sleeve?





    Musicians:



    • Tommy Flanagan (piano)

    • Henry Grimes (bass)

    • Rahsaan Roland Kirk (flute, percussion, tenor saxophone, stritch, manzello)

    • Roy Haynes (drums)




    Recording: May 1962 at Rudy Van Gelder Studios, Englewood Cliffs, N.J., USA, by Rudy Van Gelder

    Production: Bob Thiele





    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. Moon Ray
    2. Fly Me To The Moon
    3. Raoul
    4. Snap Crackle
    5. If I Should Lose You
    6. Long Wharf
    7. Some Other Spring
    Roy Haynes Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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