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  • Swing, Swang, Swingin' (Discontinued) Swing, Swang, Swingin' (Discontinued) Quick View

    $49.99
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    Swing, Swang, Swingin' (Discontinued)

    Prior to 1959, Jackie McLean was an important young Turk whose sharp tone and intense style on alto grew out of Charlie Parker yet were very much his own. Growing up in New York, his neighbors included such friends as Bud Powell, Thelonious Monk and Sonny Rollins. By 1951 he was recording with Miles Davis and other associations in the 1950s included Charles Mingus and two years with Art Blakey's Jazz Messengers. But all of that was a prelude to his recording 21 brilliant, explorative and frequently explosive albums for Blue Note during 1959-67. While McLean became one of the first jazz musicians of his generation to stretch beyond hard bop into freer explorations inspired by Ornette Coleman, Swing, Swang, Swingin' is a straight ahead affair in which he mostly puts his stamp on standards. Few versions of Let's Face The Music And Dance and I Love You have ever had this much intensity and, when McLean digs into the ballad What's New, he gives it a fiery passion that had never been heard before. Jackie McLean not only swings and swangs but he burns with the urgency, agony and ecstasy of the 1960s.



    Features:



    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


    Musicians:



    • Jackie McLean, alto saxophone

    • Walter Bishop Jr., piano

    • Jimmy Garrison, bass

    • Art Taylor, drums 


     



    This title is not eligible for discount.

    1. What's New
    2. Let's Face the Music and Dance
    3. Stable Mates
    4. I'll Remember You
    5. I Love You
    6. I'll Take Romance
    7. 116th and Lenox
    Jackie McLean
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • No Matter What No Matter What Quick View

    $16.99
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    No Matter What

    To deny reality is to create conict, he always tells us. No one knows how it happened, or when - but here in the last
    known metropolis on Earth, where all public memory has been erased, Evan Ønly is on a mission to recover the promise
    of our future. He works among other maverick scientists, artists, and revolutionaries in shadow, intent on piecing
    together our shattered history. It was mass denial that led us to the state we're in, Ønly is on a mission to prevent us
    from making the same mistake.


    His material draws inspiration from the classic "future vintage" synth pop he discovered through his archival
    explorations. His work is evocative of British pioneers Pet Shop Boys, La Roux, and David Bowie's "Let's Dance". The
    debut Evan Ønly EP, No Matter What, is a highly-evolved synth rock record. Produced by Ice Choir's Kurt Feldman at
    the pristine Winter Station, these rst six songs are personal anthems turned psychological pop. Ønly creates music in
    the belief that pop can still change the way we see ourselves and the world - the one we've inherited and the ones we'll
    build next.

    1. Shadows
    2. Take Me Back
    3. No Matter What
    4. Lifting Me Up (Feat. Alaina Riley)
    5. The Actress
    6. From the Stone
    Evan Ønly
    $16.99
    Vinyl LP - Sealed Buy Now
  • Mind Over Matter Mind Over Matter Quick View

    $24.99
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    Mind Over Matter

    For their highly anticipated second album MIND OVER MATTER, Young The Giant enlisted Grammy nominated producer Justin Meldal-Johnsen, known for his work with such diverse artists as Beck, Nine Inch Nails, Paramore, and M83. Featuring the electrifying lead single It's About Time, the collection of songs finds the young band challenging themselves both lyrically and musically.
    LP 1
    1. Slow Dive
    2. Anagram
    3. It's About Time
    4. Crystallized
    5. Mind Over Matter
    6. Daydreamer
    7. Firelight


    LP 2
    1. Camera
    2. In My Home
    3. Eros
    4. Teachers
    5. Waves
    6. Paralysis

    Young The Giant
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Handel - Water Music - Fireworks Music (Speakers Corner) Handel - Water Music - Fireworks Music (Speakers Corner) Quick View

    $34.99
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    Handel - Water Music - Fireworks Music (Speakers Corner)

    Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.



    The remarkable première of the Water Music - a suite of instrumental airs, fanfares, dances, and other delights - was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim.



    Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music - originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn - was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.



    In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.



    For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.






    Musicians:



    • London Symphony Orchestra

    • George Szell (conductor)




    Recording: August 1961 at Watford Town Hall, Watford by Kenneth E. Wilkinson
    Production: John Culshaw





    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.



    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Music From Peter Gunn (Speakers Corner) The Music From Peter Gunn (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Music From Peter Gunn (Speakers Corner)

    This is not only a great LP but a key piece of jazz and pop music history. Back in 1958, Peter Gunn was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series. With the main title theme, a driving, ominous, exciting piece of music to lead off the album, The Music from Peter Gunn became a huge hit, charting extraordinarily high for a television soundtrack and doing so well that RCA Victor came back the next year asking for a second helping (More Music From Peter Gunn) from Mancini.



    The music holds up: Session At Pete's Pad is a superb workout for the trumpets of Pete Candoli, Uan Rasey, Conrad Gozzo, and Frank Beach, while Barney Kessel's electric guitar gets the spotlight during Dreamsville; and Sorta Blue and Fallout are full-ensemble pieces that constitute quintessential 'cool' West Coast jazz of the period. In other words, it's all virtuoso orchestral jazz, presented in its optimum form.





    Musicians:



    • Henry Mancini (arranger, conductor)

    • Ted Nash, Ronnie Lang (alto saxophone)

    • Dick Nash, Milt Bernhart (trombone)

    • Pete Candoli (trumpet)

    • Johnny T. Williams (piano)

    • Larry Bunker (vibraphone)

    • Rolly Bundock (bass)

    • Jack Sperling (drums)




    Recording: August and September 1958 in Hollywood, CA.

    Production: Simon Rady




    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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


    1. Peter Gunn
    2. Sorta Blue
    3. The Brothers Go to Mother's
    4. Dreamsville
    5. Session at Pete's Pad
    6. Soft Sounds
    7. Fallout!
    8. The Floater
    9. SLow and Easy
    10. A Profound Gass
    11. Brief and Breezy
    12. Not from Dixie

    Henry Mancini
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Let My Children Hear The Music (Pure Pleasure) Let My Children Hear The Music (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Let My Children Hear The Music (Pure Pleasure)

    On the original LP issued by Columbia, Mingus thanked producer Teo Macero for his »untiring efforts in producing the best album I have ever made.« From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that Let My Children Hear Music was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington. The pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra.





    Musicians:



    • Snooky Young (trumpet)

    • Jimmy Knepper (trombone)

    • Julius Watkins (fruegel horn)

    • Charles McPherson (alto saxophone)

    • Jaki Byard (piano)

    • Charles McCracken (cello)

    • Ron Carter (bass)

    • Charles Mingus (bass, composer, arranger)

    • Dannie Richmond (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.


    1. Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
    2. Adagio ma Non Troppo
    3. Don't Be Afraid, the Clown's Afraid Too
    4. Hobo Ho
    5. Chill of Death
    6. The I of Hurricane Sue
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Golden Age of Harpsichord Music (Speakers Corner) The Golden Age of Harpsichord Music (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Golden Age of Harpsichord Music (Speakers Corner)

    The harpsichord, sometimes disrespectfully referred to as a plucked instrument with keys, left its stamp on the musical language of the Baroque as no other. Whether employed as a continuous bass to accompany delicate chamber music, or heard in heady open-air concerts, or just as a solo instrument, its bright sound, rich in overtones, was highly esteemed by all important composers and musicians of the era. Due to the construction of the instrument it is not possible to play with a differentiated volume of sound, so performers made a virtue of necessity in that they concentrated upon lively phrasing and a well-considered choice of register.



    In the present recording Rafael Puyana plays a two-manual Pleyel harpsichord and interprets a wide and varied range of European keyboard works from the 17th and 18th centuries. Along with compositions by Louis Couperin and Domenico Scarlatti's, both of whom had a great influence on style in their day, this compilation has at its heart works by the English composers John Bull, William Byrd and Peter Philips, which are taken from the most famous collection of all Baroque compositions, the Fitzwilliam Virginal Book. Short notes on the back cover provide useful information on the works' historical context.



    Musicians:



    • Besard, Couperin, Francisque, Scarlatti, Freixanet, Bach, Bull, Byrd, Philips, Peerson, and AlbÉniz - Rafael Puyana (harpischord)




    Recording: April and May 1962 at Ballroom Studio A of Fine Recording, New York City, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart-Fine and Harold Lawrence




    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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



    1. Branle Gay
    2. Tombeau de M. de Blancrocher
    3. Branle de Montirande
    4. Sonata in E Major, K. 381
    5. Sonata in A Major
    6. Concerto in D Minor, after Alessandro Marcello
    7. Les Buffons
    8. La Volta
    9. Pavana Dolorosa-Galiarda Dolorosa
    10. My Lady Carey's Dompe
    11. The Primrose-The Fall of the Leafe
    12. The King's Hunt
    13. Sinata In D Major
    Rafael Puyana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Kansas City Suite: The Music Of Benny Carter (Pure Pleasure)

    A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.



    The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today. To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!




    Musicians:



    • Sonny Cohn (trumpet)

    • Thad Jones (trumpet)

    • Henry Coker (trombone)

    • Benny Powell (trombone)

    • Marshall Royal (alto saxophone,clarinet)

    • Billy Mitcheel (tenor saxophone, clarinet)

    • Charles Fowlkes (bassoon, bass clarinet, flute)

    • Count Basie (piano)

    • Freddie Green (guitar)

    • Eddie Jones (bass)

    • Sonny Payne (drums)




    Recording: September 1960 at United Recorders, Los Angeles, by Wally Heider

    Production: Teddy Reig



    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.



    1. Vine Street Rumble
    2. Katy-Do
    3. Miss Missouri
    4. Jackson County Jubilee
    5. Sunset Glow
    6. The Wiggle Walk
    7. Meetin' Time
    8. Paseo Promenade
    9. Blue Five Jive
    10. Rompin' At The Reno
    Count Basie And His Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress)

    Country Joe & The Fish full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible - in fact, often delightfully witty - body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions (Flying High, Section 43, Bass Strings, The Masked Marauder), the group's folk roots (Sad and Lonely Times), McDonald's personal ode to Grace Slick (Grace), and their in-your-face politics (Superbird). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results - given the prodigious talents and wide-ranging orientation of this group - might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. One of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.




    Musicians:



    • Country Joe McDonald (guitar, harmonica, tambourine, vocal)

    • David Cohen (guitar, organ, vocal)

    • Barry Melton (guitar, vocal)

    • Bruce Barthol (bass, harmonium)

    • Chicken Hirsh (drums)




    Recording at Sierra Sound Laboratories, Berkeley, CA, USA, by Robert di Souza

    Production: Samuel Charters




    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.


    Country Joe & The Fish
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

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




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

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

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

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

    • Bruce Ditmas (drums)



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




    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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


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

    $19.99
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    Topiary (Colored Vinyl)

    Half-Moon Vinyl (Half Black, Half Transparent)


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • The Devil And God Are Raging Inside Me (Black Vinyl) The Devil And God Are Raging Inside Me (Black Vinyl) Quick View

    $42.99
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    The Devil And God Are Raging Inside Me (Black Vinyl)

    Import


    Black Vinyl Version


    When Brand New released Deja Entendu in mid-2003, it caught a lot of their fans off guard. It found the band taking a stylistic leap forward from the clever (albeit cookie-cutter) pop-punk of their 2001 debut, exploring expanded sonic textures and indie rock overtones, their urgent choruses tempered by acoustic musings and softer introspections. It all seemed very deliberate yet completely natural all the same, and the record was an underground smash. Something even more substantial was definitely brewing beneath the band's emo façade, and as a result, Brand New's follow-up was hotly anticipated for the three years it took the band to release it. The resulting The Devil and God Are Raging Inside Me is the completion of their pop-punk molting process and one of the best surprises -- that isn't really a surprise at all -- to come out of 2006. Even when they were playing straightforward pop-punk ditties, Brand New had an edge to them that made them seem smarter than their peers; now they sound even older and stronger (and like they've been listening to a lot of '90s college and indie rock). This record is dark and dense, yet accessible, a shadowy air permeating every crevice where Jesse Lacey's plaintive and often tortured lyrics aren't already residing. He draws listeners in with vulnerable ruminations and questions of love, death, self, and religion, and his vocal inflections bring as much meaning to the table as his carefully chosen words. The opening Sowing Season ebbs and flows steadily, moving along under light guitar before exploding with percussion, Lacey ably switching from a hushed delivery into an anguished cry of emotion before falling back down again effortlessly. With it, Brand New sets up the somber intensity of the record straightaway. Textural and sonic layers unfold at every turn -- punching drums and trembling guitars here, aching vocals and subtle touches of string there -- and the album moves with a directed force that seems so naturally powerful and uncontrived, it's almost ridiculous to think that the band cut its teeth with poppy anthems like Jude Law and a Summer Abroad. The Devil and God is not an album of hooks; the excellent percussive stomp of The Archers Bows Have Broken is the most immediate here, but songs get stuck in the brain nonetheless and demand repeated spins. Old fans especially smitten by Deja's Play Crack the Sky have no excuse not to love everything about this record, as even lengthy tracks (like the near-eight-minute Limousine or the chill-inducing beauty of Jesus) are completely compelling. People who were ready to discount Brand New into the emo/TRL heap of the 2000s better rethink their stance; Brand New seems to know exactly what they're doing and this record is a testament to their ability to stay true to themselves. Whether they want to stay underground or fully break into the mainstream, this album has the potential to do either. Either way it doesn't really matter -- whatever happens, there's no denying how excellent this record is.

    - Corey Apar (All Music)

    1. Sowing Season
    2. Millstone
    3. Jesus
    4. Degausser
    5. Limousine (MS Rebridge)
    6. You Won't Know
    7. Welcome to Bangkok
    8. Not the Sun
    9. Luca
    10. Untitled
    11. The Archers' Bows Have Broken
    Brand New
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Emergency Ward Emergency Ward Quick View

    $34.99
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    Emergency Ward

    Import

    Remastered


    Emergency Ward! (1972) is Nina Simone's statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day.


    The entire first side consists of a 18-minute medley of George Harrison's My Sweet Lord and a poem by David Nelson called Today Is a Killer, set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols' Cool Jerk with a call-and-response vocal arrangement - one of Simone's finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York.


    Side two consists of the Lennie BleecherJeremy Wind song Poppies and George Harrison's Isn't It A Pity. Tracks 1 and 4 were recorded november 18, 1971 at Fort Dix, and tracks 2-3 were recorded at the RCA Studio in New York City.

    1. My Sweet Lord
    2. Today Is A Killer
    3. Poppies
    4. Isn't It A Pity
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Feral Harmonic Feral Harmonic Quick View

    $19.99
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    Feral Harmonic

    Old Canes' second album Feral Harmonic is bold and loud, presenting folk and traditional music melded with new ideas, crafted with new intensity, and with the rulebook of contemporary recording thrown out the window. Production value, fidelity, a low noise floor, whatever, are all beside the point. says songwriter Chris Crisci (also frontman for Appleseed Cast). The only things I care about are the idea and the energy... Music loses out when the focus is on slick production, and not on expressing what matters most in a song.
    1.Intro
    2.Little Bird Courage
    3.Last Collapse, The
    4.Trust
    5.Next Flood
    6.Sweet
    7.Under
    8.I Will Be the Sun
    9.Stuck
    10.Flower Faces
    11.Black Hill Chapel
    12.Southern Radio
    Old Canes
    $19.99
    Vinyl LP - Sealed Buy Now
  • Silver Lake Silver Lake Quick View

    $30.99
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    Silver Lake

    "Chesnutt's stories always strike an honest and recognizable emotionalchord, no matter how oddball the situations that surround them." - All Music

    "Vic Chesnutt might never be famous, but his songs touch on inner truths thatlurk around us. They strike something deep inside their listeners' beings." - Pop Matters

    At the time, you could count on two things with Vic Chesnutt: he wouldapproach any topic from the delicate to the mundane and he would take anunexpected angle. With an incisive eye and razor wit, he would always cutstraight to the heart of the matter. He did so to great effect on Silver Lake,giving equal weight to the tender affirmation of "In My Way, Yes" and thescathing self-critique of "Styrofoam," and applying his delightfully odd spin tothe standard love story on both "Band Camp" (a funny, nostalgic tale of romancein the high school horn section) and the Brian Wilson homage "Fa-La-La" (asaga of unanswered longing that's set in a hospital). Chesnutt's idiosyncraticquaver and nylon-string strum are abetted throughout by generous rock and soularrangements, all of which were pristinely recorded by Daniel Lanois protegeMark Howard (who also produced Lucinda Williams's World Without Tears).

    LP 1
    1. I'm Through
    2. Stay Inside
    3. Band Camp
    4. Girls Say
    5. 2nd Floor
    6. Styrofoam
    7. Zippy Morocco
    8. Sultan, So Mighty


    LP 2
    1. Wren's Nest
    2. Fa-La-La
    3. In my Way, Yes
    4. Stay Inside
    5. Girls Say
    6. Band Camp
    7. Aunt Avis

    Vic Chesnutt
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Black Elvis / Lost In Space Black Elvis / Lost In Space Quick View

    $39.99
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    Black Elvis / Lost In Space

    Import

    Kool Keith is an American rapper from The Bronx known for his surreal, abstract and often profane or incomprehensible lyrics. Kool Keith has recorded prolifically both as a solo artist and in group collaborations. After being part of the legendary hip hop formation Ultramagnetic MC's he debuted in 1996 as a profound solo artist. He is generally considered to be one of hip-hop's most eccentric and unusual personalities.


    By the big audience Kool Keith is mostly known as the voice of the number Smack My Bitch Up by the Prodigy, a fragment used without his consent.


    Black Elvis/Lost in Space is the fourth studio album by mc Kool Keith, but recorded under the alias of Black Elvis. This is the first album performed under this alias.


    Kool Keith uses very complex rhymes on various subject matters from Black Elvis' viewpoint on half of the album and on the other half elaborates on space travel and being lost in space. This is the first album for which Keith handled all of the production, although drum programming was done by Kutmasta Kurt and Marc Live.

    LP 1
    1 Intro
    2. Lost In Space
    3. Rockets On The Battlefield
    4. Livin' Astro
    5. Supergalatic Lover

    6. Master Of The Game
    7. I'm Seein' Robots
    8. Static


    LP 2
    1. Intro 2
    2. Black Elvis
    3. Maxi Curls
    4. Keith Turbo
    5. Fine Girls
    6. The Girls Don't Like The Job

    7. Clifton
    8. All The Time
    9. I Don't Play

    Kool Keith
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • My Dear One My Dear One Quick View

    $14.99
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    My Dear One

    The Shondes are a rock band based in Brooklyn and best known for potent political anthems and heartbreaking violin hooks. The foursome brings the sound and spirit of riot grrrl to its unique brand of Jewish-inflected music with an explosive and emotional live show that often moves audiences to tears. The Shondes approach each moment on stage with limitless joy and ferocious passion, and offstage, band members Louisa Solomon (bass/vocals), Elijah Oberm(violin/vocals), Fureigh (guitar), and Temim Fruchter (drums) are outspoken and visible in their communities regarding issues of sexuality, gender and religion.


    No matter how strong activist rock musicians are in public, all bets are off when it comes to matters of the heart. The Shondes had a rough year following the release of their debut album in 2008. At the end of a successful nationwide tour, the band faced the sudden departure of their guitarist, a devastating professional and personal breakup for Solomon. The remaining members of The Shondes sought comfort and healing in one another and in their craft by spending days and nights writing songs to get them through the experience. The resulting collection, My Dear One, is an album for all survivors of broken hearts.

    1. My Dear One
    2. Fire Again
    3. Lines and Hooks
    4. Nothing Glows
    5. Get Out
    6. The Coming Night
    7. Miami
    8. Gather Up Your Prayers
    9. You Ought To Be Ashamed
    10. All The Good Things
    11. Make It Beautiful
    12. Twilight
    The Shondes
    $14.99
    Vinyl LP - Sealed Buy Now
  • Blue Rider (Awaiting Repress) Blue Rider (Awaiting Repress) Quick View

    $16.99
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    Blue Rider (Awaiting Repress)

    Often cited by critics and peers alike as a songwriter's songwriter, Zachary Cale has been quietly constructing a catalog for nearly a decade, one which showcases mastery and a unique voice across folk ballads, guitar instrumentals, and country-tinged rock. His songs are marked with his signature finger-style guitar playing and lyrical command as he blends the echoed open-tuned guitar patterns of artists like John Martyn and Bert Jansch with the desolate American lyricism of lone riders like Simon Joyner and Elliott Smith, standing out as a songwriter of uncommon power.


    "Zachary Cale is the best singer-songwriter working
    right now. Period."

    - POP MATTERS


    (a) reedy, hangdog style supported by songs that are
    pure class...this music will wait for you all to catch up."

    -DuSTED


    Cale separates himself from the crowd with a rare balance between emotional depth and ankle-deep Kinks pop sensibilities."

    -The A.V. Club

    1. Unfeeling
    2. Dollar Day
    3. Hold Fast
    4. Dear Shadow
    5. Blood Rushes On
    6. Hangman Letters
    7. Wayward Son
    8. Noise of Welcome
    Zachary Cale
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Solid Gold Solid Gold Quick View

    $21.99
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    Solid Gold

    Solid Gold is the second album by the British post-punk band Gang of Four, released in 1981on 180gm vinyl from Rhino


    Formed in 1977 by Leeds University students Jon King (vocals), Andy Gill (guitar), Dave Allen (bass), and Hugo Burnham (drums), Gang of Four (along with the Fall, Mekons, and Liliput) produced some of the most exhilarating and lasting music of the early English post-punk era of 1978-1983. Fueled by the fury of punk rock and radical political theory, Gang of Four successfully welded the two in an inspired display of polemics and music that addressed the vagaries of life in the modern world (including love and romance) as matters of political inquiry.


    What made Gang of Four's polemical clang'n'roll so compelling was that it worked as harsh, bracing, and ultimately liberating rock & roll. With Allen and Burnham combining as a formidable and frequently very funky rhythm section, Gill didn't play guitar as much as emit thick wads of semi-tuneful distortion, while Kingsang in a dry, declamatory fashion similar to that of the Fall's Mark E. Smith. They have always remained, to the ears of those opened wide by punk rock, an extremely important band.

    1. Paralysed
    2. What We All Want
    3. Why Theory?
    4. If I Could Keep It For Myself
    5. Outside the Trains Don't Run On Tim
    6. Cheeseburger
    7. The Republic
    8. In the Ditch
    9. A Hole in the Wallet
    10. He'd Send In The Army
    Gang Of Four
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Yankee Hotel Foxtrot Yankee Hotel Foxtrot Quick View

    $24.99
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    Yankee Hotel Foxtrot

    Yankee Hotel Foxtrot is without question Wilcos most storied and experimental release. Produced by the band and mixed by Jim ORourke, Yankee Hotel Foxtrot finds the Chicago-based band stretching their creative boundaries, imbuing their trademark sound with inventive textures and song structures. Vocalist/guitarist Jeff Tweedys stirring songwriting commingles with a unique and eclectic sonic approach here that is stirringly emotional and beautifully mysterious. From the poignant opener I Am Trying To Break Your Heart to the stark and powerful Ashes of American Flags to the giddy pop of Heavy Metal Drummer, Yankee Hotel Foxtrot is an ambitious original that no one should be without.


    This 180-gram Double Vinyl LP version also includes a bonus CD of the entire album. Do not miss this: Yankee Hotel Foxtrot is a must-have for any music fan.


    Yankee Hotel Foxtrot is an American Classic. -Greg Kot, Chicago Tribune, April 2002


    Yankee's chromatic harmonies and sinous rhythmic phrases build and press against communication issues confronting us in the 21st century, and inquire: With unabated media interference and technological glut, how do we effectively communicate matters of the heart? Is what we are saying really being heard, and if so, who is listening? -Bob Gendron, The Absolute Sound, April 2002


    In Yankee Hotel Foxtrot, Tweedy, bassist John Stirratt, keyboard-guitar player Leroy Bach and drummer Glenn Kotche actually bring you the enchanting sound of things falling apart--and gingerly, doggedly coming together again. This is an honest, vivid chaos, and it tells a good story. -David Fricke, Rolling Stone, April 2002

    1. I Am Trying To Break Your Heart
    2. Kamera
    3. Radio Cure
    4. War On War
    5. Jesus, Etc.
    6. Ashes of American Flags
    7. Heavy Metal Drummer
    8. Im the Man Who Loves You
    9. Pot Kettle Black
    10. Poor Places
    11. Reservations
    Wilco
    $24.99
    180 Gram Audiophile Virgin Vinyl LP w/ CD - 2 LPs Sealed Buy Now
  • American Band American Band Quick View

    $21.99
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    American Band

    LP Includes Bonus 7-Inch Single


    Drive-By Truckers have always been outspoken, telling a distinctly American story via craft, character, and concept, all backed by sonic ambition and social conscience. Founded in 1996 by singer/songwriter/guitarists Mike Cooley and Patterson Hood, the band have long held a progressive fire in their belly but with AMERICAN BAND, they have made the most explicitly political album in their extraordinary canon. A powerful and legitimately provocative work, hard edged and finely honed, the album is the sound of a truly American Band - a Southern American band - speaking on matters that matter. DBT made the choice to direct the Way We Live Now head on, employing realism rather than subtext or symbolism to purge its makers' own anger, discontent, and frustration with societal disintegration and the urban/rural divide that has partitioned the country for close to a half-century.


    AMERICAN BAND's considerable force can in part be credited to the sheer musical strength of the current Drive-By Truckers line-up, with Hood and Cooley joined by bassist Matt Patton, keyboardist/multi-instrumentalist Jay Gonzalez, and drummer Brad Morgan - together, the longest-lasting iteration in the band's two-decade history. AMERICAN BAND follows ENGLISH OCEANS and 2015's IT'S GREAT TO BE ALIVE!, marking the first time DBT have made three consecutive LPs with the same hard-traveling crew.

    1. Ramon Casiano
    2. Darkened Flags On The Cusp Of Dawn
    3. Surrender Under Protest
    4. Guns Of Umpqua
    5. Filthy And Fried
    6. Sun Don't Shine
    7. Ever South
    8. What It Means
    9. Once They Banned Imagine
    10. Baggage


    7-Inch Single
    1. Kinky Hypocrite

    Drive-By Truckers
    $21.99
    Vinyl LP + 7 Single - Sealed Buy Now
  • Vivaldi: Concertos Vivaldi: Concertos Quick View

    $34.99
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    Vivaldi: Concertos

    In the 18th century, long before any quota agreement or gender studies had taken place, a major part of Venice's musical life lay in the hands of four local orphanages for girls. In 1703, Vivaldi took on the position as conductor, violinist and composer at one of these homes, the Ospedale della Pietà. There he wrote works that are among the very best in music literature due to their inventiveness and artistic demands upon the musicians. As such, one can well imagine just how extraordinarily talented the young girls were. A notion of the fine compositions that floated through the city of canals 300 years ago is given by the Stuttgart Chamber Orchestra in a selection taken from a collection of 12 violin concertos known as L'estro armonico, op. 3. The animated dialogue among the strings takes place on several levels: for example, the leading parts not only concertise with and against one another but also after one another, so that the characteristic art of performance of each individual soloist is clearly to be discerned.


    And because no one knows how Vivaldi's girl orchestra would have sounded, anyone listening to this recording can let his imagination run riot as to how it could have been. It goes without saying that the Tacet team have pulled out all the stops with regard to technical matters in order to achieve the best possible analogue sound.

    Antonio Vivaldi: Concerto for Two Violins, RV 522
    Concerto for Two Cellos, RV 531
    Concerto for Three Violins, RV 551
    Concerto for Violin and Cello, RV 547
    Antonio Vivaldi
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dressed To Kill Dressed To Kill Quick View

    $24.99
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    Dressed To Kill

    By the release of their third album, 1975's Dressed to Kill, Kiss were fast becoming America's top rock concert attraction, yet their record sales up to this point did not reflect their ticket sales. Casablanca label head Neil Bogart decided to take matters into his own hands, and produced the new record along with the band. The result is more vibrant sounding than its predecessor, 1974's sludgefest Hotter Than Hell, and the songs have more of an obvious pop edge to them. The best-known song on the album by far is the party anthem Rock and Roll All Nite, but it was the track C'Mon and Love Me that became a regional hit in the Detroit area, giving the band their first taste of radio success. Since the band was on the road for a year straight, songs such as Room Service and Ladies in Waiting dealt with life on the road (i.e., groupies), and a pair of songs were reworked from Kiss' precursor band, Wicked Lester (Love Her All I Can and She). With Dressed to Kill's Top 40 showing on the Billboard charts, the stage was now set for Kiss' big commercial breakthrough with their next release.


    - Greg Prato (All Music Guide)

    1. Room Service
    2. Two timer
    3. Ladies In Waiting
    4. Getaway
    5. Rock Bottom
    6. C'mon and Love Me
    7. Anything For My Baby
    8. She
    9. Love Her All I Can
    10. Rock and Roll All Nite
    Kiss
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Like Water For Chocolate Like Water For Chocolate Quick View

    $35.99
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    Like Water For Chocolate

    Common spent the '90s carrying the Native Tongues torch through an era dominated by gangsta rap, earning a sizable underground following. Positive-minded alternative rap came back into vogue by the new millennium, and Common managed to land with major label MCA for 2000's Like Water for Chocolate. The album established him as a leading figure of alternative rap's second generation, not just because of the best promotion he'd ever had, but also because it was his great musical leap forward, building on the strides of One Day It'll All Make Sense. There's production work by the Roots' ?uestlove, neo-soul auteur D'Angelo, the Soulquarians, and DJ Premier. But the vast majority of the album was handled by Slum Village's Jay Dee, and his thick, mellow, soul- and jazz-inflected sonics make Like Water for Chocolate one of the richest-sounding albums of the new underground movement. Common isn't always a master technician on the mic, but it hardly matters when the music serves his deeply spiritual vision and smooth-flowing raps so effectively. The singles The Light and The 6th Sense are quintessential Common, uplifting and thoughtful, and helped bring him a whole new audience. They're well complemented by the slinky, jazzy funk and lush neo-soul ballads that make up the record. Not everything is sweetness and utopia, either; Common sends up his own progressive image on A Film Called (Pimp), which features a hilarious guest appearance by MC Lyte, and spins a gripping first-person tale of revenge on the streets on Payback Is a Grandmother (though the tougher Dooinit feels a bit forced). The album could have been trimmed a bit to keep its momentum going, but on the whole, Like Water for Chocolate is a major statement from an artist whose true importance was just coming into focus.

    - Steve Huey (All Music)
    1. Time Travelin' (A Tribute to Fela)
    2. Heat

    3. Cold Blooded
    4. Dooinit

    5. The Light
    6. Funky for You
    7. The Questions
    8. Time Travelin' Reprise
    9. The 6th Sense
    10. A Film Called (Pimp)
    11. Nag Champa (Afrodisiac for the World)
    12. Thelonius
    13. Payback Is a Grandmother
    14. Geto Heaven, Pt. 2
    15. A Song for Assata
    16. Pops Rap III...All My Children
    Common
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
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