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  • Call Me (Speakers Corner) Call Me (Speakers Corner) Quick View

    $34.99
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    Call Me (Speakers Corner)

    What connects celebrity chefs and pop stars is their fine nose for ingredients, especially when hot and spicy ones are mixed with milder elements to create an aromatic result. A combination of 'sweet' and 'funky' is the secret of Al Green's gloriously sentimental and sensual pop songs, which in the sexually free Seventies were often referred to as »songs to make love by«. What swings along gently is, however, Al Green's subtly controlled falsetto, which he can tone right to the threshold of audibility. But watch out! This music belts out some fiery sounds right from the very first number. The sinuous, swinging request in the brilliant hit single Call Me, the relaxed and groovy Stand Up, with its sharp wind interjections which demand one's unerring attention, are typical for Green's style, just as is his almost disturbing capability to gain comfort from loneliness (I'm So Lonesome, I Could Cry). This rhythmically powered music can best be described as light, intensive, dynamic but never flashy (Your Love Is Like The Morning Sun). It finds its earthly culmination in soul (I'm Waiting) and spiritual depth.



    Musicians:



    • Al Green (vocal)

    • James Mitchell (bassoon, arranger)

    • Andrew Love (tenor sax)

    • Jack Hale (trombone)

    • Wayne Jackson (trumpet)

    • Mabon Hodges (guitar)

    • Charles Hodges (keyboards)

    • Archie Turner (piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)

    • The Memphis Strings



    Recording: 1973 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Al Green and Willie Mitchell




    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. Call Me (Come Back Home)
    2. Have You Been Making out O.K.
    3. Stand Up
    4. I'm So Lonesome I Could Cry
    5. Your Love Is Like the Morning Sun
    6. Here I Am (Come and Take Me)
    7. Funny How Time Slips Away
    8. You Ought to Be with Me
    9. Jesus Is Waiting
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Visions Visions Quick View

    $22.99
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    Visions

    Grimes is the moniker of Canadian producer/singer/artist Claire Boucher. She approaches music in a way that is both sensually pleasurable and exploratory; sonic experimentalism run through a pop filter. Her debut album Visions pulls most notably from R&B, New Jack Swing, Industrial, K-pop and Noise. Includes MP3 coupon.
    1. Infinite Love Without Fulfillment
    2. Genesis
    3. Oblivion
    4. Eight
    5. Circumambient
    6. Vowels = space and time
    7. Visiting Statue
    8. Be A Body
    9. Colour Moonlight (Antiochus)
    10. Symphonia IX (My Wait Is U)
    11. Nightmusic (feat. Majical Clouds)
    12. Skin
    13. Know The Way
    Grimes
    $22.99
    Vinyl LP - Sealed Buy Now
  • Death Certificate (25th Anniversary Edition) Death Certificate (25th Anniversary Edition) Quick View

    $29.99
    Buy Now
    x

    Death Certificate (25th Anniversary Edition)

    25th Anniversary Edition Opens With Three New Tracks

    When Death Certificate was released in 1991, Cube was coming off a contentious split with N.W.A., an acclaimed solo album Amerikkka's Most Wanted, and an ideological awakening informed by the NOI. An unflinching document of pre-Rodney King riots Los Angeles, Death Certificate takes aim at everything from the LAPD and new jack swing to his former groupmates (No Vaseline), all atop incandescent funk samples from Zapp, P-Funk, and James Brown. Filled with tension, jarring realities, and gallows humor, it's one of the most controversial rap albums ever-and the hardest in Cube's repertoire.

    The Death Side
    1. Only One Me
    2. Good Cop, Bad Cop
    3. Dominate The Weak
    4. The Funeral
    5. The Wrong Nigga To Fuck Wit
    6. My Summer Vacation
    7. Steady Mobbin'
    8. Robin Lench
    9. Givin' Up The Nappy Dug Out
    10. Look Who's Burnin'
    11. A Bird In The Hand
    12. Man's Best Friend
    13. Alive On Arrival
    14. Death


    The Life Side
    15. The Birth
    16. I Wanna Kill Sam
    17. Horny Lil' Devil
    18. Black Korea
    19. True To The Game
    20. Color Blind
    21. Doing Dumb Shit
    22. Us
    23. No Vaseline

    Ice Cube
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Ghostbusters II Soundtrack Ghostbusters II Soundtrack Quick View

    $19.99
    Buy Now
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    Ghostbusters II Soundtrack

    The Ghostbusters II soundtracks is a great blend of R&B, new jack swing, and rap. Featuring a redone version of Ray Parker, Jr.'s original theme by Run D.M.C., as well as two cuts from Bobby Brown (On Our Own and We're Back) and New Edition's Supernatural, the film's soundtrack is like a time
    capsule of radio in the late '80s. Although the film didn't spawn any truly essential songs, the soundtrack makes for a nostalgic journey that fans of the film
    (or '80s R&B) will have fun revisiting.
    1 On Our Own - Bobby Brown
    2 Supernatural - New Edition
    3 The Promised Land - J.T. Taylor
    4 We're Back - Bobby Brown
    5 Spirit - Doug E. Fresh & The Get Fresh Crew
    6 Ghostbusters - Run D.M.C.
    7 Flesh 'N Blood - Oingo Boingo
    8 Love Is A Cannibal - Elton John
    9 Flip City - Glenn Frey
    10 Higher And Higher - Howard Huntsberry
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Another Level Another Level Quick View

    $42.99
    Buy Now
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    Another Level

    Import


    First Pressing Of 1000 Numbered Copies Pressed On Silver Vinyl, Black Vinyl Thereafter

    Includes 4 Page Booklet

    Includes The Hit No Diggity Featuring Dr. Dre & Queen Pen, Fix And I Wanna Be Your Man

    Powered by the massive hit single No Diggity, Another Level is arguably the best album created by Teddy Riley, the leader of Blackstreet. This was the first album with new members Eric Williams and Mark Middleton. They joined the group after replacing departed members Dave Hollister and Levi Little.

    Another Level is the second album by American R&B group. Released in 1996, it reached No. 3 on the Billboard 200 albums chart, and No. 1 on the Top R&B Albums chart for five weeks and has sold over 4 million copies.

    Teddy Riley was a very influential producer back in the days. He invented a whole new sound, a combination of soul harmonies, rap breaks and hip-hop beats called new jack swing. He links up to the drum-machine and creates beats, synthesizer chords, and uses his voice to make maximum impact with minimum presence. Giving his tracks a sleek leanness to it.

    But even so, the key to success is definitely Riley's songwriting skills, which are always catchy and inventive, whether he is writing ballads or party jams.

    LP 1
    1. Black & Street Intro
    2. This Is How We Roll
    3. No Diggity
    4. Fix
    5. Good Lovin'
    6. Let's Stay In Love
    7. We Gonna Take You Back / Don't Leave Me
    8. Never Gonna Let You Go
    9. I Wanna Be Your Man
    10. Taja's Lude (Interlude)


    LP 2
    1. My Paradise (Interlude)
    2. Deja's Poem
    3. (Money Can't) Buy Me Love
    4. Blackstreet (On The Radio)
    5. I Can't Get You (Out Of Mind)
    6. I'll Give It To You
    7. Happy Song (Tonite)
    8. Motherlude
    9. The Lord Is Real (Time Will Reveal)

    Blackstreet
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Darkbloom Darkbloom Quick View

    $19.99
    Buy Now
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    Darkbloom

    A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes.


    Once both rising stars in Montreal's independent music scene, they produced their respective sides independently, though the project was conceptualized together.


    Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for.


    Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon's continuous, circular suite addresses reliance on technology through both lyrical content and sonic allusion - for example, Telepathy samples cell phone interference. d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop.

    1. d'Eon - Telepathy
    2. d'Eon - Thousand Mile Trench
    3. d'Eon - Tounges
    4. d'Eon - Transparency
    5. Grimes - Orphia
    6. Grimes - Vanessa
    7. Grimes - Crystal Ball
    8. Grimes - Urban Twilight
    9. Grimes - Hedra
    Grimes / d'Eon
    $19.99
    Vinyl LP - Sealed Buy Now
  • Age Ain't Nothing But A Number Age Ain't Nothing But A Number Quick View

    $29.99
    Buy Now
    x

    Age Ain't Nothing But A Number

    Age Ain't Nothing but a Number is the debut studio album by American R&B recording artist Aaliyah, originally released under Jive and Blackground Records on May 24, 1994, in the United States.


    After being signed by her uncle Barry Hankerson, Aaliyah was introduced to recording artist and producer R. Kelly. He became her mentor, as well as the lead songwriter and producer of the album. The duo recorded the album at the Chicago Recording Company in Chicago, Illinois. The album featured two hit singles, including the top ten charting Back & Forth and At Your Best (You Are Love); both singles were certified Gold by the Recording Industry Association of America (RIAA). One additional single followed in the US: Age Ain't Nothing but a Number. Two more singles were released internationally after Age Ain't Nothing But a Number: Down with the Clique and The Thing I Like.


    Aaliyah was credited for redefining R&B by blending her voice with Kelly's new jack swing. The album peaked at number 18 on the Billboard 200 and sold over three million copies in the United States. The album was certified Gold in Canada by the Canadian Recording Industry Association (CRIA) and Gold in the United Kingdom by the British Phonographic Industry (BPI) to date. The album has sold over six million copies worldwide.

    LP 1
    1. Intro

    2. Throw Your Hands Up
    3. Back & Forth
    4. Age Ain't Nothing But A Number

    5. Down with the Clique
    6. At Your Best (You Are Love)

    7. No One Knows How to Love Me Quite Like You Do


    LP 2
    1. I'm So Into You

    2. Street Thing

    3. Young Nation

    4. Old School

    5. I'm Down

    6. The Thing I Like
    7. Back & Forth (Mr. Lee & R. Kelly's Remix)

    Aaliyah
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Field Of Reeds Field Of Reeds Quick View

    $24.99
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    Field Of Reeds

    With their risky third album, These New Puritans abandoned the angular dance-punk of Beat Pyramid and the gloomy electronic beats of Hidden to reinvent themselves once again for Field of Reeds, a record as indebted to classical scores and avant-garde jazz as rock. Taking a hands-off, live approach to the recording process, and allowing open space and emptiness to take precedence over beats, the music has a disturbing, dystopian feel to it, swinging from detached to nightmarish before resolving into something lovingly tranquil. Some of the best songs, like Fragment 2, V (Island Song), and Spiral (which sounds like a fever-dream version of Björk and Thom Yorke's I've Seen It All duet from the Dancer in the Dark soundtrack), thrive in this push and pull between atonal dissonance and sheer beauty. Even These New Puritans' most stark numbers, while often lacking a concrete backbeat or definitive structure, are bursting with details and ideas. Ambient textures, constructed from melancholic horns and eerie analog synthesizer tones, add a wavering undercurrent that is often hair-raising and haunting. The production is equally unconventional. After writing the material in Essex and Amsterdam, Jack Barnett fleshed out the parts with his brother George and Tom Hein before recording in London, Gloucester, and Berlin with new honey-voiced Portuguese singer Elisa Rodrigues, utilizing an unusual magnetic resonator piano and meticulously detailing the songs with field recordings, including breaking glass and the screaming of an actual hawk. This perfectionism, present in the sonics and in the complex arrangements, makes Field of Reeds the most challenging title in their catalog and also the most groundbreaking.


    - Jason Lymangrover (All Music Guide)

    1. This Guy's In Love With You
    2. Fragment Two
    3. The Light In Your Name
    4. V (Island Song)
    5. Spiral
    6. Organ Eternal
    7. Nothing Else
    8. Dream
    9. Field of Reeds
    These New Puritans
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Field Notes Field Notes Quick View

    $17.99
    Buy Now
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    Field Notes

    Wil Blades Field Notes features guitarist Jeff Parker of Tortoise and drummer Simon Lott from New Orleans.


    "He is the future to carry on the legend, the legacy of the organ, of the B-3." - Dr. Lonnie Smith


    When Wil Blades sits down at the Hammond B3, count on inspired music to follow. The 34-year old, Chicago-native, Berkeley-based artist is a cornerstone organist of his generation-a modern voice in a lineage that includes giants like Richard "Groove" Holmes, Charles Earland and Brother Jack McDuff.


    Having studied at the feet of the legendary Dr. Lonnie Smith and played alongside the likes of John Lee Hooker, Melvin Sparks and Idris Muhammad, Blades has absorbed the spirit of the masters. His extensive collaborations also reflect the high regard in which he's held by contemporaries, including Stanton Moore, Anders Osborne and Nicholas Payton.
    Having released a critically acclaimed co-led duo album Shimmy with Medeski Martin & Wood drummer Billy Martin in 2012, Blades returns with a deeply soulful and sinuous nine-track effort, Field Notes, on which he's found fronting his own trio featuring Tortoise guitarist Jeff Parker and New Orleans' drummer Simon Lott.


    From the recording's outset, it's easy to picture Blades fingers free-flowing across the keys, feet gliding along the bass pedals in a continuous dance. Syncopation drives songs like "Miller's Time" and "Addis" as the trio locks in tight to a relentless groove. But there's also a refined harmonic vision and deep affection for melody on tracks like "(I Can't Stand) The Whole Lott of You" and "Dewey" where Blades' Clavinet adds a fresh sonic dimension to the proceedings. Shades of psychedelia are weaved within "Parks 'N' Wreck," while a tip of the hat to vintage soul jazz balladry informs "Forgetful" and classic pop swing is at the heart of "I Get The Blues When It Rains."


    In its sum, Field Notes is a masterful statement from an artist who's poised to keep the timeless sound of the Hammond B3 organ as vital and compelling today as it's ever been in the history of modern jazz and rock.

    1. Miller's Time
    2. (I Can't Stand) The Whole Lott of You
    3. Chrome
    4. Dewey
    5. Addis
    6. Park N' Wreck
    7. Forgetful
    8. Red Lanterns Are Blue
    10. I Get The Blues When It Rains
    Wil Blades
    $17.99
    Vinyl LP - Sealed Buy Now
  • Compadres (Speakers Corner) Compadres (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Compadres (Speakers Corner)

    To this day, the typical sound colouring of the Dave Brubeck Quartet is quite distinctive and unmistakable thanks to Paul Desmond's tenor saxophone. But Gerry Mulligan's low-pitched horn and his restrained swing also offers enough appeal to make one want to listen to these somewhat less popular but - for all that - very worthwhile recording by the Quartet.



    The Quartet's concert tour of Mexico's major cities in 1968 was a great success and so Dave Brubeck's recording company had no qualms in making live recordings of the group - complemented by bassist Jack Six and drummer Alan Dawson. Themes from indigenous folk music were skilfully coupled with new compositions with the result that the LP Compadres with its concert excerpts was in great demand and became a top hit.
    This carefully remastered new pressing will certainly contribute to the popularity of Dave Brubeck and Gerry Mulligan long after their demise.



    Musicians:



    • Dave Brubeck (piano)

    • Gerry Mulligan (bassoon)

    • Jack Six (bass)

    • Alan Dawson (drums)




    Recording: 1968 live in Mexico by John Guerriere and Russ Payne

    Production: Teo Macero



    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. Jumping Bean
    2. Adios Mariquita Linda
    3. Indian Song
    4. Tender Woman
    5. Amapola
    6. Lullaby De Mexico
    7. Sapito
    8. Recuerdo
    Dave Brubeck
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Wildest (Pure Pleasure) The Wildest (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Wildest (Pure Pleasure)

    A tireless showman and an underrated musical talent, Louis Prima swung his way to icon status thanks to an irresistible, infectious sound whose appeal translated across generations. Nominally a swing artist, Prima's distinctive sound also encompassed New Orleans-style jazz, boogie-woogie, jump blues, R&B, early rock & roll, and even the occasional Italian tarantella. Regardless of what form his music took, it swung hard and fast, with a rolling, up-tempo shuffle beat. His greatest period of popularity coincided with his marriage to singer Keely Smith, whose coolly sophisticated vocals and detached stage manner made a perfect counterpoint to Prima's boisterous presence: mugging, clowning, and cavorting around the stage with the boundless enthusiasm of a hyperactive boy. Prima's band during this time was anchored by tenor saxophonist Sam Butera, whose grounding in jump blues and New Orleans R&B was a perfect match.



    Musicians:



    • Louis Prima (trumpet, vocal)

    • Keely Smith (vocal)

    • Sam Butera (tenor saxophone)

    • James "Little Red" Blount (trombone)

    • Willie McCumber (piano)

    • Jack Marshall (guitar)

    • Amado Rodrigues (bass)

    • Bobby Morris (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. Medley: Just A Gigolo/I Aint Got Nobody
    2. (Nothings Too Good) For My Baby
    3. The Lip
    4. Body And Soul
    5. Oh Marie
    6. Medley: Basin Street Blues/ When Its Sleepy Time Down South
    7. Jump, Jive And Wail
    8. Buona Sera
    9. Night Train
    10. (Ill Be Glad When Youre Dead) You Rascal You
    Louis Prima feat. Kelly Smith, Sam Butera, & The Witnesses
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sound Of Jazz (Pure Pleasure) The Sound Of Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Sound Of Jazz (Pure Pleasure)

    The Sound Of Jazz is a 1957 edition of the CBS television series Seven Lively Arts, and was one of the first major programmes featuring jazz to air on American network television.
    The one-hour program aired on Sunday, December 8, 1957, at 5 p.m. Eastern Time, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.
    The Sound Of Jazz brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on Fine and Mellow.
    The show's performance of Fine and Mellow reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.




    Musicians:



    • Red Allen Stars

    • Billie Holiday & Band

    • Count Basie All Stars

    • The Jimmy Giuffre Trio

    • Mal Waldron

    • Pee Wee Russell




    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. Wild Man Blues - The Henry "Red" Allen All-Stars

    2. Rosetta -  Henry Allen And His Orchestra

    3. Fine And Mellow - Billie Holiday with Mal Waldron & The All Stars

    4. Blues - Jimmy Giuffre;Pee Wee Russell

    5. I Left My Baby - Count Basie with All-Stars featuring Jimmy Rushing

    6. The Train And The River -  The Jimmy Giuffre Trio

    7. Nervous - Mal Waldron

    8. Dickie's Dream - Count Basie with All-Stars

    9. Wild Man Blues (Alternate Take) - The Henry "Red" Allen All-Stars
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight From The Heart (Speakers Corner) Straight From The Heart (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Straight From The Heart (Speakers Corner)

    Ann Peebles' climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song I Can't Stand The Rain.



    Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.
    Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart (Slipped, Tripped And Fell In Love). The beat is powerful, throbbing, young and fresh (What You Laid On Me) or surging and groovy (How Strong Is A Woman?). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven (Somebody's On Your Case), while a fusion of soft swing and snappy acerbity (I Pity The Fool) rounds off this album which is filled with pure emotion, heart and soul.



    Musicians:



    • Ann Peebles (vocal)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Andrew Love, Ed Logan (tenor saxophone, vocals)

    • Charles Hodges (organ, piano)

    • Wayne Jackson (trumpet)

    • Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)



    Recording: August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Willie Mitchell





    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. Slipped, Tripped and Fell In Love
    2. Trouble, Heartaches & Sadness
    3. What You Laid On Me
    4. How Strong Is A Woman
    5. Somebody's On Your Case
    6. I Feel Like Breaking Up Somebody's Home Tonight
    7. I've Been There Before
    8. I Pity The Fool
    9. 99 Pounds
    10. I Take What I Want
    Ann Peebles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dublin Blues Dublin Blues Quick View

    $21.99
    Buy Now
    x

    Dublin Blues

    Available On Vinyl For The First Time


    Dublin Blues is an album by American singer-songwriter Guy Clark, originally released in 1995.


    A mere three years after Boats to Build, Guy Clark offered Dublin Blues, a record filled with sizzle, inspiration, and his
    best batch of songs in years. Teaming with Miles Wilkinson for the third time and using in the studio for the first time
    his road band -- which included Über guitarist and singer Darrell Scott -- Clark delivered a batch of searing portraits,
    intimate observations, first-person narratives, and one dumb throwaway cut ("Baby Took A Limo to Memphis").
    As usual, some old friends return to the fold -- Rodney Crowell, Emmylou Harris, Sam Bush, Verlon Thompson, Kenny
    Malone, and Suzy Ragsdale -- but there were new faces at the time that joined in like Ramblin' Jack Elliott, Nanci
    Griffith, and Kathy Mattea.


    The magic begins with the title track. Haunted Celtic melodies played on the fiddle and a mandolin with an acoustic
    guitar usher in a country song that could be from the countryside of Ireland. With Mattea on the backing vocals,
    the listener is transported between worlds in time and space. "Black Diamond Strings" is a friendly little number
    about what else: guitar strings! Its catchy hook and singalong chorus make it a Clark winner. "Shut Up and Talk to
    Me" features Scott playing the swinging blues as Clark counts off the music like a fierce memory. "Stuff That Works"
    is another of Clark's quiet observation tunes, where his words speak volumes and the instruments underline their
    meanings. It's a workingman's anthem sung seemingly from the workshop bench. But "Hank Williams Said It Best,"
    "Tryin' to Try," "Cape," and "Hangin' Your Life on the Wall" are all tremendous in their scope and intimacy. They are
    full of dimension and depth, and Wilkinson gives them textures.


    The set ends with a re-recording of the spooky yet shattering elegy "The Randall Knife" Clark cut on Better Days. The
    difference here is age. The view Clark sings from is one of distance and age. "The Randall Knife" doesn't feel quite
    so spooky this time out, but it does resonate with empathy and even tenderness. As it winds to a close, the listener
    is left not in bewildered silence but in awe that such a bond exists at all.

    1. Dublin Blues
    2. Black Diamond Strings
    3. Shut Up And Talk To Me
    4. Stuff That Works
    5. Hank Williams Said It Best
    6. The Cape
    7. Baby Took a Limo to Memphis
    8. Tryin' To Try
    9. Hangin' Your Life On The Wall
    10. The Randall Knife
    Guy Clark
    $21.99
    Vinyl LP - Sealed Buy Now
  • Lovely And Alive (Speakers Corner) Lovely And Alive (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Lovely And Alive (Speakers Corner)

    Singing actors and actresses do not always cut a good figure on the silver screen; play-acting singers, however, are all the better when they draw attention to themselves with great vocals. As did Lena Horne in the days of the black-and-white film, who, with her sultry, versatile voice, was constantly employed by Hollywood. Although she occasionally ventured into the world of jazz, and made music with Teddy Wilson and Benny Carter, she never forayed into the wide world of improvisation. Her musical home was in the American Songbook, which she approached with a natural and entertaining manner. A good example of this is the first number here - the Cole Porter classic I Concentrate On You, which swings along to the perfectly recorded big-band sound of the Marty Paich Orchestra. A surprise element is the extensive palette of vocal sound-colouring with which the diva enhances her voice to achieve the drama of a Shirley Bassey or the dusky depths of a Dinah Washington. Each and every number on this Grammy-worthy album has been thought out in great detail and guarantees sophisticated entertainment, and a hint of West Coast jazz is perceptible when Jack Sheldon treats us to the sound of his warm and dark trumpet solos.



    Recording: 1962

    Production: Dick Peirce



    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. I Concentrate On You
    2. I Get The Blues When It Rains
    3. I've Grown Accustomed To His Face
    4. I Got Rhythm
    5. I'm Confessin' (That I Love You)
    6. I Want To Be Happy
    7. I Surrender, Dear
    8. I Found A New Baby
    9. I Understand
    10. I Let A Song Go Out Of My Head
    11. I Ain't Got Nobody (And Nobody Cares For Me)
    12. I Only Have Eyes For You
    Lena Horne
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Manley Neo-Classic 300B Pre-Amplifier RC Manley Neo-Classic 300B Pre-Amplifier RC Quick View

    $6,100.00
    Buy Now
    x

    Manley Neo-Classic 300B Pre-Amplifier RC

    2008


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Handcrafted in the USA


    Our most esoteric product is THE 300B PREAMPLIFIER. This is the first and only preamp to feature these classic tubes. We had been designing the 300B into small power amps for many years and have always had great respect for the smooth natural sound of this tube. However, a single 300B provides truly appropriate power and voltage swing for headphones and makes a remarkable line driver. Here is where the impedances are not too low and the power requirements are not too high: ideal for this kind of tube in a single-ended configuration. This was the genesis of a new preamp.


    We combine the historic 300B with another classic, the large octal based 6SL7GT, for the input stage- all triodes running in pure Class A operation. To complement this 'retro' feel, we implemented vacuum tube rectification and regulation in the power supply along with plenty of capacity. We also developed an additional (and innovative) ripple rejection circuit to filter out power supply noise making this an incredibly low-noise preamplifier- especially critical for headphone users.


    Complementing this lovely and rich sounding line-driver is the ALPS audiophile volume control, gold plated RCA connectors, high purity silver wire, mil-spec printed circuit boards with extra thick copper and plating, and custom designed output transformers which we wind right here in our own magnetics department. It all adds up...


    For 2002, we returned to our classic and elegant Manley-Blue pewter grey color and the chassis was reworked to accommodate a few updates we had in mind.


    Whether you use headphones or loudspeakers this preamp will deliver the goods and spoil you for any other preamplifier.


    Notes for current version not covered in the manual:


    The transformer switch puts the output transformer in or out of circuit. You HAVE TO have it switched to IN to use the headphone jacks. It is recommended, in the spirit of less is more, to switch to OUT when using the main line outputs.


    The SUB out is a post-volume control output which can be used to drive a powered subwoofer unit so that the level of the subwoofer follows the volume level of the preamplifier.


    For an exciting exploration of the 300B experience read the late Dr. Harvy Gizmo's Spiritual Woody!


    Manley Labs
    $6,100.00
    Manley Neo-Classic 300B Preamplifier Buy Now
  • Back To The Blues (Pure Pleasure) Back To The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Back To The Blues (Pure Pleasure)

    Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material. During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death.


    The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire--Big Bill Broonzy, Leroy Carr and Lil Green being represented--and there is a nine-minute Nobody Knows The Way I Feel This Morning that is unique in her discography.

    Musicians:



    • Dinah Washington (vocals)
    • Illinois Jacquet, Eddie Chamblee (tenor saxophone)
    • Jack Wilson, Patti Bown (piano)
    • Jimmy Sigler (organ)
    • Everett Barksdale, Billy Butler (guitar)
    • George Duvivier (bass)
    • Jimmy Thomas, Osie Johnson (drums)



    Recording: March - November 1962 at Bell Sound Studios, New York

    Production: Henry Glover


    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. The Blues Ain't Nothin' But A Woman Cryin' For Her Man
    2. Romance In The Dark
    3. You've Been A Good Old Wagon
    4. Let Me Be The First To Know
    5. How Long, How Long Blues
    6. Don't Come Running Back To Me
    7. It's A Mean Old Man's World
    8. Key To The Highway
    9. If I Never Get To Heaven
    10. Duck Before You Drown
    11. No Hard Feelings
    12. Nobody Knows The Way I Feel This Morning
    Dinah Washington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
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