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  • Making Friends (Awaiting Repress) Making Friends (Awaiting Repress) Quick View

    $14.99
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    Making Friends (Awaiting Repress)

    Bay area punk wonder-boys No Use For A Name have begun pleading for your friendship. Show your love for the boys, who were each reared with the ideals of Boy Scout Troup #221, by giving em wet sloppy ones when they come to your town.
    1: The Answer Is Still No

    2: Invincible

    3: Growing Down

    4: On The Outside

    5: A Postcard Would Be Nice

    6: Secret
    7: Best Regards

    8: Revenge

    9: Sidewalk

    10: Three Month Weekend

    11: Sitting Duck
    12: Fields Of Athenry
    No Use For A Name
    $14.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Scorpios Scorpios Quick View

    $15.99
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    Scorpios

    Scorpios is a collaboration by Joey, Jon Snodgrass, the late Tony Sly (No Use For a Name), and Brian Wahlstrom. After years of touring together as solo artists and playing on each other's songs, the foursome wrote and recorded these 10 tracks as a unit. The result is some of the most gratifying work of their respective careers.
    1. Scorpios

    2. Happy Anniversary

    3. Lifer

    4. We Won't Speak of This Again

    5. Daisy Train

    6. Oise

    7. Weighing In

    8. Lonely Parade

    9. Waiting for a Spaceship

    10. Moonshiner
    Scorpios
    $15.99
    Vinyl LP - Sealed Buy Now
  • Keep Them Confused Keep Them Confused Quick View

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    Keep Them Confused

    1: Part Two
    2: There Will Be Revenge
    3: For Fiona
    4: Check For A Pulse

    5: Divine Let Down

    6: Black Box

    7: Bullets
    8: Failing Is Easier (Part Three)

    9: Apparition

    10: Its Tragic
    11: Killing Time

    12: Slowly Fading Fast

    13: Overdue
    No Use For A Name
    $14.99
    Vinyl LP - Sealed Buy Now
  • Leche Con Carne (Awaiting Repress) Leche Con Carne (Awaiting Repress) Quick View

    $15.99
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    Leche Con Carne (Awaiting Repress)

    This is NUFANs fourth amazing album. 12 great songs, great production, and great cover art. Well, 2 out of 3 aint bad. You dont have to listen to the cover.
    1: Justified Black Eye

    2: Couch Boy

    3: Soulmate
    4: 51 Days

    5: Leave It Behind

    6: Redemption Song

    7: Straight From the Jacket

    8: Fields of Agony

    9: Fatal Flu

    10: Wood

    11: Alone

    12: Exit
    No Use For A Name
    $15.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Hard Rock Bottom (Awaiting Repress) Hard Rock Bottom (Awaiting Repress) Quick View

    $14.99
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    Hard Rock Bottom (Awaiting Repress)

    You wont be bummed! 13 new songs and a hilarious enhanced CD which documents the making of the record. The boys down at the shelter love it and so will you!
    1: Feels Like Home

    2: International You Day
    3: Pre-Medicated Murder

    4: Dumb Reminders

    5: Any Number Can Play

    6: Friends Of The Enemy

    7: Angela
    8: Let Me Down

    9: This Is A Rebel Song

    10: Solitaire

    11: Undefeated

    12: Insecurity Alert

    13: Nailed Shut
    No Use For A Name
    $14.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Rarities Vol. 1: The Covers Rarities Vol. 1: The Covers Quick View

    $15.99
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    Rarities Vol. 1: The Covers

    No Use For A Name is one of THE most successful and prolific acts to come out of the 90's skate-punk scene. But there's a lot more to it than that. Just have a look at their family tree, it has bands like Spazz, Foo Fighters, and Suicidal Tendencies to count among its branches. No really, think about that: the dude from that infamous grindcore band was in NUFAN?!? Their long, unpredictable journey has been full of twists, turns, and alternate routes that led them to be one of the best-selling outfits of their genre. They've done it all: Warped Tour's main stage, MTV, a live record, and an even a recent greatest hits album entitled, All The Best Songs. Hey, you know you've made it when you finally get a greatest hits collection! Not bad for some goofy kids from San Jose who started out with a couple hardcore 7s

    Early No Use releases appeared on New Red Archives, a San Francisco punk label operated by Nicky Garratt of the UK Subs. Believe it or not, in the late 80's it actually made sense that they would be labelmates with Reagan Youth, Social Unrest, and Christ On A Crutch. An AllMusic review describes their early material as, hulking hardcore with mighty fists full of metal. Angry and Threatening. This was a gritty, hardcore punk band, known mostly for their growling vocals and dark lyrical themes. Then came the first unforeseen occurrence: frontman Tony Sly unexpectedly developed into a proficient songwriter and mastered melody like few punk bands can ever do. Nobody knows where those gifts come from and you never see it coming, but suddenly No Use For A Name was starting to make music that people actually liked.

    As is natural, the band kept evolving, and things changed in a major way for the band when they signed to Fat Wreck Chords in the mid-90's. Their 8-song Fat debut, The Daily Grind EP, drew comparisons to Bad Religion and was a marked step up, but it was 1995's, ¡Leche con Carne!, that would cement No Use For A Name as a successful band for years to come. The album was their best yet and bore a hit song (Soul Mate) that landed them on alternative radio charts, which, for a scrappy punk band, was a complete deviation from industry norms. Stranger yet, was that they made a music video and MTV even played the damn thing! What followed obviously was commercial success in the form of six-figure album sales, another anomaly in the world of indie-punk bands and something that would set the stage for later melodic punk bands like Blink 182, et al. From then on it was steady sailing with a string of successful records and tours from the band. Most notably was 1997's darker, and somehow faster, Making Friends; followed by 1999's hyper-catchy More Betterness!. It was during these halcyon days that Chris Shiflett held down 6-string duties for NUFAN before accepting an offer to join Foo Fighters on lead guitar.

    The years went by for the perennial punk powerhouse and the band did numerous world tours, amassing album sales that would eventually total in the 7 figures. Pretty remarkable when you think about it. The new millennium was also a fruitful time for the boys. It started in 2001 with the release of their Live In A Dive album, which was very successful abroad where people were especially hungry for No Use's live performances. In 2002 they released their poppiest effort, Hard Rock Bottom, which was stocked with upbeat tempos and radio-friendly melodies. Their most recent and seemingly final studio album came in 2008. Ironically titled The Feel Good Album Of The Year, the album was a tinge darker and more aggressive than their recent releases and the band reminded us all that their songs still had urgency and bite.

    After 25 years, No Use For A Name disbanded in 2012 when frontman Tony unexpectedly passed away. Anthony J. Sly (November 4, 1970 - July 31, 2012) died at home, in his sleep on a Tuesday morning, at age 41. Fat Mike-label head and long-time friend to Tony-was staggered by the news and offered, One of my dearest friends and favorite songwriters has gone way too soon. Tony, you will be greatly missed. No one could've predicted his passing, and needless to say, it shook the very foundation of the Fat Wreck family and the underground music community as a whole. Tony was loved and respected by a wide variety of artists and musicians, and nowhere is that more evident than the roster of contributors to The Songs of Tony Sly: A Tribute; a compilation of NUFAN songs covered by bands like Bad Religion, Frank Turner, The Gaslight Anthem, Alkaline Trio, and many more. Bands from the Americas, Europe, Australia, UK, and even Israel contributed to this final chapter in the storied career of No Use For A Name. The collection will be released on October 29th, 2013, and all proceeds will go towards the Tony Sly Memorial Fund, which has been established to help Tony's wife Brigitte and their daughters, Fiona and Keira.

    1. Turning Japanese
    2. Hybrid Moments
    3. I've Heard
    4. Selwyn's Got a Problem
    5. Enjoy the Silence
    6. Badfish
    7. Dream Police
    8. Fairytale of New York
    9. Making Our Dreams Come True
    10. 1945
    11. Don't Cry for me Argentina
    12. The Munsters' Theme
    13. Beth
    No Use For A Name
    $15.99
    Vinyl LP - Sealed Buy Now
  • The Feel Good Record Of The Year (Awaiting Repress) The Feel Good Record Of The Year (Awaiting Repress) Quick View

    $15.99
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    The Feel Good Record Of The Year (Awaiting Repress)

    1. Biggest Lie
    2. I Want to Be Wrong
    3. Yours to Destroy
    4. Under the Garden
    5. Sleeping Between Trucks
    6. Domino
    7. The Feel Good Song of the Year
    8. The Trumpet Player
    9. Night of the Living Living
    10. Ontario
    11. Pacific Standard Time
    12. The Dregs of Sobriety
    13. Kill the Rich
    14. Take It Home
    No Use For A Name
    $15.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Acoustic Volume 2 Acoustic Volume 2 Quick View

    $15.99
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    Acoustic Volume 2

    Before the current barrage of seasoned punk rockers trying their hand at acoustic music, Joey Cape and Tony Sly, frontmen of Lagwagon and No Use For a Name, forged a path into the genre with their acclaimed 2004 split release, aptly titled Acoustic. The release featured acoustic arrangements of Lagwagon and NUFAN hits as well as a couple originals, and proved to be wildly popular with fans of their bands.


    They didn't know it at the time, but the album served as a launching point for both Joey's and Tony's solo careers. Since they cut their teeth recording Acoustic, Tony and Joey have flourished as solo musicians. Over the past 8 years, their dedication and focus has progressively shifted toward solo work, resulting in the release of 2 solo albums each. The writing and recording process, not to mention countless tours and shows, have all served to hone their aptitude for acoustic music.


    With a much greater command of the genre, the guys decided to revisit their original concept and release Acoustic Vol. 2. Once again Tony took 5 classic No Use For A Name songs and Joey selected 5 Lagwagon tracks, and transformed them into acoustic masterpieces. The guys also kept up tradition by each writing and recording brand new original tracks exclusively for the release. The product, Acoustic Vol. 2, is an album of reinvented classics, captured through a lens of complex instrumentation and subdued aesthetic. Joey's and Tony's mastery of the acoustic medium absolutely shines, breathing a completely new mood and feel into fan favorites and upping the ante on the second installment in the Acoustic series of releases. Vinyl includes digital download of full album.


    Last year Tony and I collaborated with Jon Snodgrass and Brian Wahlstrom and released an LP called Scorpios. It was great fun, but the original split we did in 2004 for Fat Wreck Chords, entitled Acoustic has often been in our conversation over the years. We perform so many No Use For A Name and Lagwagon songs in our acoustic sets. After extensive touring together and almost 8 years since Acoustic, it seemed like a good time for a sequel. The new split, simply called Acoustic Volume 2, came together naturally and effortlessly. I have always liked the idea of an acoustic version of a band's song. It's nice to hear it stripped down. My feeling is, the song often rings more true and its original inspiration is honored. - Joey Cape

    Joey Cape
    1. I Must Be Hateful
    2. Know It All
    3. Confession
    4. Alison's Disease
    5. Resolve
    6. Broken Record *
    Tony Sly
    7. Black Box
    8. Soulmate
    9. Under the Garden
    10. Chasing Rainbows
    11. Pre-Medicated Murder
    12. Liver Let Die *


    * Brand new song

    Tony Sly & Joey Cape
    $15.99
    Vinyl LP - Sealed Buy Now
  • You Can't Use My Name You Can't Use My Name Quick View

    $22.99
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    You Can't Use My Name


    Audio Completely Mixed And Re-mastered Under The Direction Of Jimi's Long Time
    Sound Engineer, Eddie Kramer


    Includes The Previously Unreleased 1966 Recording, "Station Break"


    This special compilation presents Jimi Hendrix's 1965-
    1967 sessions with Curtis Knight & The Squires prior to his
    international fame leading the Jimi Hendrix Experience.


    While Jimi Hendrix's intermittent tenure as a guitarist for
    Curtis Knight & The Squires in 1965 and 1966 was relatively
    brief, more than 100 albums have been crafted from
    approximately forty studio recordings and consumer grade
    stage recordings by the group. Most featured low fidelity
    variations, remixes, edited versions, and instrumentals of
    the same material-often with their song titles changed.
    These albums were poorly annotated and all too often
    featured cover art that depicted the guitarist at the peak
    of his Jimi Hendrix Experience fame (and not as 'Jimmy
    Hendrix,' a sideman to Curtis Knight) and thus snared
    unwitting fans throughout the world that were starved for
    new Hendrix music for decades.


    Jimi Hendrix was hamstrung throughout his career by
    litigation over these recordings in the US and UK and these
    fights continued until his family ultimately prevailed in
    litigation. You Can't Use My Name stands as their first
    attempt to present this music in its original context.


    You Can't Use My Name is newly mixed and prepared
    for release by Eddie Kramer and includes the previously
    unreleased 1966 recording "Station Break," the full length
    versions of "Knock Yourself Out [Flying On Instruments],"
    "No Such Animal," and the 1967 recording of "Gloomy
    Monday" that includes dialogue between Hendrix and
    producer Ed Chalpin (featuring the guitarist's request that
    the producer not use his name on this session because of
    the ongoing litigation between them).

    1. How Would You Feel
    2. Gotta Have a New Dress
    3. Don't Accuse Me
    4. Fool for You Baby
    5. No Such Animal
    6. You Don't Want Me
    7. Welcome Home
    8. Knock Yourself Out (Flying on Instruments)
    9. Strange Things
    10. Station Break
    11. Gloomy Monday
    Curtis Knight & The Squires, Feat. Jimi Hendrix
    $22.99
    Vinyl LP - Sealed Buy Now
  • No Name No Color No Name No Color Quick View

    $19.99
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    No Name No Color

    Middle Class Ruts two members, Sean and Zack, have been playing together since they were teenagers, camping out in Zacks moms house in Sacramento to write and record their songs. The duo's first band, Leisure, dissolved in early 2003 after a few false starts, sending Zack to work construction and Sean to labor as a studio runner in LA. But they soon realized stopping wasnt an option. Sean moved back to Sacramento and Zack began driving up every weekend from LA to write and rehearse music. After a year of commuting up and down the California coast, Zack relocated as well, solidifying a future for the pairs new band, Middle Class Rut.



    The band has spent the past four years crafting new songs and allowing the style and sound of their project to evolve and establish itself. The pair records every song they write together almost immediately in their rehearsal space, capturing the instantaneous spirit of a track while still in the moment. This means that each number is imbued with a distinct sense of urgency, almost like a snapshot of the moment of inspiration. The bands debut, No Name No Color, is a collection of these recordings, which they elected to use rather than attempt to recreate the spark of the original tracks later in a studio.

    1. Busy Bein Born
    2. USA
    3. New Low
    4. Lifelong Dayshift
    5. One Debt Away
    6. Are You on Your Way
    7. Alive or Dead
    8. I Guess You Could Say
    9. Sad to Know
    10. Dead End
    11. Thought I Was
    12. Cornbread
    Middle Class Rut
    $19.99
    Vinyl LP - Sealed Buy Now
  • Stand For Something Or Die For Nothing Stand For Something Or Die For Nothing Quick View

    $20.99
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    Stand For Something Or Die For Nothing


    Boston. Titletown. The Cradle of Liberty. Beantown. From popular neighborhoods like Jamaica Plain and Davis Square to the more hardscrabble quarters like Mattapan and Roxbury, Boston is a complex fabric of people, cultures, and viewpoints. None more Boston are punk rock outfit, Street Dogs. From the air they breathe and the food they eat to the communities they serve-frontman Mike McColgan is a Boston Fire Department 911 Dispatcher and drummer Pete Sosa is an honorary member of the City of Boston-and the values they uphold, Street Dogs exemplify their city and what it has to offer the world. Across the group's storied 16-year career, they've hit hard, spoke the truth, and walked the walk. New album, Stand for Something or Die for Nothing, is proof the Bostonians continue to live and be empowered by their punk rock, tell-it-like-it-is ethos.


    "Anyone who has ever listened to our group knows we are Bostonians to the bone," says bassist Johnny Rioux. "We all love the city. It's our home. I think our fans abroad get a window into our city and what it is like to grow up here and live here through a multitude of different life experiences [from our music]."


    Indeed, Sicut Patribus Sit Street Dogs Nobis. But the primary motivator to pick up where 2010's lauded self-titled left off wasn't to continue waving the sky blue at the Boston Common, but to sound the alarm that our leadership and the affluent are taking advantage of society. The wedge is being driven between classes, deeper and deeper, where the rich get richer and the poor are afforded fewer choices in life, like education, opportunity, and the pursuit of a good life, respected liberties, and unquestionable happiness. This gift, as it were, has given the Street Dogs have plenty to write about eight years after their Hellcat Records' swansong.


    "The dumbing down of America is a reason to write songs in 2018," Rioux asserts. "People need to wake the fuck up and realize the rich won't drain the swamp or look after the working man and woman. [So] we hit on familiar turf and we go outside our zone as well on Stand for Something or Die for Nothing. It's tough to contain my excitement for this record and our fans are going to love it. Everyone stepped way up."


    If there's one thing that sets the self-titled apart from Stand for Something or Die for Nothing it's the songwriting. Tracks like "Other Ones," "Angels Calling," "Working Class Heroes," and "Never Above You, Never Below You" show Street Dogs at their finest: loud, abrasive, confrontational, and unifying. In fact, there's not one track on the group's sixth full-length that doesn't convey brotherhood, common values, and the ability to stand together against anyone with aims to disfigure or disband their raised fist.


    "On Stand for Something or Die for Nothing, we took our time making sure everything was worked out as well as it possibly could be with multiple re-writes of songs and painstaking takes," says Rioux. "The band wrote this record together as a unit. This is the most full-band record we have ever made with everyone contributing. It's our best record. I really believe that and all the hard-painstaking work we put in people will hear and feel. With respects to the self-titled record we were moving at very quick and prolific pace back then. That record came together fast and is special."


    Recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studios with Rioux in the producer's chair, mix master Sean Cahalin at the desk, and mastering ace Jeff Lipton navigating, Stand for Something or Die for Nothing is a punk rock album for the new era. Rioux was careful to balance the DIY tenets of punk with the professional requirements of recording an album. The result was hard won, but Stand for Something or Die for Nothing is a punk rock triumph, with tracks like "The Comeback Zone," "Lest We Forget," and the title track delivering modern-day anthems that kick ass and take names.


    "Other than Sean being a total professional and super-proficient, there aren't really any specific stories to Stand for Something or Die. I've always has had a hand in the production of our records and I can be demanding in the studio! That all said, I think we have our best sounding record to date. It has all the energy of our live shows in it. Fans will immediately tell it's us when they hear it."


    While the definition of punk rock has its divisions, Street Dogs are, no doubt, part of the genre's proud history. Stand for Something or Die is undoubtedly punk rock. Using Rioux's definition (or not): "What's punk to me is people living how they want to not how they are told to."


    Amen, brother.

    1. Stand For Something Or Die For Nothing
    2. Other Ones
    3. The Comeback Zone
    4. Angels Calling (feat. Slaine)
    5. These Ain't The Old Days
    6. Working Class Heroes
    7. Lest We Forget
    8. The Round Up
    9. Mary On Believer Street
    10. Never Above You, Never Below You
    11. Torn And Frayed
    Street Dogs
    $20.99
    Vinyl LP - Sealed Buy Now
  • Prokofiev For Two Prokofiev For Two Quick View

    $35.99
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    Prokofiev For Two

    Pianists Martha Argerich and Sergei Babayan have recorded two selections from Prokofiev's music for stage and screen in magnificent two-piano transcriptions by Babayan. Prokofiev for Two, set for release worldwide via Deutsche Grammophon, captures for posterity the sense of mutual inspiration felt by these kindred spirits, palpable in their live performances together. The album features Babayan's twelve-movement transcription of numbers from the ballet Romeo and Juliet and his seven-movement suite transcribed from Prokofiev's incidental music for Hamlet and Eugene Onegin, film score for The Queen of Spades and opera War and Peace.


    Martha Argerich and Sergei Babayan first met in Brussels in 1991 when, on a whim, he looked her up in the phonebook and, to his own surprise, found her name and telephone number listed. His call from a phone box in the city started a strong friendship that led to numerous joint appearances in Europe and America. After one performance of Rachmaninov's "Suite No.2" and other works for two pianos, Babayan told Argerich of his dream to transcribe pieces from Romeo and Juliet for their next duo date. "She was very inspired by the idea," he recalls. "It was the greatest pleasure - and an honor - to create something that we would play together." Babayan's take on Prokofiev, coupled with a suite of rarities from the composer's stage and film music, can be heard in Prokofiev for Two.


    The freshly transcribed Prokofiev score received its premiere performance as part of the Martha Argerich Project at the 2013 Lugano Festival. Argerich and Babayan have since performed this work together with the revised Romeo and Juliet suite several times, most recently in concert at Stuttgart's Liederhalle last November.


    Martha Argerich is already renowned for her interpretations of Prokofiev's music. The Argentine-born artist, hailed as one of the greatest pianists of all time, included the composer's turbulent "Toccata" in her Deutsche Grammophon recital debut album, recorded in 1960. She reinforced her international reputation seven years later with a landmark recording for the yellow label of Prokofiev's "Third Piano Concerto" with the Berliner Philharmoniker and Claudio Abbado. "I have loved Prokofiev ever since I can recall," notes Argerich. "And people think he loves me too sometimes! I love the way Sergei [Babayan] plays Prokofiev and many other things. The first solo recital of his I heard was Bach's Goldberg Variations and I was incredibly impressed by it. I very much liked his proposal that we should play his transcription of Romeo and Juliet and feel very honored that he dedicated it to me."


    Babayan's love for Prokofiev, like Argerich's, is deeply rooted, dating back to his childhood in Armenia and student days at the Moscow Conservatoire. Having left the USSR for the first time in 1989, he settled in the U.S. Time and again, Babayan has paid tribute to Prokofiev, playing several of his piano concertos with Valery Gergiev including at the 2015 BBC Proms in a monumental concert with the London Symphony Orchestra featuring all five of the works.


    His new Prokofiev transcriptions are both dedicated to Martha Argerich. "This project happened because of my love for Prokofiev, my love for Martha and my love for the ballet Romeo and Juliet," reflects Babayan. The idea of transcribing Romeo and Juliet first arose decades ago while he was studying Prokofiev's colorful instrumentation in close detail with an orchestra. Already aware of Argerich's playing, he was further inspired after hearing a pirate recording of her 1981 Carnegie Hall performance of the "Ten Pieces Op.75" from Romeo and Juliet. "I listened and was immediately drawn to learn the cycle. But I felt that Prokofiev used chamber-like numbers for his selection of music for his transcription for solo piano. If you first became acquainted with the ballet through this piano score, you would never guess or understand the whole tragic, violent, and dark nature of the original work. Of course, the ballet contains lyrical, romantic music; music filled with humor and dance movement. But it also contains music for the "Death of Tybalt" - music of love and hate."


    Believing it would be impossible for music of such powerful emotion to be conveyed by two hands, and aware of Prokofiev's own fondness for transcription, Babayan felt driven to exploit the full expressive force and tonal richness of two pianos. His created version contains what Martha Argerich, with a wry laugh, calls "difficult and demanding" technical and musical challenges. Both musicians, however, agree that transcription is "an act of love" and Babayan's experience with Romeo and Juliet soon led him to explore some of the composer's lesser-known works and create the second suite on this album. As he points out, this music will be new to most listeners. For example, only fragments of the film score for The Queen of Spades have ever been performed or recorded. He underlines its imaginative and innovative qualities, adding, "I'm sure if Prokofiev had lived longer he would have used the material for The Queen of Spades for a new movie, symphony, quartet or maybe even a piano duo. This music stayed on the shelf and it was my luck to hear it."


    Prokofiev for Two is driven by the passion and power of an ideal keyboard partnership. Martha Argerich considers playing in duo with Babayan to be "a thing of alchemy - a discovery". For his part, Babayan says the experience of performing with Argerich is like joining a conversation with a divine being, one in which "you cannot be mundane or ordinary ... Martha will somehow pull out the best from you."

    Martha Argerich & Sergei Babayan
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Brahms: 10 Intermezzi For Piano (Speakers Corner) Brahms: 10 Intermezzi For Piano (Speakers Corner) Quick View

    $34.99
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    Brahms: 10 Intermezzi For Piano (Speakers Corner)

    Johannes Brahms: Intermezzi op. 76 no. 6 in A major, no. 7 in A minor; op. 116 No. 4 in E major; op. 117 no. 1 in B-flat major, no. 2 in B-flat minor, no. 3 in C-sharp minor; op. 118 no. 1 in A minor, no. 2 in A major, no. 6 in E-flat minor; op. 119 no. 1 in B minor


    If you mainly connect the name Brahms with opulent symphonies, passionate concertos and weighty piano music, you will be in for a big surprise when you listen to the Intermezzi op. 117. The music critic Eduard Hanslick talks of a more restrained, detached style and clearly means the calm, simple and immensely expressive flowing melodies, which characterize the late piano music of this Romantic composer. Just how sensitively the performer must tackle these precious miniatures is described by Clara Schumann with the words » the intellectual technique in them demands a fine comprehension and one must be very familiar with Brahms to play them as Brahms had imagined them«.


    When it comes to Brahms, Glenn Gould - famous for his analytically strict and emphatic interpretation of Bach's keyboard works - proves himself to be a true poet and thinker at the keyboard. Driven by the melancholy force, his thoughts find their way, sometimes hesitantly, then moving on with a deep breath, as it were, to the next deceleration.
    In op. 118 no. 1 the Canadian pianist begins with a passion that wrests expansive cascades of sound from the keyboard, then finds his way back to introvert mellifluous tones (op. 118 no. 2) and increases the drama in the will-o'-the-wispish and futile attempts to come to a redemptory final cadence (op. 118 no. 6). It would be hard to find a more closely-knit and intense rendering than on the present recording.


    Musicians:


    • Glenn Gould (piano)


    Recording: September and November 1960 at Columbia's 30th Street Studio, New York

    Production: J. Scianni


    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. Intermezzo In E-Flat Major, Op. 117, No. 1
    2. Intermezzo In B-Flat Minor, Op. 117, No. 2
    3. Intermezzo In C-Sharp Minor, Op. 117, No. 3
    4. Intermezzo In E-Flat Minor, Op. 118, No. 6
    5. Intermezzo In E Major, Op. 116, No. 4
    6. Intermezzo In A Minor, Op. 76, No. 7
    7. Intermezzo In A Major, Op. 76, No. 6
    8. Intermezzo In B Minor, Op. 119, No. 1
    9. Intermezzo In A Minor, Op. 118, No. 1
    10. Intermezzo In A Major, Op. 118, No. 2
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stay Asleep Stay Asleep Quick View

    $19.99
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    Stay Asleep


    Reissue Of This Classic Record, Available For The First Time On Vinyl


    Bigwig is a hardcore punk band from New Jersey, formed in 1995. They were originally composed of Josh Farrell (guitar), John Castaldo (bass), Tom
    Petta (guitar/vocals), and Dan Rominski (drums).


    Since their inception, they have been steadily gaining popularity, having played / toured with such bands as Pennywise, Less Than Jake, Blink-182, The
    Ataris, The Vandals, New Found Glory, No Use for a Name, NOFX, The Suicide Machines, Agnostic Front, Lagwagon, and Reel Big Fish. Following the
    release of their 2001 album Invitation To Tragedy' Both Josh Farrell and Tom Petta have received producers credits on several well known albums. Tom
    Petta has most recently produced the new record entitled For Heaven's Sake by Canadian punk rock band Only Way Back.

    1. Still
    2. Dent
    3. Smile
    4. Flavor Ice
    5. Freegan
    6. Falling Down
    7. Friends
    8. Numbers
    9. Sellout
    10. Jerk
    11. 13
    12. Stand Up
    13. Boardumb
    14. 1-800-Whipped
    Bigwig
    $19.99
    Vinyl LP - Sealed Buy Now
  • Symptoms Symptoms Quick View

    $15.99
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    Symptoms

    What's more punk rock than being a punk in the Middle East? Nothing. Which is why Israeli miscreants Useless ID are not only the longstanding ambassadors of Middle East punk rock, but they're also way punker than you. Armed with 18 years of experience and a tour history that includes such out-of-the-way spots as China, Belarus, and even Siberia, these boys from Haifa City have finally found a home with longtime friends Fat Wreck Chords for the release of Symptoms. The 12 tracks on Symptoms ooze with all the irresistible appeal of songs popularized by genre heavyweights Rise Against, No Use For A Name, and Alkaline Trio, yet clearly maintain a cohesive and unique perspective from start to finish.
    1. Live Or Die
    2. Before It Kills
    3. Normal With You
    4. Erratic
    5. Manic Depression
    6. Sleeping With Knives
    7. Symptoms
    8. Obsessive Compulsive Disorder
    9. New Misery
    10. Waiting For An Accident
    11. Fear In The Mirror
    12. Somewhere
    Useless ID
    $15.99
    Vinyl LP - Sealed Buy Now
  • The Songs Of Tony Sly: A Tribute The Songs Of Tony Sly: A Tribute Quick View

    $21.99
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    The Songs Of Tony Sly: A Tribute

    On July 31, 2012, we lost a true original, Tony Sly. While we continue to mourn Tony our friend, we also celebrate Tony the artist with the official release The Songs of Tony Sly: A Tribute. We can't express how much it means to us and Tony's family that each of the artists and bands on this album took the time and effort to contribute such meaningful and interesting interpretations of Tony's songs. - Fat Wreck Chords


    Anthony J. Sly (November 4, 1970 - July 31, 2012) was an American singer, songwriter and guitarist, best known as the front man of the punk rock band No Use for a Name. Most recently, he was also known for his acoustic solo career, with two acoustic split albums he released with Lagwagon front man Joey Cape and two solo albums of his own.

    1. Karina Denike - Biggest Lie

    2. Mad Caddies - AM

    3. Strung Out - Soulmate

    4. Rise Against - For Fiona

    5. Bad Religion - Let It Slide

    6. NOFX - The Shortest Pier

    7. Snuff - On the Outside

    8. The Bouncing Souls - Homecoming

    9. Old Man Markley - Feel Good Song of the Year

    10. Lagwagon - Discomfort Inn

    11. Teenage Bottlerocket - Via Munich

    12. Frank Turner - Keira

    13. Get Dead - Pre-Medicated Murder

    14. Pennywise - Devonshire and Crown

    15. Alkaline Trio - Straight from the Jacket

    16. The Gaslight Anthem - Capo 4th Fret

    17. Yellowcard - Already Won

    18. Swingin' Utters - Not Your Savior

    19. The Flatliners - Fireball

    20. Simple Plan - Justified Black Eye

    21. Useless ID - Frances Stewart

    22. Jon Snodgrass & the Dead Peasants - On the Outside

    23. American Steel - Dark Corner

    24. Frenzal Rhomb - Flying South

    25. Anti-Flag - Toaster in the Bathtub

    26. Joey Cape with Scorpios - International You Day
    Various Artists
    $21.99
    Vinyl LP - Sealed Buy Now
  • Elvis' Golden Records No. 1 (Speakers Corner) Elvis' Golden Records No. 1 (Speakers Corner) Quick View

    $34.99
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    Elvis' Golden Records No. 1 (Speakers Corner)

    Have we got the lot? The King of Rock'n'Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of Golden Records, rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles. This was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can't go wrong here.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: January 1956 - September 1957 in Hollywood, New York and Nashville in mono

    Production: Steve Sholes


    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. Hound Dog
    2. Loving You
    3. All Shook Up
    4. Heartbreak Hotel
    5. Jailhouse Rock
    6. Love Me
    7. Too Much
    8. Don't Be Cruel
    9. That's When Your Heartaches Begin
    10. (Let Me Be Your) Teddy Bear
    11. Love Me Tender
    12. Treat Me Nice
    13. Anyway You Want Me (That's How I Will Be)
    14. I Want You, I Need You, I Love You
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono - Sealed Buy Now
  • Solo Piano Solo Piano Quick View

    $37.99
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    Solo Piano

    Import

    With Solo Piano, Glass presents himself unplugged - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Metamorphosis was written in 1988 and takes its name from a play based on Kafka's short story. Its second track, Metamorphosis Two, formed the basis of one of the main musical themes in the film The Hours. It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts.


    Mad Rush was written for the occasion of the Dalai Lama's first visit in New York City. Wichita Vortex Sutra is the result of a chance meeting between two long-time friends, Glass and poet Allen Ginsberg, in a bookstore in the East Village. 'We decided on the spot to do something together, reached for one of Allen's books, and chose the poem Wichita Vortex Sutra'.

    1. Metamorphosis One
    2. Metamorphosis Two
    3. Metamorphosis Three
    4. Metamorphosis Four
    5. Metamorphosis Five
    6. Mad Rush
    7. Wichita Sutra Vortex
    Philip Glass
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nothing Can Stop Us Nothing Can Stop Us Quick View

    $24.99
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    Nothing Can Stop Us

    Limited Edition

    Only 2000 Copies Made

    Its far too easy to abuse the phrase living legend, but when used to describe Robert Wyatt, youre in no danger of hyperbole: gifted songwriter; political activist; drummer in the Canterbury jazz/prog pioneers Soft Machine and contemporaries of the original lineup of Pink Floyd; collaborator with the likes of Brian Eno, David Gilmour, Phil Manzanera, Fred Frith, Paul Weller, Scritti Politti, Elvis Costello and his beloved wife Alfreda Benge, to name but a few.



    Perhaps his greatest gift though is his voice, a reedy instrument of great warmth and emotion; one need only hear his interpretation of the classic Shipbuilding (a song that was written for him by Costello and producer Clive Langer) and you shall be smitten for life. Domino is incredibly honored to be releasing a near-complete re-issue series of Roberts solo recorded works in the form of these limited edition LP+CD versions. Each title is limited to 2000 copies. There will be only one pressing so, once these are gone, they are gone for good.



    Nothing Can Stop Us was recorded with a straight, simple, beauty informed by the experience of geopolitics just as the term was being invented. Arauco drew on the street 'mass songs' of a Chile protesting at the imminent arrival of Pinochet. Stalin Wasn't Stallin' was a playful resurrection of a barbershop quartet that sincerely, and unbelievably, aligned the USA with the Soviet Union. Most startling of all was Wyatt's version of Chic's At Last I Am Free. Breathless and hymnal it gave pause for thought for anyone who liked to use the words personal and political in the same sentence.

    1. Born Again Cretin
    2. At Last I Am Free
    3. Caimanera
    4. Grass
    5. Stalin Wasn't Stallin'
    6. Red Flag
    7. Strange Fruit
    8. Arauco
    9. Trade Union
    10. Stalingrad
    Robert Wyatt
    $24.99
    Vinyl LP + CD - Sealed Buy Now
  • Schubert - Trout Quintet (Speakers Corner) Schubert - Trout Quintet (Speakers Corner) Quick View

    $34.99
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    x

    Schubert - Trout Quintet (Speakers Corner)

    In the summer of 1819, Franz Schubert stayed in the Austrian town of Steyr where he began work on the composition of the five-movement Piano Quintet in A major, op. 114 (D 667) which was commissioned by the cellist Sylvester Paumgartner. The work was completed in the autumn and soon achieved great popularity under the name of Trout Quintet, which it owes to the Andantino fourth movement - a set of variations on the song of the same name.
    The work has remained highly popular right up to the present day and so it comes as no surprise to find this highly praised recording, made with such renowned artists as the pianist Clifford Curzon, the violinist Willi Boskovsky and other members of the Vienna Octet, being released once again.



    The ensembles refreshing performance reflects the sparkling lightness and virtuosity of the work. The well-balanced recording with its full tone certainly deserves a place in every music lovers collection.





    Musicians:



    • Sir Clifford Curzon and Members of the Vienna Octet




    Recording: October 1957 at Sofiensaal, Vienna by James Brown

    Production: Erik Smith





    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.



    Clifford Curzon and the Vienna Octet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Disco Volante Disco Volante Quick View

    $34.99
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    x

    Disco Volante

    Import

    Disco Volante is the second studio album by American experimental Rock band Mr. Bungle. Released in 1995, it is considered by many to be the most experimental of all their albums, picking up inspiration from a wide variety of musical styles including Death Metal, Techno, '50s space age Pop, musique concrète and Italian avant-garde.


    Faith No More's vocalist Mike Patton also uses a great number of vocal effects boxes and samples throughout the album.


    The album's title refers to the name of the yacht of the same name featured in the James Bond film Thunderball. Disco Volante has been well received by critics, being called a 'totally original and new musical style, and an album that sounds like nothing that currently exists'. The track "Desert Search For Techno Allah" is described as 'a middle eastern Techno number that has to be heard to be believed.' This is a band whose sole purpose is to break all the pre-existing rules of music and doesn't think twice about taking chances.

    1. Everyone I Went To High School With Is Dead
    2. Chemical Marriage
    3. Carry Stress In The Jaw
    4. Desert Search For Techno Allah
    5. Violenza Domestica
    6. After School Special
    7. Phlegmatics
    8. Ma Meeshka Mow Skwoz
    9. The Bends
    10. Backstrokin'
    11. Merry Go Bye Bye
    Mr. Bungle
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release



    Musicians:



    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)




    Recording: March & April 1972 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
    Production: Creed Taylor





    About Speakers Corner



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



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



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



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



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



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



    1. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Genius After Hours (Speakers Corner) The Genius After Hours (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Genius After Hours (Speakers Corner)

    No ifs and buts! Ray Charles belongs in every jazz collection. Friends of pure jazz tend to forget this in the light of his numerous hits in categories such as gentle ballads, and even country and western songs, and rhythm'n'blues during the more than 60 years of Charles' extremely successful (also financially speaking) career.


    The producer Neshui Ertegun gathered together a star-studded cast for this Atlantic Records studio recording. There was David Newman on the tenor sax, Joe Harris on the drums, and even Oscar Pettiford on the bass. Not forgetting Ray Charles himself who was an excellent jazz pianist.


    The studio was saturated with the blues! A relaxed mood prevailed, just as one might imagine it. The musicians came to the studio after a concert, they were completely drained, worn out, exhausted: they had the blues and then they played the blues.


    Even a standard work such as Gershwin's The Man I Love was turned into an elegy. Only Ain't Misbehavin', which reminds one more of Earl Hines than Fats Waller, and Charlesville - a fast blues number - were treated to a change of tempo.


    The Genius After Hours is a self-portrait that exhibits the less well-known talents of this exceptional artist during the second half of the last century. It makes great listening for all lovers of jazz, soul, blues, rhythm'n'blues, country and western, pop, funk You name it, Charles has got it!


    Musicians:


    • Ray Charles (piano)
    • Dave 'Fathead' Newman (alto saxophone, tenor saxophone)
    • Emmott Dennis (bassoon)
    • Joseph Bridgewater, John Hunt (trumpet)
    • Roosevelt Sheffield, Oscar Pettiford (bass)
    • Joe Harris, William Peebles (drums)


    Recording: April 1956 and September 1957 in New York City in mono

    Production: Nesuhi Ertegun & Jerry Wexler

    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. The Genius After Hours
    2. Ain't Misbehavin'
    3. Dawn Ray
    4. Joy Ride
    5. Hornful Soul
    6. The Man I Love
    7. Charlesville
    8. Music, Music, Music
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Bizet - Carmen Fantasy (Speakers Corner) Bizet - Carmen Fantasy (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bizet - Carmen Fantasy (Speakers Corner)

    Some violinists enrapture their audience with their purity of tone, others with their warm timbre, or their amazing technical virtuosity. Pablo de Sarasate y NavascuÉz was one of the very few violinists who combined all these merits, and in addition was a composer in his own right. The most famous of his 50 works are Zigeunerweisen, based on traditional gypsy folklore and the fiendishly difficult Carmen Fantasy.



    And what better proof is there than Saint-Saëns's Rondo capriccioso that it is perfectly possible to unite high-spirited joyfulness with a minor key. As the name suggests, his Havanaise is filled with the melodies and colourful rhythms of Spain: no wonder this piece is known as "the violinists' warhorse".



    It goes without saying that these 19th-century bravura pieces are an absolute "must" for all those who wish to join the annals of great virtuoso violinists. And today, 40 years after the making of this recording, general consensus has it that Ruggiero Ricci has taken his rightful place among the great virtuosos.





    Musicians:



    • Ruggiero Ricci (violin)

    • London Symphony Orchestra

    • Pierino Gamba (conductor)




    Recording: September 1959 at Kingsway Hall, London by Alan Reeve

    Production: James Walker





    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    Ruggiero Ricci
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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