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  • Orbit Plus Turntable with Built-in Preamp 5 COLORS AVAILABLE Orbit Plus Turntable with Built-in Preamp Quick View

    $379.00
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    Orbit Plus Turntable with Built-in Preamp


    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.


    Features a Built-in Preamp


    Meet the Orbit Plus


    Get more out of your records with the Orbit Plus. Our acrylic platter doesn't just sit there looking pretty - it provides improved speed stability and dissipates unwanted resonances. The result: more lifelike tonality and punchier bass. The Plus also features the Ortofon OM5E cartridge, which is perfect for listeners who enjoy a wide variety of genres.


    Discover more detail with an upgraded platter and cartridge:


    • Acrylic platter provides improved speed consistency and clearer, more detailed playback.
    • Ortofon OM5E cartridge with elliptical diamond stylus.
    • Precision gimbal tonearm for accurate tracking and low distortion. Features internal anti-skate and adjustable counterweight.
    • External belt drive eliminates motor noise and ensures speed consistency (33/45 RPM).


    Recommended add-on component: Cue Lever


    U-Turn Audio
    $379.00
    Turntable with Built-in Preamp - 5 Colors Available
    Buy Now
  • Orbit Plus Turntable 5 COLORS AVAILABLE Orbit Plus Turntable Quick View

    $309.00
    Buy Now
    x

    Orbit Plus Turntable


    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.


    Meet the Orbit Plus


    Get more out of your records with the Orbit Plus. Our acrylic platter doesn't just sit there looking pretty - it provides improved speed stability and dissipates unwanted resonances. The result: more lifelike tonality and punchier bass. The Plus also features the Ortofon OM5E cartridge, which is perfect for listeners who enjoy a wide variety of genres.


    Discover more detail with an upgraded platter and cartridge:


    • Acrylic platter provides improved speed consistency and clearer, more detailed playback.
    • Ortofon OM5E cartridge with elliptical diamond stylus.
    • Precision gimbal tonearm for accurate tracking and low distortion. Features internal anti-skate and adjustable counterweight.
    • External belt drive eliminates motor noise and ensures speed consistency (33/45 RPM).


    Also available with Built-in Preamp


    Recommended add-on component: Cue Lever


    U-Turn Audio
    $309.00
    Orbit Plus Turntable - 5 Colors Available
    Buy Now
  • Breakthrough Breakthrough Quick View

    $24.99
    Buy Now
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    Breakthrough

    High-Flyin' Surf Rock From Southern California on 180 Gram Vinyl!


    drian Lloyd and his backing band The Sunsets were still teenagers when they recorded this highly-prized slab of pure California surf-rock. Long desired amongst collectors both for its brand of high-energy, drum-driven rock 'n' roll and for the crazy swirly vinyl it was pressed on, Breakthrough is a prime example of a genre that still excites fans of early '60s music. Featuring the should-have-been-a-hit title track and many other almost-classics, Adrian Lloyd's high flyin' slab is an essential part of any surf-rock collection.


    Now Sundazed brings this long-out-of-print album to you the way you want it -- pressed on swirly colored vinyl, with brand new liner notes by John Blair, author of The Illustrated Discography of Surf Music, 1961-1965, and featuring an abundance of great bonus tracks including the hard to find single "She Treats Me Better Than You" and the killer unreleased tracks "Drums In Orbit" and "On Moonlight Bay." Plus, the CD brings you even more treats, including the highly-desired single "Lorna" and the unreleased track "Mersey Girl," written to cash in on the British Invasion. This Sundazed issue of Breakthrough is destined to be just as sought after by collectors!

    1. Breakthrough

    2. Donna
    3. Slippin'
    4. I Don't need You No More
    5. Nothing But Drums, Part 1
    6. Nothing But Drums, Part 2
    7. Cherry Pie
    8. She Treats Me Better Than You
    9. Wipe Out
    10. Boss
    11. Surfer Joe
    12. Pipeline
    13. Stomping Time
    14. Justine
    15. On Moonlight Bay (previously unissued)
    16. Drums In Orbit (previously unissued)
    Adrian And The Sunsets
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Body Talk (Speakers Corner) Body Talk (Speakers Corner) Quick View

    $34.99
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    Body Talk (Speakers Corner)

    Just listen to the first thirty seconds of this LP and you know that it's all about the 'Godfather of Soul' - the unique James Brown.



    But it's just as obvious that such a great artist as George Benson doesn't just present "Greatest Hits" in a new guise. Six of his own compositions plus one by Donny Hathaway/Gene McDaniels provide the guitarist and singer with a great platform to launch from. He shoots off into orbit, accompanied by first-class guest soloists such as Jon Faddis, Frank Foster, Earl Klugh and Jack DeJohnnette. Ron Carter's bass doesn't boom in the low register but offers a light and airy, yet solid, base.



    Body Talk is by no means the declaration of a world-shaking, new and avant-garde jazz. It is, however, a successful blend of jazz, soul and fusion. And when such a superb arranger as Pee Wee Ellis has his finger in the pie - or rather: his pen on the manuscript paper - then one can be sure that the almost 50-minute-long LP is a great success from beginning to end. Finally, one shouldn't forget the helping hand of the producer Creed Taylor, who made a significant contribution to this milestone on the CTI label.



    Musicians:



    • George Benson (guitar, vocal)

    • Frank Foster (tenor saxophone)

    • Gerald Chamberlain, Dick Griffin (trombone)

    • Jon Faddis, John Gatchell, Waymon Reed (fluegel horn, trumpet)

    • Harold Mabern (electric piano)

    • Earl Klugh (guitar)

    • Ron Carter, Gary King (bass)

    • Jack DeJohnette (drums)

    • Mobutu (percussion)



    Recording: July 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    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. Dance
    2. When Love Has Grown
    3. Plum
    4. Body Talk
    5. Top Of The World
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cheap Thrills Cheap Thrills Quick View

    $49.99
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    Cheap Thrills

    Ranked 338/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Quintessential 1968 Record a Potent Mix of Psychedelia, Blues, Folk, and Rock: Janis Joplin Delivers Cathartic Vocal Performance on Major-Label Debut That Includes Powerhouse Piece of My Heart


    Mobile Fidelity 45RPM Vinyl Pressing Touts Superb Spaciousness, Punchiness, Dynamics, and Texture: Cheap Thrills Sounds As Close to Live as Music Gets and Features Robert Crumb Artwork


    In many facets, Big Brother and the Holding Company's Cheap Thrills is the quintessential album to spring from the outcome of the Summer of Love. Best known as Janis Joplin's major-label debut, the 1968 set arrived when the countercultural movement was in full swing and before co-optation, drugs, and violence signaled the fall of the era. Ranked #338 on Rolling Stone's 500 Greatest Albums of All Time, it puts a female singer in the prominent position traditionally given to a male and showcases a band pouring a potent cocktail of fiery psychedelic, blues, and folk sounds that informed the unfettered creativity of the San Francisco scene. Produced by John Simon, Cheap Thrills also features one of the most iconic and elaborate album covers in history. Now, thanks to Mobile Fidelity, the instantly identifiable effort also possesses sonics equivalent to its visual and musical status.


    Cut at 45RPM and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue intensifies the quintet's storied sophomore effort. Due to the wider grooves, this pressing benefits from increased spaciousness, punchiness, energy, pacing, and dynamics. Joplin's hurricane-force singing reverberates with texture, grittiness, and volume. An arresting array of instrumental colors and tones comes on with clearer separation and depth. While previous pressings find the band and Joplin's voice in competition with one another for room, both emerge as distinct entities. Always noted for its rawness, Cheap Thrills sounds as close to live as it gets, an unadulterated portrait of nervy rock n' roll delivered with exuberant enthusiasm and all-out determination. This is music at is most visceral.


    Having drawn national attention for their legendary performance at the Monterey International Pop Festival in 1967, Big Brother and Joplin faced huge expectations to deliver a studio set that would convey their onstage vibrancy and potency. Cheap Thrills does this and more, becoming one of 1968's most commercially successful releases that remained on the charts the week Joplin announced her separation from the ensemble. Contrary to popular belief, only one of the album's songs, Ball and Chain, was recorded live. Everything else owes to the unhinged, spirit-elevating performances and true collaboration between vocalist and band that manifests itself throughout the record's 37-minute-plus running time. Merging biker-babe ruggedness with wounded-bird poignancy, Joplin's expressive belting, mega-watt moaning, and sensitive crooning take center stage. Yet her bandmates match every step with explosive rhythms, heavy guitar-driven blues, and assertive solos that take inspiration from free-form jazz.


    Indeed, Cheap Thrills still exhilarates not only due to Joplin's almighty singing but because of boundary-shredding arrangements that reflect the period's anything-is-possible mindset. More so than any other musicians Joplin encountered, the members of Big Brother pushed limits on convention via soirees into acid-dipped psychedelia and its orbiting sonic galaxies. Together, they aim and achieve an aural mythos that makes a permanent connection between artist and audience by way of eliminating traditional divisions. Such communal power is evident on the mind-bending version of Big Mama Thornton's Ball and Chain and insistent, sinewy I Need a Man to Love. It's also obvious during quieter moments, whether the tripped-out, twisted, and curvaceous contours of George and Ira Gershwin's Summertime or restrained, throwback acoustic blues of Turtle Blues.


    Yes, Joplin presents - and rallies against - loneliness and desperation in a cathartic language few had heard before or since. What's even more significant is the fearlessness, toughness, synergy, and sexual danger pulsing through every song, including the take-on-all-comers challenge Piece of My Heart, which the collective attacks with career-making ferocity. Like Robert Crumb's daring pop-art illustrations that grace the cover, they simultaneously lure and dare the listener to enter a space where outsiders run free and where outlaws are heard above the mainstream din.


    This title is not eligible for discount.

    1. Combination of the Two
    2. I Need a Man to Love
    3. Summertime
    4. Piece of My Heart
    5. Turtle Blues
    6. Oh, Sweet Mary
    7. Ball and Chain
    Big Brother & The Holding Company feat. Janis Joplin
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Dap-Dippin' Dap-Dippin' Quick View

    $15.99
    Buy Now
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    Dap-Dippin'

    Remastered From The Original Tapes


    Includes Previously Unreleased Duet With Lee Fields


    It's hard to believe that Sharon Jones' debut LP is a product of the year 2002, for several reasons. Given the excellent singles she recorded for Desco beginning in the late '90s, it seems like she would have gotten the opportunity for a full-length sooner; plus, her brand of raw, heavy, hard-driving funk is such a throwback to the '70s, and she pulls it off so well, that you wonder how she could have escaped that decade without at least a few rare, classic 45s (in the vein of labelmate Lee Fields). It's not hard to believe she once made her living as a prison guard, based on the tough-as-nails, no-nonsense performances she belts out on Dap Dippin' With Sharon Jones & the Dap-Kings, the first full-length release on Desco's descendant, Dap-Tone. Backed by the Dap-Tone house band (a conglomeration of studio pros with connections reaching back to the Desco orbit), Jones delivers a storming set of tunes that would have sounded perfectly at home on the James Brown's Original Funky Divas compilation. The style and quality are pretty consistent all the way through, but it's hard not to single out the nearly unrecognizable cover of Janet Jackson's What Have You Done for Me Lately, which is transformed into a churning blast of funk full of biting guitars (and nary a synth or drum machine in sight). Other highlights include the chunky leadoff track, Got a Thing on My Mind, the would-be dance-craze The Dap Dip, the slow-burning Make It Good to Me, and the trials-and-tribulations tale Ain't It Hard. Plus, label head Gabriel Roth throws in his usual authentic trappings -- the fake live introduction running down Jones' hits, the intentionally dated copy on the back cover -- that make the whole package even more fun. All in all, a terrific debut.

    1. Got A Thing On My Mind
    2. What Have You Done For Me Lately?
    3. The Dap-Dip
    4. Give Me A Chance
    5. Cut The Line
    6. Will You Be True *
    7. Got To Be The Way It Is
    8. Make It Good To Me
    9. Ain't It Hard
    10. Pick It Up, Lay It In The Cut
    11. Casella Walk


    *Previously Unreleased

    Sharon Jones
    $15.99
    Vinyl LP - Sealed Buy Now
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