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  • There Is No Enemy (Awaiting Repress) There Is No Enemy (Awaiting Repress) Quick View

    $20.99
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    There Is No Enemy (Awaiting Repress)

    When making the new Built To Spill album There Is No Enemy, Doug Martsch literally lived in the studio working all day and night. He spent hours and hours laying down guitar tracks he realized he couldn't use since the first live takes had the best tone and feel. He had to undigitally remix the record. There Is No Enemy has the sound and feel of the album that every Built To Spill fan has been anxiously awaiting.


    In addition to Martsch and his usual support, There Is No Enemy includes guest spots from Sam Coomes, ex-Treepeople co-guitarist/vocalist Scott Schmaljohn, Butthole Surfer Paul Leary, Roger Manning, etc.

    1. Aisle 13
    2. Hindsight
    3. Nowhere Lullaby
    4. Good Ol' Boredom
    5. Life's A Dream
    6 .Oh Yeah
    7. Pat
    8. Done
    9. Planting Seeds
    10. Things Fall Apart
    11. Tomorrow
    Built To Spill
    $20.99
    Vinyl LP w/ CD - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Kaleidoscope of Rainbow (Pure Pleasure) Kaleidoscope of Rainbow (Pure Pleasure) Quick View

    $44.99
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    Kaleidoscope of Rainbow (Pure Pleasure)

    This album became infamous for it's supremely original music, but also for it's impeccable engineering by Martin Levan. On the original single LP the sound quality had to be compromised to enable the inclusion of 27 minutes of music per side. Much of the bass and stereo effect was removed.



    Now as a double LP and mastering from the original master analogue tapes all of the 'missing' bass and stereo effect is here for all to savour and enjoy.
    At the time of it's original release in September 1976 it received critical acclaim across the full spectrum of the days music aficionados.



    Listening to it today there is no reason to doubt it's continuing worth as an outstanding work of art and a lasting testament to Neil Ardley who sadly passed away.



    Musicians:



    • Neil Ardley (keyboards)

    • Geoff Castle (keyboards)

    • Ian Carr (trumpbet, fluegel horn)

    • Barbara Thompson (alto saxophone, soprano saxophone, flute)

    • Paul Buckmaster (cello)

    • Ken Shaw (guitar)

    • Roger Sutton (bass)

    • Trevor Tomkins (percussion, vibraphone)

    • Roger Sellers (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.Prologue/Rainbow One (soloist Ian Carr and Brian Smith) 10.26
    2.Rainbow Two (soloist Dave Macrae and Geoff Castle) 7.34
    3.Rainbow Three (soloist Paul Buckmaster) 3.28
    4.Rainbow Four (soloist Barbara Thompson) 6.15
    5.Rainbow Five (soloist Tony Coe) 4.25
    6.Rainbow Six (soloists Ken Shaw and Bob Bertles) 7.39
    7.Rainbow Seven/Epilogue 14.56
    Neil Ardley
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Michael Jackson: The Remix Suite Michael Jackson: The Remix Suite Quick View

    $24.99
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    Michael Jackson: The Remix Suite

    Collaborative celebration of the music industrys top producers remixing the best of Michael Jackson and Jackson 5 classics! Featured producers include: Stargate, The Neptunes, Polow, Akon, Dallas Austin, Sturken & Rogers, Benny Blanco, Paul Oakenfold, Frankie Knuckles, David Morales, Mark Hoppus (of Blink 182) and more.
    1. Skywriter - Stargate Remix
    2. Never Can Say Goodbye - The Neptunes Remix
    3. I Wanna Be Where You Are - Dallas Austin Remix
    4. Dancing Machine - Polow Remix
    5. ABC - Salaam Remi Remix
    6. Forever Came Today - Frankie Knuckles Late Night Antics Remix
    7. Dancing Machine - Steve Aoki Remix
    8. Hum Along & Dance - David Morales Remix
    9. Ain't No Sunshine - Benny Blanco Remix
    10. Maria (You Were The Only One) Emile Haynie Remix
    11. Maybe Tomorrow - Sturken & Rogers Remix
    12. Ben - Akon (Konvict Remix)
    Michael Jackson
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Jazz Waltz (Pure Pleasure) Jazz Waltz (Pure Pleasure) Quick View

    $34.99
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    Jazz Waltz (Pure Pleasure)

    Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number (I'm Gonna Go Fishin') written by Duke Ellington for the soundtrack to the film Anatomy Of A Murder and featuring the leader's rich flÜgelhorn. The lyrical take of the centuries-old folk melody Greensleeves alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful Be As Children almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's Echoes of Harlem, featuring Paul Horn on flute, is refreshing. Only Bobby Scott's A Taste of Honey is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades. -Ken Dryden/AMG


    Musicians:


    • Bud Shank (alto saxophone)
    • Bill Perkins, Bob Cooper (tenor saxophone)
    • Paul Horn (alto saxophone, flute)
    • Shorty Rogers (flugelhorn)
    • Bill Hood (bassoon)
    • Al Porcino (trumpet)
    • Joe Burnett (trumpet, flugelhorn)
    • Harry Betts (trombone)
    • Lou Levy (piano)
    • Larry Bunker (vibraphone)
    • Joe Mondragon (bass)
    • Mel Lewis (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. I'm Gonna Go Fishin'
    2. Greensleeves
    3. Walk On The Wild Side
    4. Witchcraft
    5. Be As Children
    6. Jazz Waltz
    7. Echoes Of Harlem
    8. A Taste Of Honey
    9. Terence's Farewell
    10. The Streets Of Laredo
    Shorty Rogers & His Giants
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Automata I Automata I Quick View

    $24.99
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    Automata I

    This is the first of Between The Buried and Me's two-part eighth album and introductory offering
    for Sumerian Records, Automata. The North Carolina quintet-Tommy Giles Rogers, Jr. [lead
    vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie
    Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass,
    keyboards]-explore these themes by personally smashing boundaries once again. Automata
    marks the band's first proper double LP-spanning concept. They continue to expand their
    ever-evolving style, upholding a tradition of progression in the process.
    1. Condemned to the Gallows
    2. House Organ
    3. Yellow Eyes
    4. Millions
    5. Gold Distance
    6. Blot
    Between The Buried And Me
    $24.99
    Vinyl LP - Sealed Buy Now
  • Automata II Automata II Quick View

    $22.99
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    Automata II

    Pressed On Transparent Purple Colored Vinyl


    This is PART TWO of BETWEEN THE BURIED AND ME's two-part eighth album and introductory
    offering for Sumerian Records, Automata. The North Carolina quintet-Tommy Giles Rogers, Jr.
    [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals],
    Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass,
    keyboards]-explore these themes by personally smashing boundaries once again. Automata
    marks the band's first proper double LP-spanning concept. They continue to expand their
    ever-evolving style, upholding a tradition of progression in the process.

    1. The Proverbial Bellow
    2. Glide
    3. Voice of Trespass
    4. The Grid
    Between The Buried And Me
    $22.99
    Colored Vinyl LP - Sealed Buy Now
  • Is This The Life We Really Want? (On Sale) Is This The Life We Really Want? (On Sale) On Sale Quick View

    $41.99$35.69Save $6.30 (15%)

    Buy Now
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    Is This The Life We Really Want? (On Sale)

    Roger Waters, the creative power and songwriting force behind Pink Floyd, presents Is This The Life We Really Want?, his first rock album in 25 years. The album is produced and mixed by Nigel Godrich (Radiohead, Paul McCartney, Beck, U2, From the Basement), and includes 12 new Roger Waters musical compositions and studio performances.


    Roger Waters' last studio album, 1992's Amused To Death, was a prescient study of popular culture, exploring the power of television in the era of the First Gulf War. This long-awaited follow-up, Is This The Life We Really Want ?, is an unflinching commentary on the modern world and uncertain times, and a natural successor to such classic Pink Floyd albums as Animals and The Wall.


    Tracks on Is This The Life We Really Want? include: When We Were Young, DÉjà vu, The Last Refugee, Picture That, Broken Bones, The Life We Really Want, A Bird In A Gale, The Most Beautiful Girl in the World, Smell the Roses, Wait For Her, Oceans Apart, and Part of Me Died. The lyrics for Wait for Her were written by Roger Waters and inspired by an English translation by an unknown author of Lesson from the Kama Sutra (Wait for Her), by Mahmoud Darwish.


    The musicians on Is This The Life We Really Want? are: Roger Waters (vocals, acoustic, bass), Nigel Godrich (arrangement, sound collages, keyboards, guitar), Gus Seyffert (bass, guitar, keyboards), Jonathan Wilson (guitar, keyboards), Joey Waronker (drums), Roger Manning (keyboards), Lee Pardini (keyboards) and Lucius (vocals) with Jessica Wolfe and Holly Proctor.


    This title is not eligible for further discount.

    LP 1
    1. When We Were Young
    2. DÉjà Vu
    3. The Last Refugee
    4. Picture That
    5. Broken Bones


    LP 2
    1. Is This the Life We Really Want?
    2. Bird In A Gale
    3. The Most Beautiful Girl
    4. Smell the Roses
    5. Wait for Her
    6. Oceans Apart
    7. Part of Me Died

    Roger Waters
    $41.99 $35.69 Save $6.30 (15%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Eccentric Soul: Mighty Mike Lenaburg Eccentric Soul: Mighty Mike Lenaburg Quick View

    $26.99
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    Eccentric Soul: Mighty Mike Lenaburg

    Eccentric Soul: Mighty Mike Lenaburg chronicles Phoenix, Arizona's off- Funky Broadway scene that happened while Dyke and his Blazers were setting national charts on fire in the late '60s/early '70s. Covering Tejano psych, flute funk, both horny soul and horny kid soul, cackling R&B, deep ballads, and fist-fight doowop, Lenaburg channeled that wrong side of the desert sound to a dozen 45s for the Mighty, Darlene, Homogenized Sound, Ramco and Out of Sight imprints.



    Although listing these totally obscure groups is an exercise in futility, Numero has anyway; Michael Liggins, the Super Souls, We The People, Ronnie Whitehead, Small Paul, the Soulsations, Lon Rogers, the Soul Blenders, Sheila Jack, Clarence Townes and the Newlyweds.



    Five years since Numero's initial CD release, Eccentric Soul: Mighty Mike Lenaburg finally makes it back to its intended format as a deluxe double LP. This 180g Loaded To The Gills edition features 10 bonus tracks, scores of new photographs and new liner notes, all housed in a heavy gatefold jacket.

    1. Too Good To Be True - Lon Rogers & The Soul Blenders
    2. Standing On The Corner - Michael Liggins
    3. Loaded To The Gills - Michael Liggins & The Super Souls
    4. I've Got To Have You - Sheila Jack
    5. Black And Beautiful - Michael Liggins
    6. Out Of Breath - Ronnie Whitehead
    7. Broadway Shing-A-Ling Pt. 1 - Soulsations
    8. Function Underground - We The People
    9. Blending Soul - Soul Blenders
    10. My Girl Is A Soul Girl - Lon Rogers & Soul Blenders
    11. Loaded Back - Michael Liggins & The Super Souls
    12. People, Open Your Eyes And See - We The People
    13. Cold Feet - Ronnie Whitehead
    14. Funky Nightclub - Soulsations
    15. Begging You - Ronnie Whitehead
    16. There's Gonna Be Some Crying - Small Paul
    17. The Quarrel - Newlyweds
    Eccentric Soul
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Robert Johnson Songbook (Awaiting Repress) The Robert Johnson Songbook (Awaiting Repress) Quick View

    $24.99
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    The Robert Johnson Songbook (Awaiting Repress)

    Peter Green is widely regarded as one of the finest guitarists of his generation. His virtuoso blues playing was an integral part of the sound of the original Fleetwood Mac, which he founded in 1967, and his tortured lead placed him on a par with legends such as Eric Clapton, Jeff Beck, and Jimmy Page.


    In the early '70s, Green left the band and he was to spend much of the next three decades in the wilderness, battling a number of health issues. He re-emerged in the late 1990s performing with the Peter Green Splinter Group, and the second album of his remarkable revival, 'The Robert Johnson Songbook', is one of the greatest classic blues records and was the first British album to win the prestigious WC Handy Award. The music features 16 exquisitely heart-breaking performances of the best Johnson originals, with Green on lead guitar, harmonica and vocals, plus support from Nigel Watson, Roger Cotton, Larry Tolfree, Neil Murray and guest Paul Rodgers.


    This edition of Peter Green's 'The Robert Johnson Songbook' will be available as an LP for the first time, pressed on to 180g heavyweight audiophile vinyl in single packaging including a 2-page insert with sleeve notes and new artwork.

    1. When You Got A Good Friend
    2. 32-20 Blues
    3. Phonograph Blues
    4. Last Fair Deal Gone Down
    5. Stop Breakin` Down Blues
    6. Terraplane Blues
    7. Walkin` Blues
    8. Love In Vain Blues
    9. Ramblin` On My Mind
    10. Stones In My Passway
    11. Me And The Devil Blues
    12. Honeymoon Blues
    13. Kind Hearted Woman Blues
    14. I Believe I`ll Dust My Broom
    15. If I Had Possession Over Judgement Day
    16. Sweet Home Chicago
    Peter Green
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Coma Ecliptic Coma Ecliptic Quick View

    $33.99
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    Coma Ecliptic

    Grandiose, dynamic, heavy, melodic, technically challenging: these are all words that fall equally short when trying to describe Between the Buried and Me's sonic offerings. When tasked with explaining the band's previous effort, The Parallax II: Future Sequence, Decibel Magazine claimed that the album offers more substance than most bands put forth in entire careers and Metal Hammer simply stated that it was utterly captivating. Where does a burgeoning progressive act go from there? The answer is found in their seventh full-length album, Coma Ecliptic. Spanning just over an hour, the album stands as a significant step in the evolution for the group as a whole, as well as the individual musicians: vocalist / keyboardist Tommy Rogers, guitarists Paul Waggoner and Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson.


    Tommy Rogers posits: Coma Ecliptic is a new life for BTBAM. Throughout the process we worked harder than we ever have and really pushed the BTBAM sound to a new identity. In a world of repetition, I'm very proud to be a part of something that is extremely rewarding, as well as frightening. When you don't push yourself you will never know what the outcome is. The outcome is Coma Ecliptic.


    What is Coma Ecliptic? It can be interpreted as a modern rock opera, and another ambitious concept album from a band that has completely mastered that format. Dan Briggs comments: Spending the last year immersed in a world of Quadrophenia, Operation Mindcrime, The Wall- as well as Sondheim and Lloyd Webber musicals, Stravinsky and Mussorgsky symphonic suites; writing an over the top, dramatic and forward thinking rock opera was the most natural thing to do. The story follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more perfect. The man does find his ideal life, but then is offered the ultimate choice of life or death. He chooses life and wakes up to his own actual reality. It's at that moment he realizes that he had been in a coma - everything that happened had been dreams and false memories. After awakening, we find the man outside finally experiencing reality, and he sees what he has been missing: the world is beautiful, the air is fresh, and the people appear to be happy, and then he falls over dead. The take away from this is to make the best of your life. People are constantly searching for something better without taking the time to appreciate the things they have. What we need may already be here, and is hopefully real. We may all be in a coma in another life.


    Musically, Coma Ecliptic boasts a series of emotive peaks and valleys that drive the narrative along with the lyrics. Tracks such as Memory Palace, while sounding wholly unique, clearly have a distinct BTBAM flavor to which fans have grown so attached. The Coma Machine brings to mind prog in the most classic sense; think YES and King Crimson passages with the added layer of modern metal heaviness. Dim Ignition highlights Rogers' continuing development as a keyboardist, but don't fret, there's still plenty of speed, technically challenging guitar, bass, and drum runs, and quirkiness throughout. What makes these parts work is the interplay of the heavy and technical with the simpler, almost cinematic, soft passages; that is the power of Coma Ecliptic. The listening experience is a journey, and when Life in Velvet brings the album to a sudden, triumphant end, fans will surely be reaching for the replay button. But what does the band think? Rogers adds: If you asked me what this record sounds like, I would tell you BTBAM. With every listen I still find new exciting moments that each member has put into these songs. After all these years we still push each other to try new things and push our individual skills to the next level. It is an absolute thrill to write with such an inspiring group of people. Briggs continues: Writing with a focus on storytelling and just crushing melodic themes set the tone early on before we were even in the rehearsal room together. Put your velvet capes on and get ready for a journey!

    1. Node
    2. The Coma Machine
    3. Dim Ignition
    4. Famine Wolf
    5. King Redeem / Queen Serene
    6. Turn on the Darkness
    7. The Ectopic Stroll
    8. Rapid Calm
    9. Memory Palace
    10. Option Oblivion
    11. Life in Velvet
    Between The Buried And Me
    $33.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Parallax II: The Further Sequence (Awaiting Repress) The Parallax II: The Further Sequence (Awaiting Repress) Quick View

    $29.99
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    The Parallax II: The Further Sequence (Awaiting Repress)

    Double gatefold marbled 2LP pressing with 2 x 4-color inserts from Metal Blade Records.

    Between the Buried and Me have not made a name for themselves through playing it safe. Pushing the envelope of heavy music with each successive release, they have continually evolved in thrilling new directions while maintaining the honesty and integrity that has connected with so many listeners. With The Parallax II: Future Sequence, the first concept album of their career, the North Carolina based unit have delivered their most complex, ambitious, and accomplished work to date. "We're certainly not the average metal band, we write what we want to write, and we've never really tried to fit in anywhere," states guitarist Paul Waggoner. "With this record we held nothing back. We were excited to experiment and see where it took us, and working with a concept was a really interesting new challenge."


    The concept was first introduced to the band's fans with 2011's The Parallax: Hypersleep Dialogues EP, which established the narrative's two characters, Prospect I and Prospect II, the story commencing with the events of Parallax II. Separated by millions of light years, the two men exist in ignorance of the other yet are intrinsically connected by a shared soul, which ultimately brings them together. "Both men exist in isolation, one because he runs away from the life that is his and the other when he leaves his dying planet in the hope of creating new life elsewhere, through the planting of souls," explains vocalist Tommy Rogers.


    "As the story progresses you realize they are actually the same person, and at the end of the journey they're responsible for destroying all life as they know it, reinforcing the idea that humanity is a destructive species, and that there's some kind of innate flaw about us that causes us to destroy everything we touch." While the story is very much based in fiction and grounded in the imagination of Rogers, it was important that the vocalist was able to emotionally connect with it, and relate it to his own life, thereby making it relatable for listeners. "That was probably the hardest thing for me, making sure I could find that connection. The main thing that these characters go through is confusion and isolation, and I think that's something every person deals with in their lives at some point. As a musician you spend a lot of time with your own thoughts, so despite the science fiction of it all it is still a very personal record."


    Produced by the band, which is rounded out by guitarist Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson, alongside longtime collaborator Jamie King, the recording process was smooth, though labor intensive, if for no other reason than the sheer amount of material that had to be tracked. Stepping back from it, the band are proud of everything they have achieved. "This whole process was a lot of work, and it's definitely the most rewarding piece of music we've ever written," states Rogers. "It's a very coherent record, and I think nowadays records are getting thrown out there without much thought put into them. I like that what we've done is kind of bring back the whole album feel, which was really important once but doesn't seem to be any more." With plans to play Parallax II in its entirety on forthcoming tours, the band hope this album introduces new fans to their music, yet they maintain the humble aspirations that have always driven them.


    "I'm a firm believer that if you create something that's unique and different there's always going to be a niche market for that. Our mentality is to keep doing what we're doing, writing music that challenges both us and the listener, and to keep playing to everyone who wants to see us," Waggoner states. Rogers concurs with this, adding "I think what we do speaks loudly to people. We're a very genuine band, we do what we want because we love doing it, and I think that's what people want. They want honesty in their music, and they want music that comes from the heart rather than comes from a computer, or that is made by people motivated by making money. We're just going to keep writing the best songs we can and with that continue to grow, and hopefully through doing that more and more people will find us.

    1. Goodbye to Everything
    2. Astral Body
    3. Lay Your Ghosts to Rest
    4. Autumn
    5. Extremophile Elite
    6. Parallax
    7. The Black Box
    8. Telos
    9. Bloom
    10. Melting City
    11. Silent Flight Parliament
    12. Goodbye to Everything Reprise
    Between The Buried And Me
    $29.99
    Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Nothing Compares 2 U Nothing Compares 2 U Quick View

    $9.99
    Buy Now
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    Nothing Compares 2 U

    Nothing Compares 2 U contains the original version of the iconic song. This previously unreleased version was recorded in 1984, six years before 1990's classic reimagining by SinÉad O'Connor and before Prince started performing the song live. The track was recorded at the Flying Cloud Drive 'Warehouse' in Eden Prairie by Prince's long-time engineer Susan Rogers, and originally composed, arranged and performed in its entirety by Prince, aside from the backing vocals by Susannah Melvoin and Paul St. Paul Peterson. Also featured on the original track is saxophone work by Eric Leeds.
    1. Nothing Compares 2 U (Edit)
    2. Nothing Compares 2 U
    Prince
    $9.99
    7 Vinyl Single - Sealed Buy Now
  • Seductive Reasoning (Speakers Corner) Seductive Reasoning (Speakers Corner) Quick View

    $34.99
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    Seductive Reasoning (Speakers Corner)

    Thanks to their undeniable musical talent, which allowed them to be taken seriously in the folk scene, the industrious Roche sisters' career began when they were young. The duo began by singing Christmas carols, doo-wop song syllable puzzles, and tricky barbershop harmonies. They finally caught the attention of Paul Simon, who brought the gifted girls in as backup singers on his LP There Goes Rhymin' Simon, and was primarily responsible for the birth of their first recording. The lavishly produced album achieved high critical acclaim. Although it was a worthy professional debut, the public was hesitant to buy the album. The specialist magazine Rolling Stone commented drily and somewhat at a loss that the Roches weren't everyone's cup of tea.



    Maggie and Terre Roche are a well-rehearsed vocal team however: with a range from hazy, finely balanced voices singing as one, right up to pearly, radiant brilliance, the Roche sisters enthusiastically penned a songbook which is almost without exception their very own creation. Mechanical bluegrass music (Wigglin' Man), a steam-train character (If You Emptied ...) and a somewhat crude and unrefined country aura make the subtle lyrics easily accessible to all, but the LP also offers the listener wonderfully ill-humoured verse (The Mountain People) and story-like prose (West Virginia). This is a truly exceptional album, and well worth being discovered!



    Musicians:



    • Maggie Roche (piano, guitar)

    • Terre Roche (guitar)

    • Paul Simon (guitar)

    • Pete Carr (guitar)

    • Jimmy Johnson (guitar)

    • Barry Beckett (keyboard)

    • David Hood (bass)

    • Roger Hawkins(drums)



    Recording: 1973 in the Morgan Studios, London, and 1974 in the Muscle Shoals Studios, Sheffield, Alabama

    Production: Paul Simon, Paul Samwell-Smith, David Hood and Jimmy Johnson




    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. Underneath the Moon
    2. Down the Dream
    3. Wigglin' Man
    4. West Virginia
    5. If You Empty Out All Your Pockets You Could Not Make the Change
    6. Telephone Bill
    7. Malachy's
    8. Burden of Proof
    9. The Mountain People
    10. Jill of All Trades
    Maggie & Terre Roche
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Average White Band Average White Band Quick View

    $31.99
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    Average White Band

    First Time Friday Music 180 Gram Audiophile Vinyl


    Mastered Impeccably By Joe Reagoso At Friday Music & Capitol Mastering


    Their self-effacing name to the contrary, Average White Band was anything but - one of the few white groups to cross the color line and achieve success and credibility playing funk, with their tight, fiery sound also belying their Scottish heritage, evoking American R&B hotbeds like Detroit, Memphis, and Philadelphia instead. Singer/bassist Alan Gorrie, guitarists Hamish Stuart and Onnie McIntyre, tenor saxophonist Malcolm Duncan, keyboardist/saxophonist Roger Ball, and drummer Robbie McIntosh comprised the original Average White Band lineup. Veterans of numerous Scottish soul and jazz groups, they made their debut in 1973 as the opening act at Eric Clapton's Rainbow Theatre comeback gig, soon issuing their debut LP, Show Your Hand, to little notice. After adopting the abbreviated moniker AWB, a year later the band issued their self-titled sophomore effort, topping the American pop charts with the Arif Mardin-produced instrumental "Pick Up the Pieces." The record's mammoth success was nevertheless tempered by the September 23, 1974 death of McIntosh, who died at a Hollywood party after overdosing on heroin.


    Ex-Bloodstone drummer Steve Ferrone replaced McIntosh for AWB's third album, 1975's Cut the Cake, which scored a Top Ten hit with its title track as well as two other chart entries, "If I Ever Lose This Heaven" and "School Boy Crush." (Put It Where You Want It, issued later that same year, was simply a retitled and repackaged Show Your Hand.) With 1976's Soul Searching, the group reclaimed the full Average White Band name, scoring their final Top 40 hit with "Queen of My Soul." Following the live Person to Person, they issued Benny & Us, a collaboration with soul legend Ben E. King. However, after subsequent outings, including 1978's Warmer Communications, 1979's Feel No Fret, and 1980's Shine, failed to recapture the energy of AWB's peak, the group dissolved in 1982, with Ferrone later joining Duran Duran and Stuart recording with Paul McCartney. Gorrie, Ball, and McIntyre reformed Average White Band in 1989, tapping vocalist Alex Ligertwood for their comeback effort Aftershock. Oft-sampled by hip-hop producers throughout the 1990s, the group continued touring prior to releasing Soul Tattoo in 1996. The live album, Face to Face, followed three years later.

    1. You Got It
    2. Got The Love
    3. Pick Up The Pieces

    4. Person To Person

    5. Work To Do
    6. Nothing You Can Do

    7. Just Wanna Love You Tonight
    8. Keepin' It To Myself

    9. I Just Can't Give You Up

    10. There's Always Someone Waiting
    Average White Band
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Beautiful: The Carole King Musical (Original Broadway Cast Recording) Beautiful: The Carole King Musical (Original Broadway Cast Recording) Quick View

    $24.99
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    Beautiful: The Carole King Musical (Original Broadway Cast Recording)

    Beautiful: The Carole King Musical, produced by Jason Howland and Steve Sidwell with Kurt Deutsch serving as executive producer, was recorded Feb. 17.


    The musical's score comprises songs Carole King penned with Gerry Goffin as well as tunes Barry Mann wrote with Cynthia Weil.


    Based on King's life and music, Beautiful had its world premiere earlier this season at San Francisco's Curran Theatre. The Broadway production began previews Nov. 21, 2013, prior to an official opening Jan. 12 at the Stephen Sondheim Theatre.


    Paul Blake and Sony/ATV Music Publishing produce the musical that features a book by Academy Award nominee Douglas McGrath, who collaborated with Woody Allen on the screenplay for Bullets Over Broadway. He also penned Infamous and Emma.


    Marc Bruni (Pipe Dream, Ordinary Days, Old Jews Telling Jokes) stages the production with choreography by Josh Prince and musical direction by Jason Howland.


    Tony Award nominee Mueller (Mystery of Edwin Drood, On a Clear Day, Nice Work If You Can Get It) stars as King. Appearing as her musical collaborators are Jake Epstein (Degrassi, Spider-Man) as Gerry Goffin, Anika Larsen (Xanadu, Avenue Q) as Cynthia Weil and Jarrod Spector (Jersey Boys) as Barry Mann. Principal casting also includes Jeb Brown as producer/publisher Don Kirshner and Liz Larsen as King's mother, Genie Klein.


    The ensemble features Ashley Blanchet, E. Clayton Cornelious, Joshua Davis, Alysha Deslorieux, Kevin Duda, James Harkness, Carly Hughes, Sara King, Rebecca LaChance, Douglas Lyons, Chris Peluso, Gabrielle Reid, Rashidra Scott, Sara Sheperd, Yasmeen Sulieman, Daniel Torres, Melvin Tunstall and Alan Wiggins.


    The complete creative team includes Derek McLane (set design), Alejo Vietti (costume design), Peter Kaczorowski (lighting design), Brian Ronan (sound design), Charles G. LaPointe (wig and hair design), Steve Sidwell (orchestrations and music arrangements), Jason Howland (music supervision) and John Miller (music coordination).


    Here's how the creators bill the musical: Long before she was Carole King, chart-topping music legend, she was Carol Klein, Brooklyn girl with passion and chutzpah. She fought her way into the record business as a teenager and, by the time she reached her twenties, had the husband of her dreams and a flourishing career writing hits for the biggest acts in rock 'n' roll. But it wasn't until her personal life began to crack that she finally managed to find her true voice. Beautiful tells the inspiring true story of King's remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she made more than beautiful music, she wrote the soundtrack to a generation.


    Beautiful is produced by Paul Blake, Sony/ATV Music Publishing, Jeffrey A. Sine, Richard A. Smith, Mike Bosner, Harriet N. Leve/Elaine Krauss, Terry Schnuck, Orin Wolf, Patty Baker/Good Productions, Roger Faxon, Larry Magid, Kit Seidel, Lawrence S. Toppall, Fakston Productions/Mary Solomon, William Court Cohen, John Gore, BarLor Productions, Matthew C. Blank, Tim Hogue, Joel Hyatt, Marianne Mills, Michael J. Moritz, Jr., StylesFour Productions, Brunish/Trinchero, and Jeremiah J. Harris.

    1. Overture
    2. So Far Away
    3. 1650 Broadway Medley
    4. It Might as Well Rain Until September
    5. Some Kind of Wonderful
    6. Happy Days Are Here Again
    7. Take Good Care of My Baby
    8. Will You Love Me Tomorrow
    9. He's Sure the Boy I Love
    10. Will You Love Me Tomorrow
    11. Up on the Roof
    12. On Broadway
    13. The Locomotion
    14. You've Lost That Lovin' Feeling
    15. One Fine Day
    16. Chains
    17. Walking in the Rain
    18. Pleasant Valley Sunday
    19. We Gotta Get Out of This Place
    20. Uptown
    21. It's Too Late
    22. You've Got a Friend
    23. You Make Me Feel Like) A Natural Woman
    24. Beautiful
    25. I Feel The Earth Move
    Various Artists
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Perpetual Surrender Perpetual Surrender Quick View

    $17.99
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    Perpetual Surrender

    DIANA are an enigmatic foursome from Toronto, where they must be putting something in the water with the
    number of great bands hailing from there. Consisting of Joseph Shabason, Kieran and singer Carmen Elle, with Paul Mathew recently joining the live line up, Shabason and Adams met while studying jazz at music college where they played extensively together. Having lent their skills (saxophone and drums, respectively) to many bands,including Bonjay, The Hidden Cameras and Shabason's recent contributions to Destroyer's excellent Kaputt, it was a leap of faith to make their own full-length. But the time had come.


    After a songwriting sabbatical in the Canadian countryside, Shabason and Adams went into the studio with engineer and co-producer Roger Leavens. They asked Toronto musician and vocalist Carmen Elle to sing on a track, as both Kieran and Joseph knew her from her work with other bands such as the much feted but short-lived Spiral Beach, all of whose members have since gone on to play in various successful Canadian bands from Austra to Doldrums. The pair thought her voice might add something special, this turned out to be a huge understatement. Even though Shabason and Adams wrote the songs, the lyrics and melodies belonged to Elle the moment they escaped her mouth, each nuance of phrasing and melody deepening the sentiments. With this last dazzling piece of the puzzle in place, DIANA was born.


    Right from the first note we're reeled into DIANA's intimate world, with the dense, ambient swell that begins album opener 'Foreign Installation'. A heady mix of drums, electric guitar and lush production, all sewn together and lifted by Carmen's soothing vocal, their sound is addictive from the off. The pace is picked up with 'That Feeling', the detached refrain We were blind to all the ways we sat and watched it fade away echoing through a mist of synths layered over insistent drums and bass. It is future music with an undeniable pop sensibility,
    though never overwhelming, the glossy yet sparse production always leaving just enough room for the
    imagination.


    Album highlight 'Perpetual Surrender' boasts an impressive travelling bassline, with Carmen's gorgeous vocal repeating "I need saving from myself" over blown beats and perhaps the year's best indie sax solo, all coming together to create well over four minutes of eerie, blissed-out ambience.


    Though there are glances to music past and kinship with music present, there is a progressive and contemporary feel to the record. DIANA comparisons traverse eras and genres; from the soft-focus soft rock and pop of Roxy Music to the dreamy production of jj and Chromatics, topped off with the Balearic disco swirl of Studio. While referencing so many, Carmen's unique vocal brings them their own voice. For DIANA, the point is to push things forward, summed up with the embryonic bliss of instrumental closer 'Curtains', a startling piece of atmospheric
    production that stays with you long after the last sound has echoed into the ether.

    1. Foreign Installation
    2. That Feeling
    3. Perpetual Surrender
    4. Strange Attraction
    5. Anna
    6. Born Again
    7. New House
    8. Curtains
    Diana
    $17.99
    Vinyl LP - Sealed Buy Now
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