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  • Private Eyes (Speakers Corner) Private Eyes (Speakers Corner) Quick View

    $34.99
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    Private Eyes (Speakers Corner)

    In the course of his sadly short life, Tommy Bolin was at least granted eight productive years during which he was able to contribute to what was probably the most innovative era of rock'n'roll. His outstanding skill on the guitar brought him legendary status during his lifetime when he replaced the - in many ways - unique Ritchie Blackmore as frontman with Deep Purple. Jon Lord, keyboarder with the group, once described Bolin as a »beautiful lost soul«, and as such he allows one a very private glimpse into his musical perspective in his second and final album. This is certainly dualistic: in numbers such as Post Toastee and Shake The Devil Bolin sings about drug problems in a dry rocker style that is enhanced by his superb guitar playing.


    But this hard rocker shows just how stylistically assured he is in more gentle realms, as in the highly melodic ballad Sweet Burgundy, which makes for enjoyable listening. Bolin's subtle fingering creates a natural and electrifying Gypsy Soul and his Hello, Again is narrated softly to the sound of old-fashioned strings and winds. The relaxed tone of the recording is quite typical of the notions of sound at that time and reminds one yet again that the great voices of rock are now heard in heaven.


    Not only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound.


    Musicians:


    • Tommy Bolin (guitar, keyboards, vocals, piano)
    • Mark Stein (keyboards, vocals)
    • Norma Jean Bell (percussion, vocals, saxophone)
    • Reggie McBride (bass, vocals)
    • Bobby Berge (percussion, drums)
    • Bobbye Hall (percussion)
    • Carmine Appice (drums)


    Recording: June 1976 at Cherokee Recording Studios, Los Angeles, CA and Trident Studios, London by Tom La Tondre and Steve Taylor

    Production: Dennis MacKay & Tommy Bolin


    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. Bustin' Out For Rosey
    2. Sweet Burgundy
    3. Post Toastee
    4. Shake The Devil
    5. Gypsy Soul
    6. Someday Will Bring Our Love Home
    7. Hello Again
    8. You Told Me That You Loved Me
    Tommy Bolin
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Private Eyes Private Eyes Quick View

    $34.99
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    Private Eyes

    Private Eyes on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    1981 Album Established Parameters for Decade's Celebrated Pop Sounds


    Includes Private Eyes, I Can't Go For That (No Can Do), Did It in a Minute


    Meticulous Merger of Pop, Soul, Rock, and R&B Crossed Over Into all Fields


    Stylish, Sophisticated Production Comes to Fore on Mobile Fidelity Reissue, Mastered from the Original Master Tapes


    Hall and Oates could've easily followed the protocol established on their breakthrough Voices, done nothing else, and watched 1981's follow-up Private Eyes scale the charts. Yet the duo continues to press forward, further refining the era-defining stylistic mÉlange that propelled them to mass stardom a year prior. The creative and artistic peak of the all-time best-selling male duo's output, Private Eyes delivers relentless pop bliss and functions as an instruction manual that, as Rolling Stone opined, still teaches "the way to make rock girls, disco girls, and new-wave girls scream together."


    Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue presents the Top 5 album's sharp, widescreen production values with awe-inspiring detail and palpable realism. For the first time, listeners can get inside the songs' internal mechanisms by experiencing first-hand the vast surfeit understated sonic effects. Well-appointed tones now grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing also claims enhanced intimacy and balance. Offering tremendous insight, Mobile Fidelity's LP doubles as a lesson in the construction and sustain of big, bold grooves.


    Advancing their rhythmic support and melodic symmetry, Hall and Oates give extra space to their still-underrated backing band, affording the material a muscular punch and organic warmth crucial to their success and ability to transcend the largely artificial era. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard noises, Hall and Oates wisely merge the period's savvy sounds with tried-and-true soulful instrumentation.


    Reflecting the album's infallible level of quality control, no song disappoints. The three Top 40 singles-the title track, "I Can't Go For That (No Can Do)," and "Your Imagination"-feature clever elements such as hand-clapped choruses and staccato piano lines. The distinctive traits complement the duo's hallmark harmony vocals and add R&B flavors to already-scintillating pop concoctions. Yet Private Eyes' pleasures advance well beyond the radio singles.


    Whether witnessed via the taut tension of "Some Men," reggae-splashed "Tell Me What You Want," or Motown homage "Looking for a Good Sign," the group's blend of dance vibes, electrifying hooks, keyboard loops, and sleek beats epitomizes seduction, style, and swagger. Private Eyes is an 80s juggernaut that hasn't lost a step. Utterly classic.


    This title is not eligible for discount.

    1. Private Eyes
    2. Looking for a Good Sign
    3. I Can't Go For That (No Can Do)
    4. Mano a Mano
    5. Did It in a Minute
    6. Head Above Water
    7. Tell Me What You Want
    8. Friday Let Me Down
    9. Unguarded Minute
    10. Your Imagination
    11. Some Men
    Hall and Oates
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sky Is An Empty Eye The Sky Is An Empty Eye Quick View

    $18.99
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    The Sky Is An Empty Eye

    Tompkins Square presents the first-time reissue of this rare private press album released in 1987 by guitarist Tom Armstrong. For fans of moody, folk-psych instrumentals.
    1. White Pines
    2. The Thing
    3. Dream Waltz

    4. Burleske

    5. Keller

    6. The Sky Is An Empty Eye
    7. Winter Lament

    8. Mama's Baby

    9. Bebop

    10. Thunder Clouds
    Tom Armstrong
    $18.99
    Vinyl LP - Sealed Buy Now
  • Rock 'N Soul Part 1 (Awaiting Repress) Rock 'N Soul Part 1 (Awaiting Repress) Quick View

    $34.99
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    Rock 'N Soul Part 1 (Awaiting Repress)

    Rock 'N Soul Part I On Numbered Limited Edition 180 Gram LP From Mobile Fidelity


    The Definitive Hall and Oates Greatest-Hits Compilation: Rock 'n Soul Part I Loaded With Nine Top 10 Singles, Including Kiss On My List and Private Eyes


    Mastered From the Original Master Tapes and Pressed On 180 Gram LP At RTI


    All The Signature Songs From The 1970s And 80s Are Here, From Sara Smile And She's Gone To Maneater


    Other compilations have longer track lists and go farther back into their career, but no Hall and Oates greatest-hits collection surpasses Rock 'n Soul Part I. Originally released at the height of the duo's career in fall 1983, the 12-song set functions as a time machine back into an era when Daryl Hall and John Oates dominated the charts with songs that have long since become standards. While a majority of the anthology draws from the group's trio of mammoth RCA albums spanning 1980 through 1982, it also includes the pair's only three Top 10 smashes from the 1970s: Sara Smile, She's Gone, and the chart-topping Rich Girl. One-stop shopping for the absolute best of Hall and Oates doesn't come any easier.


    Mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's analog reissue presents nine Top 10 Hall and Oates singles with awe-inspiring detail and palpable realism. Lifelike tones grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing claims enhanced intimacy and balance. The collective harmonies sound sharper, the dynamics richer, and the soundstages wider and deeper. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard devices, Hall and Oates wisely merge the period's savvy styles with tried-and-true soulful instrumentation.


    Indeed, with one listen to this definitive-sounding version of Rock 'n Soul Part I, and you'll understand why the duo's music not only ruled radio and record stores in the Reagan era but also continues to be referenced by influential artists today. You already likely know every song - or nearly every one of them - here by heart. Arriving upon a near-flawless fusion of dance grooves, soft rock rhythms, smooth vocals, romantic sentiments, catchy beats, and spotless hooks with #1 singles such as Kiss On My List and Private Eyes, the collaborators simultaneously crossed over into multiple markets and eradicated boundaries.


    All the trademarks - swinging verse structures, call-and-response choruses, stick-in-your-head bridges, sleek keyboard layers, doo-wop fills, and, in some places, reggae-nodding accents or cool saxophone lines to stir up the mood and atmosphere - that make the duo's music irresistible pulse throughout Rock 'n Soul Part I. Eight of the singles included here cracked the Top 5. They remain prototype intersections of blue-eyed soul, edge new wave, and dance, blueprints for pop mastery that catapulted Hall and Oates to becoming the most successful duo in rock history.


    Hear the Rock and Roll Hall of Fame inductees' standard-setting equilibrium between polish, melody, muscle, and craft on their signature hits like never before.


    This title is not eligible for discount.

    1. Say It Ain't So
    2. Sara Smile
    3. She's Gone
    4. Rich Girl
    5. Kiss On My List
    6. You Make My Dreams
    7. Private Eyes
    8. Adult Education
    9. I Can't Go For That (No Can Do)
    10. Maneater
    11. One on One
    12. Wait for Me
    Hall and Oates
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Love Over Gold (45 RPM) (Pre-Order) Love Over Gold (45 RPM) (Pre-Order) Quick View

    $49.99
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    Love Over Gold (45 RPM) (Pre-Order)


    Dire Straits Stretch Out With Extended, Ambitious Arrangements And Moody Atmospherics: Love Over Gold Mesmerizes With Tension, Contrast, Interplay, And Craftsmanship


    Mobile Fidelity 45RPM 2LP Set Of Love Over Gold Touts Unsurpassed Spaciousness, Imaging, And Transparency: Mastered From The Original Tapes, Music Emerges With New Details And Tones


    Love Over Gold Includes The Epic Telegraph Road And Aching Private Investigations: Heartfelt Narrative Songs Steeped In Patience, Drama, Sadness, And Romance


    Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman - his first appearance in what would be a long string of collaborations with Mark Knopfler - ensures stunning sonic properties that now come to life like never before.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments - marimbas, acoustic and electric guitars, vibes, synthesizers - further enhance the ambitiousness of the 1982 album.


    On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.


    It doesn't take long to realize Love Over Gold is like no other Dire Straits album - and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening Telegraph Road is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.


    Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions color the sweeping Telegraph Road and barren Private Investigations, which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed wracking schizophrenia between the heart and the heartless, the loving and the pain.


    Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labeling and avoids aging.


    This title is not eligible for discount.

    1. Telegraph Road
    2. Private Investigations
    3. Industrial Disease
    4. Love Over Gold
    5. It Never Rains
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Voices Voices Quick View

    $34.99
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    Voices

    Voices on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    1980 Set First of Duo's Record-Breaking Trilogy of Smash Albums


    Includes Kiss on My List, You've Lost That Lovin' Feelin', You Make My Dreams, and Everytime You Go Away


    Self-Produced Album Marks Pair's Transition Towards Fusion of Sleek Pop, Melodic New Wave, and Blue-Eyed Soul


    Divine Sonics: Spacious, Polished Production Shines on Mobile Fidelity Reissue, Mastered from the Original Master Tapes


    Daryl Hall has inferred that if Voices failed to catch fire, it would have likely signaled the end of he and John Oates' recording career together. Suffice it to say that the 1980 effort not only caught on-it established a production and songwriting template that would help largely define the decade. The album also propelled Hall and Oates into the mainstream and turned them into superstars, placing them at the top of the charts for a multi-year run during which the duo proved superior singers, master songwriters, and visionary producers.


    Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue at last affords this pop classic an expansive, engaging, dynamic reach absent from all prior editions. Self-produced, the record's sonics were key to its success. As evidenced by the greater information and finer details found in this analog edition's grooves, the polished, sleek, and open sound works hand-in-hand with the arrangements. Hall and Oates' knack for stylish tones, instrumental placement, and edgy accents has never been clearer-literally or figuratively. This LP is nothing short of a game-changer.


    By the dawn of the 1980s, Hall and Oates had already released more than a half-dozen albums and attached themselves to a folk-pop model they gradually took in blue-eyed soul directions. Hints of a pop/new wave/R&B amalgamation initially appear on 1979's X-Static, but only fully come into play with confidence, conviction, and commercial flair on Voices. Arriving upon a near-flawless fusion of dance grooves, soft rock rhythms, smooth vocals, romantic sentiments, catchy beats, and spotless hooks, the collaborators simultaneously crossed over into multiple markets and eradicated stylistic boundaries.


    Rightly recognized for its four hit singles-the irresistible "Kiss on My List," building "You Make My Dreams," cover of the Righteous Brothers' "You've Lost That Lovin' Feeling," and original rendition of the poignant "Every Time You Go Away," which Paul Young took to the top of the charts years later-Voices towers as both an 80s masterpiece and all-time pop classic.


    Independent of the ubiquitous fare, the record holds up courtesy of the deep-album cuts. There isn't a weak note or false move to be found. Hall and Oates paint "United State" with uptempo assertiveness; "Big Kids" passes as first-rate new-wave rock; "Diddy Doo Wop (I Hear the Voices)" pays loving tribute to the duo's doo-wop influences; "Gotta Lotta Nerve (Perfect Perfect)" oozes emotional rawness. Their stage set, Hall and Oates would further advance their craft on Private Eyes and H20, also available from Mobile Fidelity.


    This title is not eligible for discount.

    1. How Does It Feel to Be Back
    2. Big Kids
    3. United State
    4. Hard to Be In Love With You
    5. Kiss on My List
    6. Gotta Lotta Nerve (Perfect Perfect)
    7. You've Lost That Lovin' Feelin'
    8. You Make My Dreams
    9. Everytime You Go Away
    10. Africa
    11. Diddy Doo Wop (I Hear Voices)
    Hall and Oates
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Music From Peter Gunn (Speakers Corner) The Music From Peter Gunn (Speakers Corner) Quick View

    $34.99
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    The Music From Peter Gunn (Speakers Corner)

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



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





    Musicians:



    • Henry Mancini (arranger, conductor)

    • Ted Nash, Ronnie Lang (alto saxophone)

    • Dick Nash, Milt Bernhart (trombone)

    • Pete Candoli (trumpet)

    • Johnny T. Williams (piano)

    • Larry Bunker (vibraphone)

    • Rolly Bundock (bass)

    • Jack Sperling (drums)




    Recording: August and September 1958 in Hollywood, CA.

    Production: Simon Rady




    About Speakers Corner



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



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



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



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



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



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


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

    Henry Mancini
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Freddie Mercury: Messenger Of The Gods - The Singles (Box Set) Freddie Mercury: Messenger Of The Gods - The Singles (Box Set) Quick View

    $139.99
    Buy Now
    x

    Freddie Mercury: Messenger Of The Gods - The Singles (Box Set)

    Box Set Features 13 x 7" Singles On Colored Vinyl


    Includes Booklet Featuring Previously Unpublished Photos


    Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.


    He was the ultimate showman, but he kept his private life away from the prying eyes of the media; a larger than life rock star who loved disco, classical music and ballet. He was a restless spirit, a true chameleon who reveled in his own contradictions.


    All the different sides of this iconic musician can be found on Freddie Mercury: Messenger Of The Gods - The Singles. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.


    From his debut solo single I Can Hear Music, released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat CaballÉ including the timeless Barcelona, this is a journey through the career of a unique talent.


    Born Farrokh Bulsara on the East African island of Zanzibar on September 5, 1946, the rechristened Freddie Mercury was already a star in his own mind by the time he formed Queen with Brian May and Roger Taylor in 1970. Where his band mates had studied astrophysics, dentistry and electronics at college, Freddie majored in stardom.


    His first solo single actually emerged a week before Queen's own debut 7". Released in 1973 and credited to Larry Lurex in a nod to the fashionably flamboyant noms de rock of the glam era, the Beach Boys cover I Can Hear Music and its B-side, Goin' Back, were recorded as a favour towards a musical project by Trident Studios' house engineer Robin Geoffrey Cable, in 1972.


    As Queen's career rocketed towards the heavens, Freddie poured his energies into the band. It would be more than a decade before he released his second solo single, the pulsating, electronic Love Kills. Originally released in 1984, Love Kills was a collaboration with famed Italian disco producer Giorgio Moroder for the soundtrack to Moroder's update of the groundbreaking 1927 silent movie Metropolis. A Top 10 UK hit, it found Freddie moving away from Queen's traditional sound, paving the way for what he would do next.


    Released in 1985, Freddie's debut solo album, Mr Bad Guy, fully explored the music he had fallen in love with in the dance clubs of Munich and New York. The four hit singles released from that album - I Was Born To Love You, Made In Heaven, Living On My Own and Love Me Like There's No Tomorrow, all of which are included in the Messenger Of The Gods box set - crackled with playfully hedonistic energy, but they also hid a more serious side to Freddie. Here was a man who craved the good times but wanted something deeper as well.


    Within two years, he had abandoned the sound of the clubs for the music of the opera house - though not before releasing both the epic single Time, the theme to the lavish stage musical of the same name produced by Dave Clark, and his outrageous (and strangely revealing) Top 5 cover of The Platters' 1965 hit, The Great Pretender.


    In 1987, he dived headlong into the world of opera and classical music with the towering single, Barcelona. A duet with legendary Spanish soprano Montserrat CaballÉ, an idol of Freddie's, it came about after the opera star asked him to write a song about her home town.


    Barcelona remains one of the most momentous hit singles not just of Freddie's career but in pop history. Not only did it lead to an album of collaborations between these two huge talents, but the title track was also chosen as the official anthem of the 1992 Olympics. That song, together with the two other singles taken from the album, The Golden Boy and How Can I Go On, are all included as part of Messenger Of The Gods with their original B-sides.


    In October 1988 Freddie and Montserrat were invited by the King and Queen of Spain to perform Barcelona on the steps of Barcelona's National Palace of Montjuic at the open air La Nit festival which was staged to mark the arrival of the Olympic Flag from Seoul.


    But sadly, Freddie would not live to see the fruits of his collaboration with Montserrat CaballÉ showcased at the Barcelona Olympics. He passed away on November 24, 1991, just seven months before the Games took place. The grand opening ceremony was a fitting tribute to a man who thrived on spectacle.


    Messenger Of The Gods is completed by two posthumous singles, In My Defence and Living On My Own (No More Brothers Radio Mix), the latter of which became Freddie's first solo number 1 and was the biggest selling European single of the year in 1993.


    Had he lived, it is anyone's guess where this most restless and protean of singer's muses would have taken him. But Messenger Of The Gods - The Singles is a towering legacy, a collection of songs which will never lose their stature of classics and will live on forever.

    Disc 1 - Blue Colored Vinyl
    (a) I Can Hear Music - Larry Lurex (1973)
    (b) Goin' Back - Larry Lurex


    Disc 2 - Orange Colored Vinyl
    (a) Love Kills (1984)


    Disc 3 - Yellow Colored Vinyl
    (a) I Was Born To Love You (1985)
    (b) Stop All The Fighting


    Disc 4 - Red Colored Vinyl
    (a) Made In Heaven [Single Remix] (1985)
    (b) She Blows Hot And Cold


    Disc 5 - White Colored Vinyl
    (a) Living On My Own [Single Edit] (1985)
    (b) My Love Is Dangerous


    Disc 6 - Red Colored Vinyl
    (a) Love Me Like There's No Tomorrow (1985)
    (b) Let's Turn It On


    Disc 7 - Cyan Colored Vinyl
    (a) Time (1986)
    (b) Time [Instrumental]


    Disc 8 - Orange Colored Vinyl
    (a) The Great Pretender (1987)
    (b) Exercises In Free Love [Freddie's Vocal]


    Disc 9 - Clear Colored Vinyl
    (a) Barcelona [Single Version] (1987)
    (b) Exercises In Free Love [Montserrat's Vocal]


    Disc 10 - Gold Colored Vinyl
    (a) The Golden Boy [Single Edit] (1988)
    (b) The Fallen Priest [B-Side Edit]


    Disc 11 - Green Colored Vinyl
    (a) How Can I Go On [Single Version] (1989)

    (b) Overture Piccante


    Disc 12 - Neon Pink Colored Vinyl
    (a) In My Defence (1992)
    (b) Love Kills [Wolf Euro Mix]


    Disc 13 - Yellow Colored Vinyl
    (a) Living On My Own [No More Brothers Radio Mix] (1993)
    (b) Living On My Own [Julian Raymond Album Mix]

    Freddie Mercury
    $139.99
    7 Inch Colored Vinyl Box Set - 13 Singles Sealed Buy Now
  • Music And Dreams Music And Dreams Quick View

    $19.99
    Buy Now
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    Music And Dreams


    First Repress Since 2010


    Music And Dreams is a shimmering, unbuttoned-collar
    collection of songs by south Georgia's Robert Lester
    Folsom. Originally released on private press in 1976,
    there's a professionally rendered and vaguely
    psychedelic quality to these songs that belies its
    rarified, limited original release. Music And Dreams
    spans breezy soft rock (Biding My Time, My Stove's
    On Fire), and gorgeous sunset ballads such as
    Brown Eyed Lady With Blonde Hair.

    1. Music and Dreams
    2. Ginger
    3. Biding My Time
    4. April Suzanne
    5. Weeping Willow Tree
    6. My Stove's on Fire
    7. Spanish Lady
    8. Brown Eyed Lady With Blonde Hair
    9. A New Way
    10. Show Me to the Window
    11. Jericho
    12. Please Don't Forget Me
    Robert Lester Folsom
    $19.99
    Vinyl LP - Sealed Buy Now
  • I Wanna Go Backwards I Wanna Go Backwards Quick View

    $99.99
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    x

    I Wanna Go Backwards

    Limited Edition


    Robyn Hitchcock has finally begun the daunting task of compiling his groundbreaking post-Soft Boys solo catalog with the I Wanna Go Backwards box set. The first of two upcoming collections, I Wanna Go Backwards includes three of his most classic albums. Hitchcock's first solo album Black Snake Diamond Role is a private rock album featuring ex-Soft Boys, a Vibrator, a Fur and other friends. I Often Dream of Trains finds Robyn at his all-acoustic zenith with a seminal collection of kaleidoscopic, stripped down folk. Eye continues in the tradition of Trains draping Hitchcock's signature layered lyrical imagery over his most musically direct work to date. All the albums feature bonus tracks and enhanced liner notes: reminiscences (BSDR & WTMB), an excerpt from a novel in progress (Trains), and original poetry (Eye), plus previously unseen photos and Hitchcock cartoons. Additional bonus material includes While Thatcher Mauled Britain Part 1 & 2, a two-disc comprehensive look at a labyrinth of Robyn's largely unreleased solo b-sides, outtakes and home recordings. Black Snake Diamond Role and I Often Dream of Trains have been remastered for this collection.


    In addition to the exclusive box set packaging, all three albums will also be simultaneously re-released individually, allowing fans to fill the gaps in their Hitchcock compendiums. Individual album versions will also feature the bonus tracks included on the box set versions as well as the enhanced liner notes. In addition to compact disc format the set will also be released in an eight-record vinyl box set version complete with original LP artwork. The combined release of the I Wanna Go Backwards box set and the individual albums that comprise it are the definitive document of a career defining period of creation for one of the worlds most eccentric and beloved singer/songwriters, a must-have for collectors and fanatics alike.







































































































































































































































































































































































































































































































































































































































    The Man Who Invented Himself      
    Brenda's Iron Sledge      
    Do Policemen Sing?      
    The Lizard      
    Meat      
    Acid Bird      
    I Watch The Cars      
    Out Of The Picture      
    City Of Shame      
    Love      
    All I Wanna Do Is Fall In Love      
    A Skull, A Suitcase & A Long Red Bottle Of Wine      
    It Was The Night      
    I Watch The Cars No. 2      
    Give Me A Spanner Ralph      
    It's A Mystic Trip      
    Grooving On A Inner Plane      
    Happy The Golden Prince      
    Nocturne (prelude)      
    Sometimes I Wish I Was A Pretty Girl      
    Cathedral      
    Uncorrected Personality Traits      
    Sounds Great When You're Dead      
    Flavour Of Light      
    Ye Sleeping Nights Of Jesus      
    This Could Be The Day      
    Trams Of Old London      
    Furry Green Atom Bowl      
    Heart Full Of Leaves      
    Autumn Is Your Last Chance      
    I Often Dream Of Trains      
    Nocturne (Demise)      
    Winter Love      
    The Bones In The Ground      
    My Favourite Buildings      
    I Used To Say I Love You      
    Chant/Aether      
    Heart Full Of Leaves (Alternate)      
    I Often Dream Of Trains (Demo)      
    Not Even A Nurse      
    Slow Chant/That's Fantastic Mother Church      
    Traveller's Fare      
    Cynthia Mask      
    Certainly Cliquot      
    Queen Elvis      
    Flesh Cartoons      
    Chinese Water Python      
    Executioner      
    Linctus House      
    Sweet Ghost Of Light      
    Transparent Lover      
    Beautiful Girl      
    Clean Steve      
    Raining Twilight Coast      
    Agony Of Pleasure      
    Glass Hotel      
    Satellite      
    Aquarium      
    Queen Elvis II      
    Century      
    Shimmering Distant Love      
    Lovers Turn To Skulls      
    The Beauty Of Earl's Court      
    She Reached For A light      
    August Hair      
    Take Your Knife Out Of My Back      
    Fiend Before The Shrine      
    Raymond Chandler Evening      
    Birdshead      
    Victorian Squid      
    You've Got      
    Captain Dry      
    Raining Twilight Coast (Demo)      
    Point It At Gran      
    Vegetable Friend      
    Flesh Number 1      
    Surgery      
    I Got A Message For You      
    If I Could Look      
    Parachutes & Jellyfish      
    Queen Elvis (Demo)      
    Nothing      
    Stranded In The Future      
    Melting Arthur      
    The Abandoned Brain      
    You're So Repulsive      
    Opiatrescence      
    September Cones      
    Lovely Golden Villains      
    Dr Sticky (live)      
    Toadboy      
    Trash      
    Pit Of Souls (Country Version)      
    Mr Deadly      
    Let There Be More Darkness      
    Listening To The Higsons      
    College Of Ice      
    My Favourite Buildings (Demo)      
    Lightplug      
    Sleeping Knights Of Jesus (Demo)      
    Insect Mother      
    I Wanna Go Backwards    
    Robyn Hitchcock And The Venus 3
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 8 LPs Sealed Buy Now
  • Exclusively for My Friends - The Lost Tapes (Speakers Corner) Exclusively for My Friends - The Lost Tapes (Speakers Corner) Quick View

    $34.99
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    x

    Exclusively for My Friends - The Lost Tapes (Speakers Corner)

    Tears of sorrow mingled with tears of joy as Oscar Peterson fans realized that the keyboard genius who had just recovered his health was still capable of amazing them all, although he had obviously forfeited some of his past vitality. This may well have induced MPS - the label with whom Oscar Petersen himself claimed to have made his best recordings - to search their archives for lost tapes from Peterson's heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped "exclusively for my friends" in the private studio in Villingen in 1965-1968.
    The electric atmosphere of these live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa - as is borne out by the fact that Peterson's usual trio formation alternated with his stand-in musicians of Sam Jones on the bass and Bobby Durham on the drums.



    And now, exclusively for all jazz fans, these amazing tracks are available for the very first time on an LP filled with glorious sound. Whether long-time collector or jazz newcomer, one thing is certain: this album belongs in every collection!



    Musicians:



    • Oscar Peterson (piano)

    • Ray Brown, Sam Jones (bass)

    • Ed Thigpen, Bobby Durham (drums)




    Recording: May 1965, November 1967 and October 1968 at H.G. Brunner-Schwer's private studio's in Villingen/ Germany by H.-G. Brunner-Schwer

    Production: H.-G. Brunner-Schwer





    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. Gravy Waltz
    2. Three O'Clock in the Morning
    3. Squeaky's Blues
    4. Tenderly
    5. I Will Wait for You
    6. Let's Fall in Love
    7. Put on a Happy Face
    8. Stella by Starlight
    9. Moanin' 10. Never Say Yes
    11. It's Impossible
    12. My Romance
    Oscar Peterson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aureate Gloom Aureate Gloom Quick View

    $20.99
    Buy Now
    x

    Aureate Gloom


    180-Gram Light Blue Vinyl In Gatefold Jacket


    Vinyl Includes 18x24 Poster With Artwork By David Barnes


    Recorded At Sonic Ranch (Band Of Horses, Animal Collective)


    Engineered by Drew Vandenberg (Kishi Bashi, Deerhunter)


    "Whether exposing light or dark, or some blank hue in the middle,
    Barnes has all but bulls-eyed his status as a brilliantly daring artist."
    - PASTE


    "A thrilling, carnival-like atmosphere around Barnes' fractured perspective."
    - AV Club


    "A golden despondency" is how Kevin Barnes translates the meaning behind
    Aureate Gloom, the title he gave of Montreal's thirteenth full-length album.
    The oxymoron is one Barnes says best describes the overall state of his life and
    mental outlook while working on the record - penning lyrics so personal they
    sound like entries ripped from a journal that should be permanently kept under
    lock and key.


    "I was going through a very stormy period in my life and felt like I was just
    completely trashed," reveals Barnes. "I might be guilty of sharing or exposing
    too much of my private life, but to me the best albums are those that help
    people connect with an artist on a deep, human level and that do so without
    too much artifice or evasiveness."


    Aureate Gloom was recorded directly to tape with musicians Kevin Barnes
    (guitar, vocals), Clayton Rychlik (drums), Bob Parins (bass), Bennett Lewis
    (guitar), and JoJo Glidewell (keys), plus the help of engineer Drew Vandenberg.


    The strength of the members' musical rapport was instantly apparent. The
    group completed nearly a song a day and even wrote a brand new track
    on the spot, "Apollyon Of Blue Room," whose title references a supposedly
    haunted bedroom in a hacienda on the studio grounds. With Aureate Gloom,
    of Montreal have created one of the most unflinching, confessional and starkly
    emotional albums in their career.

    1. Bassem Sabry
    2. Last Rites At The Jane Hotel
    3. Empyrean Abattoir
    4. Aluminum Crown
    5. Virgilian Lots
    6. Monolithic Egress
    7. Apollyon Of Blue Room
    8. Estocadas
    9. Chthonian Dirge For Uruk The Other
    10. Like Ashoka's Inferno Of Memory
    Of Montreal
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sings the Blues (Speakers Corner) Sings the Blues (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Sings the Blues (Speakers Corner)

    In both her public and private life, Nina Simone was adamant about one thing, namely, what she simply would not tolerate. She sometimes complained about the miserable erotic prowess of her lovers, while at other times her audience were a target for her tongue. Sometimes she cancelled her performances at short notice and held a tirade against show business as such. In her music, rooted in gospel, she sought a path which took her down a middle course between jazz and pop, thus earning her the title of High Priestess Of Soul (as in the LP title) with her rock fans in the Sixties.



    The present blues album was recorded during what was undisputedly her most productive phase. It is a recording which does not swim with the tide of the times in that it does not employ massive forces or seek the twang of electrification. Instead Nina Simone's wonderfully sleek contralto voice bathes in the gentle timbre of an organ and a pithy, pulsating - but by no means stomping - rhythm. The cool, unemotional number "Sings The Blues" guarantees riveting tension and the authenticity of the genre which is, of course, the be all and end all of music for every black artist. Surely no compilation, no matter how carefully conceived, could possibly mark the diva's 70th birthday in February and sudden death in April 2203 better than this re-release.



    Musicians:



    • Nina Simone (piano, vocal)

    • Rudy Stevenson, Eric Gale (guitar)

    • Ernest Hayes (organ)

    • Bob Bushnell (bass)

    • Bernard Purdie (drums)





    Recording: 1967 by Ray Hall and Mickey Crofford at RCA Victor's Studio B, New York

    Production: Danny Davis




    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. Do I Move You
    2. Day And Night
    3. In The Dark
    4. Real Real
    5. My Man's Gone Now
    6. Backlash Blues
    7. I Want A Little Sugar In My Bowl
    8. Buck
    9. Since I Fell For You
    10. The House Of The Rising Sun
    11. Blues For Mama
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Triple Concerto (Speakers Corner) Beethoven: Triple Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Triple Concerto (Speakers Corner)

    Why does the piano part seem comparatively simple in contrast to the violin and cello parts, which make the highest demands on the instrumentalists? And why on earth do three musicians play in concert with an orchestra? As interesting as these questions are with regard to Beethoven's cryptic Triple Concerto, there is a multitude of ways to approach this exceptional work by the great symphonist. In the gallantry of the expression, and keeping in mind the demand for playable parts for his invited circle of musical connoisseurs, Beethoven developed his very own concertante tonal language. This language is brought to life by Rudolf Serkin (piano), Jaime Laredo (violin) and Leslie Parnas (cello) in that they enter continually newly arranged dialogues and thereby offer the listener a warm palette of colours and melodies.



    The orchestral antagonists - the Marlboro Festival Orchestra - weaves a chamber music-like, delicate and wonderfully transparent carpet of sound, upon which Beethoven's characteristic woodwind instruments are bedded like roses. Thanks to these attributes, this recording appears to take place in the luminous glow of a private house and thus conveys a charming yet stimulating atmosphere.



    Musicians:



    • Rudolf Serkin (piano)

    • Jaime Laredo (vocals)

    • Leslie Parnas (cello)

    • and the Marlboro Festival Orchestra concucted by Alexander Schneider




    Recording: May 1962 at Columbia 30th Street Studio, New York, by Ed Michalski and John Johnson

    Production: Thomas Frost



    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.

    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) (Pre-Order) Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) (Pre-Order)

    Schoenberg, Zemlinsky, Korngold - Bruno Walter knew them all: musicians who sought refuge from the henchmen of the Nazi Party in the New World and found artistic fulfilment there. And they all knew him and his meteoric rise to success at all the great houses in Europe. Formed by working with Gustav Mahler in Hamburg, under whose wing he rose from rÉpÉtiteur to Chorus Director and then to Kapellmeister, Walter took on further posts as Chief Conductor in Vienna, Munich and Leipzig where the talented artist matured to become a true maestro.


    Just when the aged Walter was wanting to retire into private life, Columbia motivated him to record several symphonic works - including Beethoven's Symphonies - at a time when stereo recording, with its previously undreamt technical possibilities, was just dawning. Even without any knowledge of the still existent recordings of the rehearsals of the Fourth and Fifth Symphonies, the final recording reflects the lifelong experience and meticulousness of the great conductor. In a taut and relaxed manner, and certainly not mellowed with age, Walter brings the scores to glow. The players weave a web that holds the formal symphonic components together with sophistication and richly contrasted, whereby the conductor's love for tonal detail manifests itself in easily identifiable instruments.


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


    Musicians:



    • Ludwig van Beethoven (composer)
    • The Columbia Symphony Orchestra conducted by Bruno Walter

    Recording: January and February 1958 at American Legion Hall, Hollywood, USA


    Production: John McClure


    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.

    Symphony No. 4 In B-flat Major, Op. 60
    1. Adagio; Allegro Vivace
    3. Adagio
    3. Allegro Vivace. Trio. Un Poco Meno Allegro
    4. Finale: Allegro Ma Non Troppo
    Symphony No. 5 In C Minor, Op. 67
    5. Allegro Con Brio
    6. Andante Con Moto
    7. Scherzo (Allegro Vivace)

    8. Finale: Allegro
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Loyalty Loyalty Quick View

    $21.99
    Buy Now
    x

    Loyalty

    The record was called Loyalty from the beginning-it was the first decision I made about it. It's a word you
    usually see written in copperplate script, a virtue: LOYALTY. But the songs don't treat it that way, just as a
    thing to unpack. It's a force that you have to reckon with: loyalty to the dream, to the "work," to the mythical idea of "you" that somebody thought they saw. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. - Tamara Lindeman


    In excess virtue lies danger, or at least limits to pragmatic action-it's a lesson hard learned by anyone
    disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn't do us
    any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for
    Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness-to our idealism,
    our constructs of character, our memories, and to our family, friends, and lovers-representing a bold
    step forward into new sonic and psychological inscapes. It's a natural progression for Toronto artist
    Tamara Lindeman's acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in
    the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist),
    the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate
    portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her
    own.


    Lindeman describes La Frette, housed in an enormous, crumbling 19th-century mansion, as
    "a secret garden, a place of enchantment and grace": walls mantled in ivy and lions, corridors piled high
    with discarded tape machines, old reels, and priceless guitars. As she puts it, "Recording where we did
    meant we embraced beauty-we weren't afraid of it being beautiful." Like the record itself, it's a quietly
    radical statement, especially since certain passages achieve a diaphanous eeriness and harmonic and
    rhythmic tension new to The Weather Station. The stacked vocal harmonies of "Tapes," the drifting,
    jazz-inflected chording in "Life's Work," and the glacial percussion in "Personal Eclipse" contribute to a
    pervading sense of clock-stopping bloom and smolder, recalling the spooky avant-soul of Terry Callier's
    Occasional Rain.


    Beyond the decaying decadence and vintage gear, the brokedown palace atmosphere of
    La Frette afforded a more significant interior luxury as well, one stated with brutal honesty in the
    stunning "Shy Women": "it seemed to me that luxury would be to be not so ashamed, not to look away."


    Accordingly, Loyalty brings a freshly unflinching self-examining gaze and emotional and musical control
    to The Weather Station's songs. She is an extraordinary singer and instrumentalist-on Loyalty she plays
    guitar, banjo, keys, and vibes-but Lindeman has always been a songwriter's songwriter, recognized for
    her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors.
    Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording
    and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan.


    Outside her musical practice, Lindeman also happens to be an accomplished film and
    television actor, and it's her directorial eye for quietly compelling characters and the rich details of the
    everyday, Bressonian in its specificity and scope, that drives the limpid singularity of The Weather
    Station's songs. As in Bresson's films, there is no trace of theater here, no brittle singer-songwriter
    histrionics, but rather a powerful performative focus and narrative restraint, a commitment to what the
    auteur called the "simultaneous precision and imprecision of music." Despite the descriptive delicacy, the
    album never lapses into preciousness or sentimentality, instead retaining its barbs and bristles and
    remaining resolutely clear-eyed and thick-skinned. Lyrically, Loyalty inverts and involutes the language
    of confession, of regret, of our most private and muddled mental feelings, by externalizing those
    anxieties through exquisite observation of the things and people we accumulate, the modest meanings
    accreted during even our most ostensibly mundane domestic moments. ("Your trouble is like a lens," she
    discerns in "I Mined," "through which the whole world bends.")


    "Tapes" and "I Could Only Stand By" expose and exalt the quotidian-"the little tapes"
    hidden beneath a lover's bed, "the sunken old moorings" at the "bruise-colored lake"-without romanticizing
    these scenes of, respectively, grief and guilt. "Like Sisters" analyzes the darker contours of a
    friendship with devastating scrutiny. The breathless momentum of "Way It Is, Way It Could Be"-"both
    are," she sings of the way we sometimes live, for better or for worse, amid multiple truths-hinges on a
    mysterious moment when two brown dogs die underwheel, then don't, and that gut-sickness is
    overturned, a sin redeemed with a second glance. "Floodplain" and "Personal Eclipse" are also road songs
    about traveling through, and owning, the empty places in-between, literally and figuratively-what
    Lindeman deems "the various ways people try to disappear from themselves, in physical distance, in
    politeness."


    To invoke Melville (author of PoB's namesake story), "extreme loyalty to the piety of love"
    can be a destabilizing force, a kind of bondage from which we must emancipate ourselves. The line is
    from his strange masterpiece Pierre, or the Ambiguities; The Weather Station's Loyalty could quite easily
    support the same subtitle for the fascinating ways it navigates the deep canyons between certainty and
    uncertainty, faith and doubt.

    1. Way It Is, Way It Could Be
    2. Loyalty
    3. Floodplain
    4. Shy Women
    5. Personal Eclipse
    6. Life's Work
    7. Like Sisters
    8. I Mined
    9. Tapes
    10. I Could Only Stand By
    11. At Full Height
    The Weather Station
    $21.99
    Vinyl LP - Sealed Buy Now
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