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  • Live At The Cellar Door Live At The Cellar Door Quick View

    $24.99
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    Live At The Cellar Door


    Mastered By Chris Bellman At Bernie Grundman Mastering And Pressed At Pallas In Germany


    Neil Young will release Live At The Cellar Door, the latest in his Archives Performance Series, on Reprise Records. The album collects recordings made during Young's intimate six-show solo stand at The Cellar Door in Washington D.C. between November 30th and December 2nd, 1970, a few months after Reprise released his classic third solo album After The Gold Rush in August.


    The album, which features Young performing on acoustic guitar and piano, includes tracks that are interesting for several reasons, such as stunning live versions of songs that appeared on After The Gold Rush (Tell Me Why, Only Love Can Break Your Heart, Birds, Don't Let It Bring You Down and the title track) and solo performances of the Buffalo Springfield songs Expecting To Fly (from their 1967 second album Buffalo Springfield Again), I Am A Child (from their third and final album Last Time Around and Young's 1977 Decade compilation), and Flying On The Ground Is Wrong, from their 1966 self-titled debut.


    In addition, Live At The Cellar Door features early, raw performances of songs that wouldn't appear until subsequent Young albums, including the rarity Bad Fog Of Loneliness (which appears on Live At Massey Hall '71 - released in 2007-but was previously unreleased until the studio band version was included on Archives Vol. 1 1963-1972), Old Man (released two years later on 1972's Harvest album), a rare solo performance of Cinnamon Girl on piano (the full band version appears on Young's 1969 second solo album Everybody Knows This Is Nowhere), and Down By The River, also from Everybody Knows This Is Nowhere.


    Live At The Cellar Door was recorded by Henry Lewy and produced by Young.

    1. Tell Me Why
    2. Only Love Can Break Your Heart
    3. After the Gold Rush
    4. Expecting To Fly
    5. Bad Fog of Loneliness
    6. Old Man
    7. Birds
    8. Don't Let It Bring You Down
    9. See the Sky About to Rain
    10. Cinnamon Girl
    11. I Am A Child
    12. Down By the River
    13. Flying On The Ground Is Wrong
    Neil Young
    $24.99
    180 Gram Audiophile Classic Vinyl LP - Sealed Buy Now
  • The Pious Bird of Good Omen (Speakers Corner) The Pious Bird of Good Omen (Speakers Corner) Quick View

    $34.99
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    The Pious Bird of Good Omen (Speakers Corner)

    After the break-up of John Mayall's Bluesbreakers in the summer of 1967, the time seemed ripe for Peter Green, John McVie and Mick Fleetwood to take their leave from raw British rock 'n' roll. The newly established band Fleetwood Mac first turned to black blues, and their art of playing was so similar to that of other groups that the magazine Eye criticised them for their »almost ridiculous mimicry«. However, their choice of performance style took them in the right direction and in 1969, the year in which The Pious Bird Of Good Omen appeared, they landed at the top end of the pop charts, even ahead of The Beatles and Stevie Wonder.



    Of course, in the cover version of Little Willie John's Need Your Love So Bad, which is treated with a velvety string sound, and other bluesy songs, the American influence still makes itself heard, but not without success! The highly individual sound of the group comes best through in the now legendary numbers such as the weightless, gliding Albatross and Black Magic Woman with its Latin and blues elements. Judged the best British blues ever to be played (allmusic.com), one can now sit back and enjoy this great album.



    Musicians:



    • Peter Green (guitar, vocal)

    • Jeremy Spencer (guitar, piano, vocal)

    • Danny Kirwan (guitar)

    • Eddie Boyd (piano, vocal)

    • Big Walter Horton (harmonica)

    • John McVie (bass)

    • Mick Fleetwood (drums)




    Recorded between September 1967 and October 1968 by Mike Ross

    Production: Mike Vernon





    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. Need Your Love So Bad
    2. Comin' Home
    3. Rambling Pony
    4. The Big Boat
    5. I Believe My Time Ain't Long
    6. The Sun Is Shining
    7. Albatross
    8. Black Magic Woman
    9. Just The Blues
    10. Jigsaw Puzzle Blues
    11. Looking For Somebody
    12. Stop Messin' Round

    Fleetwood Mac
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stitt Plays Bird (Speakers Corner) Stitt Plays Bird (Speakers Corner) Quick View

    $34.99
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    Stitt Plays Bird (Speakers Corner)

    It is widely known that Sonny Stitt didn't want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.
    For Stitt Plays Bird Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.


    One half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It's hard to recommend a special track, but Scrapple From The Apple is just awesome! All the numbers are based on standards - just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic's logo "Full Dynamic Frequency Spectrum" is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.


    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:



    • Sonny Stitt (alto saxophone)
    • John Lewis (piano)
    • Jim Hall (guitar)
    • Richard Davis (bass)
    • Connie Kay (drums)



    Recording: January 1963 at Atlantic Studios, New York City, by Tom Dowd

    Production: Nesuhi Ertegun




    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. Ornithology
    2. Scrapple From The Apple
    3. My Little Suede Shoes
    4. Parker's Mood
    5. Au Privave
    6. Ko-Ko
    7. Confirmation
    8. Hootie Blues
    9. Constellation
    Sonny Stitt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Respighi - Birds - Brazilian Impressions (Speakers Corner) Respighi - Birds - Brazilian Impressions (Speakers Corner) Quick View

    $34.99
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    Respighi - Birds - Brazilian Impressions (Speakers Corner)

    It was Respighis fascination with ancient dances and songs that inspired him to write his bird suite. His great love for such music makes itself felt in every single movement of this work. While Respighi imbued each of the bird portraits with his very own sound colouring typical of his time, there is an original masterpiece by a Renaissance or Baroque composer lurking in the background.



    The marchlike 'Intrada', based on a piece by Bernardo Pasquini (1637-1710), is further refined by a gradual building-up of the instrumental apparatus and comes to a final climax full of pomp and glory in which the brass are given prominence.



    Ornithological elements are easily identified in the movements which follow: the doves cooing and billing is are underlined by a sighing, rhythmic base; the hen is heard clucking with a characteristic motif, and the song of the nightingale is brought to us by the flute over a mysterious murmuring on the low strings. The cuckoo is then heard, followed by a repeat of the initial theme, thus bringing to perfect completion 'Gli Ucelli' ('The Birds'), a colourful bird show which knows no rival in modern music.



    The 'Impressioni brasiliano' ('Brazilian Impressions') is also a seldom heard jewel in both the concert hall and on record. Although the three-movement work has a subtle rhythm which runs throughout the work, it is far removed from the well-known 'Europeanised' samba adaptations which are so often heard. The suite is remarkable for its tender, impressionistic colouring which demands to be heard time and time again.




    Recording: July 1957 in Watford Town Hall, London, by C.R. Fine

    Production: Wilma Cozart and Harold Lawrence




    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.



    Antal Dorati with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Moray Eels Eat The Holy Modal Rounders The Moray Eels Eat The Holy Modal Rounders Quick View

    $24.99
    Buy Now
    x

    The Moray Eels Eat The Holy Modal Rounders

    Led by maverick folksters Peter Stampfel and Steve Weber, the Holy Modal Rounders were an eye-opening blend of Greenwich Village strum, Kentucky bluegrass and Appalachian drone-topped off with enough mind-altering chemicals to derail the Wabash Cannonball. The Rounders' 1968 masterpiece, The Moray Eels Eat The Holy Modal Rounders, spotlights The Bird Song, an infectious ditty used in the Easy Rider soundtrack, the squealing majesty of Werewolf and drug-addled ramblings like My Mind Capsized and The STP Song (it wasn't about that slippery engine oil). Sam Shepard, the Rounders drummer (and soon-to-be-acclaimed playwright), even muffs the words to the pledge of allegiance, transporting you to the era as surely as a truncheon to the head at the 1968 Democratic National Convention. Here's an exact High-Definition Vinyl repro of the hideously rare original LP - maybe the only folk album you'll ever own that will have your mom screaming, Turn that *&!!@#!! thing down!!
    1. Bird Song
    2. One Will Do For Now
    3. Take-off Artist Song
    4. Werewolf
    5. Interlude
    6. Dame Fortune
    7. Mobile Line
    8. The Duji Song
    9. My Mind Capsized
    10. The STP Song
    11. Interlude 2
    12. Half A Mind
    13. The Pledge
    Holy Modal Rounders
    $24.99
    Vinyl LP - Sealed Buy Now
  • Head Alternate Head Alternate Quick View

    $33.99
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    Head Alternate

    Celebrate The Monkees 1968 Counter Culture Classic! Alternatively!!!


    First Time Vinyl Rare Mixes, Rare Stereo Versions & Alternate Tracks


    Pressed On Limited Edition 180 Translucent Gold Vinyl


    Presented In A First Time Stunning Gold Foil Cover (Front & Back) & Full Color Back Cover With Alternate Photo Of Band


    Mastered Impeccably From The Colgems Records Tapes By Joe Reagoso


    1968 was an interesting year for The Monkees. Aside from releasing more hit singles & another smash Lp with The Birds The Bees & The Monkees, future superstar and upcoming filmmaker Jack Nicholson, Bob Rafelson & The Monkees were developing the concept for a psychedelic film about this successful rock band who were trying to escape from their manufactured image. Albeit an underlying glimpse of reality, the movie wound up being a swan song for the original line-up of the band until 1996's Justus. As the Head movie was underrated at the time, it has since gone on to become ranked as one of the finest films in the rock genre.


    The original soundtrack of Head by The Monkees has a history itself as being one of their strongest albums with stellar material ranging from The Monkees' Michael Nesmith and Peter Tork, plus more great tracks from Harry Nilsson and Carole King with musical help from friends like Carole King, Stephen Stills and Dewey Martin from Buffalo Springfield.


    A hit single emerged with Porpoise Song featuring the powerful lead vocal of Micky Dolenz, as the rest of the album is interwoven with keen Monkees dialog and skits that were in the original film, plus the stellar score by Ken Thorne.


    In honor of The Monkees, Friday Music is once again pleased to continue the celebration of the Monkees Golden Anniversary with The Monkees Head Alternate. This first-time vinyl album features first-time vinyl versions of Porpoise Song, rarities like Can You Dig It with Peter Tork's vocal, Daddy's Song remixed with the long sought after Davy Jones' slow verse, and the rare stereo mix of Circle Sky.


    Produced by The Monkees in 1968, this stunning new version is now impeccably mastered by Monkees fan and friend Joe Reagoso and pressed on 180 Gram Audiophile Translucent Gold Vinyl.


    For the very limited Golden Anniversary edition, the LP cover will be manufactured with a stunning gold foil front and back, featuring a rare alternate color photo of the band on the back cover.


    Simply one of the finest rock soundtracks of all time!

    1. Head Promo "Coming Soon"
    2. Porpoise Song (Alternate Stereo Mix) (Theme From "Head")
    3. Ditty Diego - War Chant (Alternate Stereo Mix)

    4. Circle Sky (Alternate Stereo Mix)

    5. Supplicio

    6. Can You Dig It (Peter's Vocal-Stereo Rough Mix)

    7. Gravy

    8. Superstitious
    9. As We Go Along (Alternate Stereo Mix)
    10. Dandruff?

    11. Daddy's Song (Remix With Slow Verse)
    12. Poll

    13. Long Title: Do I Have To Do This All Over Again (Rough Mix Acetate)
    14. Swami - Plus Strings (Alternate Stereo Mix)
    The Monkees
    $33.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Blow-Up Soundtrack Blow-Up Soundtrack Quick View

    $34.99
    Buy Now
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    Blow-Up Soundtrack

    Import

    Blow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni's cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties' London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks.


    The album features performances by Hancock on keys, Freddie Hubbard and Joe Newman on trumpet, Phil Woods and Joe Henderson on sax, Ron Carter on bass and Jack DeJohnette on drums. Rumours go that either the fabled Jimmy Smith or Paul Griffin played the Hammond organ on this record.


    Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, Stroll On (actually, an adaptation of Tiny Bradshaw's The Train Kept A-Rollin'), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. The bassline to Bring Down The Birds was sampled by Deee-Lite for their 1990 hit single Groove Is In The Heart featuring Bootsy Collins.

    1. Main Title - "Blow Up"
    2. Verushka Part I
    3. Verushka Part II
    4. The Naked Camera
    5. Bring Down The Birds
    6. Jane's Theme
    7. Stroll On
    8. The Thief
    9. The Kiss
    10. Curiosity
    11. Thomas Studies Photos
    12. The Bed
    13. End Title - "Blow Up"
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live Songs 2011 Live Songs 2011 Quick View

    $34.99
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    Live Songs 2011

    Import

    When Cohen became known as a musician in his late 30s with his albums Songs Of Leonard Cohen and the sophomore Songs From A Room, people were surprised that his music seemed to come out fully formed.


    Many were familiar with his work as an author and poet, but did not know that he had been a musician for most of his life. For Cohen, making music was another way to bring his poetry to the people. The dark thrall of his songs portray an artist that is ever able to trace the hidden contours of love, lust, sex, religion, politics and history.


    Live Songs was released in 1973; Cohen's fourth album was a collection of recordings made at a number of concerts in Europe between 1970 and 1973. The collection consists of songs from 1969's Songs From A Room, such as 'Bird On A Wire', 'Story of Isaak' and a new version of 'Seems So Long Ago, Nancy' (now simply dubbed 'Nancy'), and a number of new songs.


    The epic climax is unmistakably the 13-minute 'Please Don't Pass Me By (A Disgrace)', in which Cohen describes his personal descent into hell & oblivion. The song tormented Cohen to such a degree that he rarely sang it again.


    A beautiful collection of songs that shows Cohen in his most raw & vulnerable moments

    1. Minute Prologue
    2. Passing Thru
    3. You Know Who I Am
    4. Bird on the Wire
    5. Nancy
    6. Improvisation
    7. Story of Isaac
    8. Please Don't Pass Me By (A Disgrace)
    9. Tonight Will Be Fine
    10. Queen Victoria
    Leonard Cohen
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Daddy Plays The Horn (Pure Pleasure) Daddy Plays The Horn (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Daddy Plays The Horn (Pure Pleasure)

    During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).


    While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.

    Musicians:



    • Dexter Gordon (tenor saxophone)

    • Kenny Drew (piano)

    • Leroy Vinnegar (bass)

    • Larry Marable (drums)



    Recording: September 1955 in Hollywood, CA.



    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. Number Four
    2. Autumn In New York
    3. You Can Depend On Me
    4. Daddy Plays The Horn
    5. Confirmation
    6. Darn That Dream
    Dexter Gordon
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Death Peak Death Peak Quick View

    $27.99
    Buy Now
    x

    Death Peak

    Clark returns this spring with Death Peak. The album deftly weaves together the various threads of his extensive work, intertwining euphoric melodies and visceral rhythms of warehouse rave with newer vocal and choral elements.


    Death Peak exposes the tension in Clark's musical vocabulary I love finding the fulcrum between opposites - I want my tracks to have sharp teeth, but you want to stroke them too. They sound ancient, but beamed in from the future, soft, corrosive. Album track 'Peak Magnetic' is a club-ready 4 am affair - vigorous, singular, hard to define. As Clark explains I wanted the kick to sound like some massive natural event, barely controlled, a boulder bouncing down a hill with birds tweeting around it. A complete mudball of a pulse that anchors everything to it through sheer mass. It makes me think of outdoor springtime raving. 'Catastrophe Anthem' features the voices of a children's choir eerily chanting the mantra, We are your ancestors. Clark has rarely used vocals before, but here every song has an element of human voice. Nearly all the tracks have some form of vocal recording on them. I only realized this late in the recording process. I get hypnotized by the human voice - the most perfect synth. Vocals can be a bit of an awkward hat, that producers wear to try and get attention. Death Peak voices are the opposite of that. The vocal elements are just another instrument in the mix. It's taken me awhile to get to this level of confidence with it.


    Recently he released a split 12-inch with label mates Mark Pritchard & Bibio and worked remixes with the likes of Nils Frahm and Max Richter. Significantly, Clark has turned his hand to scoring. He released the foreboding cinematic soundtrack to the 2016 BAFTA nominated Sky Atlantic series 'The Last Panthers' and composed a score for Macbeth at the Young Vic theatre. Late in 2016 he composed 'Enter The Void' for especially The Echo Society orchestra, conducted by Joe Trapanese (M83 & Daft Punk collaborator) and performed at the historic Ace Theatre, LA. Clark signed to Warp in his late-teens. His studio sound has evolved and matured over two decades; although he would say he's only just starting. His amorphous industrial noise has ever-grown and influenced producers, dancefloors and festivals around the world.

    LP 1
    1. Spring But Dark

    2. Butterfly Prowler
    3. Peak Magnetic
    4. Hoova
    5. Slap Drones
    6. Aftermath


    LP 2
    1. Catastrophe Anthem
    2. Living Fantasy
    3. Un U.K

    Clark
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • A Constant Moth A Constant Moth Quick View

    $18.99
    Buy Now
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    A Constant Moth


    LP Is Packaged In 2-Panel Art Sleeve On High Quality Paper


    Welcome to the world of Lord RAJA, a strange, sometimes perilous
    alternate dimension withbeauty and decay in equal measure. It's a
    world built on the beat-centric music which flows through New York
    native Chester Raj Anand's stream of consciousness; here, half-remembered hip-hop classics are spliced into '90s IDM, ambient,
    footwork, and experimental sound design. Our latest dispatch from
    Lord RAJA's uncanny realm is the impulsive and unpredictable A
    Constant Moth LP, 12 hyper-detailed scenes ripped from the surreal
    mayhem at play in the mind of this talented young producer.


    After releasing his lush Rubies EP with Ghostly in the spring of 2013,
    Lord RAJA has travelled further down the wormhole opened by J Dilla,
    Dabrye, and Aphex Twin, seeking a place to call his own. His debut
    album, A Constant Moth, is that cosmic destination, and has been
    carved out and personalized with a strong sense of texture, rhythm,
    and spaciousness. Productions like Skyre and Pistol Refix put forth
    heavily smashing beats as the foundation of Lord RAJA's palace, while
    opulent dancefloor heaters Throw Them Out (System) and De Lia Lu
    Lu build glittering pillars from juke experiments and low-res
    electroisms, respectively. Warp affiliate Jeremiah Jae graces the
    atonal thump of Van Go like a knight paying his respects in RAJA's
    court, and beatless synth composition Gottfried Semper billows in
    the astral landscape's warm breeze. As far as we can discern, A
    Constant Moth is the most eclectic and fully realized depiction of Lord
    RAJA's far-o! galaxy to date.


    But these 12 tracks are indeed just a glimpse into the sheer scope of
    the East Coast artist's musical vision, as A Constant Moth boasts a
    brisk 35-minute runtime that'll leave you itching to jump into its
    dizzying barrage again. From the opening moments of Yelleo E-
    with its jittery rhythmic workout and whirlpool atmospheres-to the
    warbling radio transmissions which close out Golden Gravity Birds,
    Lord RAJA's debut LP delivers an intricate portrait of a burgeoning
    new producer. A Constant Moth is one of those rare records that
    sounds precociously self-assured while also hinting at a vast sonic
    universe that he's only begun to explore.

    1. Yelleo E
    2. Van Go feat. Jeremiah Jae
    3. Pistol Refix
    4. Darwin
    5. TV Talk
    6. Gottfried Semper
    7. Skyre
    8. Throw Them Out (System)
    9. De Lia Lu Lu
    10. Red Sun
    11. Black Top
    12. Golden Gravity Birds
    Lord RAJA
    $18.99
    Vinyl LP - Sealed Buy Now
  • Permanent Signal Permanent Signal Quick View

    $17.99
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    Permanent Signal

    Permanent Signal: a condition in which a POTS [plain old telephone service] line is off-hook without
    connection for an extended period of time.*


    It's a term that Mauro Remiddi kept coming back to when reflecting on much of the time between last year's release of Strange Weekend, the multi-instrumentalist's debut full-length as Porcelain Raft, and this, its proper follow-up. "In a way, growing up in Italy, then living for 12 years in London, and now two-and-a-half years in New York, made me realize that I have some dear friends that I rarely see," explains Mauro. "I was touring almost non-stop for eight months and I started having these imaginary conversations in my head with people I wanted to communicate with, but for one reason or another it couldn't happen. So this idea of the album title comes with there being a signal that says the line is off."


    Mauro began working on Permanent Signal two months after returning from tour, a period of readjustment
    in which he was beginning to enjoy normal everyday comforts such as frequenting his favorite coffee spot in his Brooklyn neighborhood and connecting with friends again, even as the thoughts of those unrealized conversations during his recent travels were still very fresh in his mind. Inspired by this surreal moment of transition, where the reality of finally being home was still overshadowed by lingering feelings of detachment, he sold almost all of the instruments that he used for Strange Weekend in order to "start with a new color pallet." It's immediately apparent in Permanent Signal's opener, "Think of the Ocean," where the dense basement-recorded haze of his last full-length has been traded for a spacious melancholy, as cello, piano and drums gently spiral atop a faint pulsing tone that mirrors the album's title. And while layers of synths and electronics still play a role, the new record is far more organic than Porcelain Raft's previous album and EPs, an intentional move according to Mauro; "I wanted to record in the studio just to capture the guitars and drums properly, and to have some real input from musicians I respected and loved to hang with."


    Enlisting some support from YUCK's Jonny Rogoff on drums, Antlers bassist Darby Cicci (who also contributed double vocals and trumpet, and engineered the sessions in Antlers' Brooklyn studio), and cellist Gaspar Claus (frequent collaborator with Sufjan Stevens and the National's Bryce Dessner), Porcelain Raft's once gauzy pop has now turned as vivid as a waking dream. During "Minor Pleasure," Mauro finds catharsis when conceding in his otherworldly tenor that "there's nothing hidden in what we see, sometimes you just have to let it end," amidst the processed drone of an organ and a piano that taps into the gospel-dosed psychedelia
    of Spiritualized, while the radiant lull of "Night Birds" reaches cosmic bliss, as crystalline guitars and synthesizers echo the song's poignant sense of nostalgia. Elsewhere, tracks like the aforementioned "Think of the Ocean," "Cluster" and the haunting, Lennon-esque "I Lost Connection" deal directly with lives either on hold or in transition -- all universal themes of the human condition which allow the listener to fill in their own personal experiences with a permanent signal.

    1. Think Of The Ocean
    2. Cluster
    3. Minor Pleasure
    4. Open Letter
    5. Night Birds
    6. It Ain't Over
    7. I Lost Connection
    8. Warehouse
    9. The Way Out
    10. Five Minutes From Now
    11. Echo
    Porcelain Raft
    $17.99
    Vinyl LP - Sealed Buy Now
  • Sugar Mountain: Live At Canterbury House (Out Of Stock) Sugar Mountain: Live At Canterbury House (Out Of Stock) Quick View

    $49.99
    x

    Sugar Mountain: Live At Canterbury House (Out Of Stock)

    Pressed at Pallas in Germany.


    A more intimate live portrayal of solo Neil Young doesn't exist. Recorded on a TEAC 2-track tape recorder at Canterbury House on November 9-10, 1968, Sugar Mountain: Live At Canterbury House 1968 is, for all intents and purposes, the start of the iconic singer-songwriter's solo career. It's a unique document not in just Young's catalog, but in all of music.


    Armed with just an acoustic guitar and his voice, Young charms an intimate crowd on his own terms with renditions of many now-classic songs that hadn't yet even been released. Fortunately, for everyone, the performances are captured in you-are-there sound. Experienced on this exquisite analog pressing, sonics don't get any more realistic. Acoustic properties and liveliness abound. The wood-bodied tones of the guitar, inflections of Young's speech, and warble of his timbre come to life as if you have been transported back to those two cool, fall November days in Michigan.


    In addition to songs such as Birds, Winterlong, and The Last Trip to Tulsa, an extremely rare portrait of Young emerges. Evidently nervous about the gigs (he just broke apart from Buffalo Springfield), the 22-year-old Canadian is actually talkative and giddy, two characteristics that soon left his onstage repertoire. We hear stories of his job in a bookstore to his thoughts on songwriting amidst an unvarnished, up-close presentation that, by some fortunate stroke of karma, was documented for everyone to hear.


    Trust us: Young's records are long-time favorites among audiophiles for their music and sound qualities. Sugar Mountain: Live At Canterbury House 1968 rivals the very best of the legend's performances and will make you and your stereo glow with happiness.


    Do not miss this pressing. It is seriously THAT good!

    LP1
    1. Emcee Intro
    2. On The Way Home
    3. Songwriting Rap
    4. Mr. Soul
    5. Recording Rap
    6. Expecting to Fly
    7. The Last Trip to Tulsa
    8. Bookstore Rap
    9. The Loner
    10. I Used To... Rap
    11. Birds
    12. Winterlong (Excerpt) & Out of My Mind Intro
    13. Out of My Mind


    LP2
    1. If I Could Have Her Tonight
    2. Classical Gas Rap
    3. Sugar Mountain - Intro.
    4. Sugar Mountain
    5. I've Been Waiting For You
    6. Songs Rap
    7. Nowadays Clancy Can't Even Sing
    8. Tuning Rap & The Old Laughing Lady - Intro.
    9. The Old Laughing Lady
    10. Broken Arrow

    Neil Young
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
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