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  • Pro-Ject Record Box E - Black Pro-Ject Record Box E - Black Quick View

    $89.00
    Buy Now
    x

    Pro-Ject Record Box E - Black


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    For MM Cartridges With A/D Converter


    Record Box E is an high-quality phono preamplifier, that offers the possibility to convert your valuable vinyls into computer music data. Re-cord Box E accepts both MM & MC cartridges and gives audiophile music experience at an entry-level price. The integrated A/D converter operates with Windows and MAC operating systems and connects via USB to your computer. Therefore your valuable vinyl collection can be digitised, especially for use in portable music players. Advanced circuitry and SMD construction keep noise and distortion at a surprisin-gly low level. A built-in internal shielding and an outboard DC power supply leave no risk for external interference. Because of its small casing, Record Box E can be placed near the turntable. Input and output sockets are gold-plated for preservation of quality. Record Box E can be connected easily to a line-input (AUX etc) of your amplifier.


    Pro-Ject
    $89.00
    Record Box E Buy Now
  • Pro-Ject Record Box E - White Pro-Ject Record Box E - White Quick View

    $89.00
    Buy Now
    x

    Pro-Ject Record Box E - White


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    For MM Cartridges With A/D Converter


    Record Box E is an high-quality phono preamplifier, that offers the possibility to convert your valuable vinyls into computer music data. Re-cord Box E accepts both MM & MC cartridges and gives audiophile music experience at an entry-level price. The integrated A/D converter operates with Windows and MAC operating systems and connects via USB to your computer. Therefore your valuable vinyl collection can be digitised, especially for use in portable music players. Advanced circuitry and SMD construction keep noise and distortion at a surprisin-gly low level. A built-in internal shielding and an outboard DC power supply leave no risk for external interference. Because of its small casing, Record Box E can be placed near the turntable. Input and output sockets are gold-plated for preservation of quality. Record Box E can be connected easily to a line-input (AUX etc) of your amplifier.


    Pro-Ject
    $89.00
    Record Box E Buy Now
  • Elvis' Golden Records No. 1 (Speakers Corner) Elvis' Golden Records No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis' Golden Records No. 1 (Speakers Corner)

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



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




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

    Production: Steve Sholes


    About Speakers Corner



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



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



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



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



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



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


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

    $59.99
    Buy Now
    x

    Rickie Lee Jones (Box Set) (Awaiting Repress)

    Rickie Lee Jones on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Rickie Lee Jones' Hip, Jazzy Debut as Fresh Today As It Was in 1979


    Mastered from the Original Master Tapes and Stretched Out Across 45RPM Grooves: At Last, the Definitive-Sounding Edition of the Diversified Genre-Hopping Classic


    Coolsville: Music Combines Finger-Snapping Style, Beret-Wearing Artfulness, Bohemian Pop Know-How


    Double-Platinum Album Includes Top 10 Hit "Chuck E's In Love"


    Rickie Lee Jones was hip before hipsters came of age. Wearing a beret, exuding supreme cool, and visually demarcating herself as a member of a bohemian underground, her image on the cover of her self-titled debut says as much about the singer-songwriter as it does the music within the grooves. Uninterested in coloring within the lines, Jones steps out, a dreamer in the post-punk age, an adventurous drifter seemingly deaf to the noisiness of her era. No wonder the work remains one of the most impressive opening salvos in history.


    Mastered from the original master tapes, Mobile Fidelity's 180 gram 45RPM 2LP edition of Jones' double-platinum 1979 smash finally gives listeners the ultimate version of this long-adored masterpiece. Always prized by audiophiles for its sonics, the record now breathes with a clearer air, with enhancements in dynamics, imaging, soundstaging, and frequency extension apparent seconds after the needle touches down on the opening grooves. Jones' singular, jazzy vocals-straddling territory between youthful surprise, street-smart sharp, and grown-up seriousness-take on stupendously lifelike qualities to the extent you can hear into her lungs. The slower speed enriches all of the information contained within the grooves.


    Emerging from a quiet Los Angeles scene that also laid claim to Tom Waits, a former love interest, Jones reflects an undiminished capacity for fusing folk, R&B, pop, jazz, and scatted word poetry on an effort that matches the flexibility and elasticity of the artist's creative approach. As if playing games of hide and seek, Jones often dances around conventional syllabic phrases, using her delivery to stretch language and vowels, turning in diction that's at once gorgeous and enterprising. She taps into a subtlety of texture and ambience well beyond her then 23-year-old age, inserting sly humor when apt, and never shying away from raw emotion.


    Renowned for the Top 10 hit "Chuck E's In Love," Rickie Lee Jones overflows with finger-snapping be-bop accents, funky cabaret melodies, bluesy bridges, soothing balladry, and even Westernized fills. Subdued complexities flavor the arrangements, expressly tailored for Jones' portrait-rich storytelling and character-driven narratives. Such diversity is on display on the metaphorical heartache of "Last Chance Texaco," reflective "Company," and corner-hangout musings of "Danny's All-Star Joint." Throughout, intricate guitar lines give listeners further reason to concentrate on the tunes. This one is simply a must-have.


    This title is not eligible for discount.

    1. Chuck E's In Love
    2. On Saturday Afternoons in 1963
    3. Night Train
    4. Young Blood
    5. Easy Money
    6. Last Chance Texaco
    7. Danny's All-Star Joint
    8. Coolsville
    9. Weasel and the White Boys Cool
    10. Company
    11. After Hours
    Rickie Lee Jones
    $59.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • The Vinyl Collection: Volume One (Box Set) (Awaiting Repress) The Vinyl Collection: Volume One (Box Set) (Awaiting Repress) Quick View

    $179.99
    Buy Now
    x

    The Vinyl Collection: Volume One (Box Set) (Awaiting Repress)

    Def Leppard - The Vinyl Collection: Volume One Box Set - 6 Albums On 8 LPs + 7-inch + Book


    180-Gram Heavyweight Vinyl In Faithfully Reproduced Jackets


    Remastered By Ronan Mchugh And Joe Elliott, And Cut By Greg Moore


    Housed In A Rigid Box, Containing A Hard Back Book With Rare Photos, Liners By Classic Rock's Paul Elliott


    Written Introductions By Band Members Joe Elliott, Rick Savage, Rick Allen And Phil Collen


    This initial volume of the band's complete recorded output comes in a limited-edition 180-gram heavyweight vinyl box set, featuring Def Leppard's first four studio albums - along with some choice bonus live and studio material - all spread across 8LPs. The Volume One collection contains all of Def Leppard's iconic 1980s recordings - On Through The Night, High 'N' Dry, Pyromania and Hysteria - with reproductions of the original packaging. Furthermore, this collection includes a replica 7-inch single of the band's original independent EP, the self-titled The Def Leppard E.P. The Volume One collection also houses bonus material including Live At The LA Forum 1983, originally released as a bonus disc in the deluxe CD version of Pyromania, making this the first-ever vinyl offering of the complete show. This 2LP version comes with a new sleeve and inner bags. The box set also includes Rarities Volume 1 which has been specially compiled by Joe Elliott, containing rare B-sides and recordings from Def Leppard's early years, all in a newly commissioned sleeve. Each album in the Volume One box set was mastered by longtime band producer/soundmaster Ronan McHugh and frontman/vocalist Joe Elliott at Joe's Garage in Dublin, Ireland, and cut by Greg Moore. Housed in rigid boxes, the Volume One collection also contains a hardback book with rare photos by longstanding band confidant Ross Halfin and liner notes by Classic Rock's Paul Elliott. Def Leppard bandmembers Joe Elliott, bassist Rick Savage, drummer Rick Allen, and guitarist Phil Collen have all also contributed their personal introductions to the collection.


    This title is not eligible for discount.

    On Through The Night
    1. Rock Brigade
    2. Hello America
    3. Sorrow Is A Woman
    4. It Could Be You
    5. Satellite
    6. When The Walls Came Tumbling Down
    7. Wasted
    8. Rocks Off
    9. It Don't Matter
    10. Answer To The Master
    11. Overture


    High And Dry
    1. Let It Go
    2. Another Hit And Run
    3. High 'N' Dry (Saturday Night)
    4. Bringin' On The Heartbreak
    5. Switch 625
    6. You Got Me Runnin'
    7. Lady Strange
    8. On Through The Night
    9. Mirror, Mirror (Look Into My Eyes)
    10. No No No


    Pyromania
    1. Rock! Rock! (Till You Drop)
    2. Photograph
    3. Stagefright
    4. Too Late For Love
    5. Die Hard The Hunter
    6. Foolin'
    7. Rock Of Ages
    8. Comin' Under Fire
    9. Action! Not Words
    10. Billy's Got A Gun


    Hysteria
    LP 1
    1. Woman
    2. Rocket
    3. Animal
    4. Love Bites
    5. Pour Some Sugar On Me
    6. Armageddon It


    LP 2
    1. Gods Of War
    2. Don't Shoot Shotgun
    3. Run Riot
    4. Hysteria
    5. Excitable
    6. Love And Affection


    Live At The LA Forum 1983
    LP 1
    1. Rock! Rock! (Till You Drop)
    2. Rock Brigade
    3. High 'N' Dry (Saturday Night)
    4. Another Hit And Run
    5. Billy's Got A Gun
    6. Mirror, Mirror (Look Into My Eyes)
    7. Foolin'
    8. Photograph


    LP 2
    1. Rock Of Ages
    2. Bringin' On The Heartbreak
    3. Switch 625
    4. Let It Go
    5. Wasted
    6. Stagefright
    7. Travelin' Band


    Rarities Volume 1
    1. Wasted
    2. Hello America
    3. Good Morning Freedom
    4. Bringin' On The Heartbreak
    5. Me And My Wine
    6. Tear It Down
    7. I Wanna Be Your Hero
    8. Ride Into The Sun
    9. Ring Of Fire
    10. Release Me


    The Def Leppard EP
    1. Ride Into The Sun
    2. Getcha Rocks Off
    3. The Overture

    Def Leppard
    $179.99
    180 Gram Audiophile Virgin Vinyl LP Box Set + 7 Single - 8 LPs Sealed AWAITING REPRESS Buy Now
  • Live At The Main Point 1975 (Box Set) Live At The Main Point 1975 (Box Set) Quick View

    $72.99
    Buy Now
    x

    Live At The Main Point 1975 (Box Set)

    140 Gram Black Quadruple Vinyl Reissue


    Limited Edition Of 1,000


    Packaged In A Deluxe Hardback Slipcase


    The words 'legendary', 'seminal' and 'classic' are very often over-used in the heated hyperbole that surround rock concerts in general and Bruce Springsteen gigs in particular.


    However, this recording of a concert Bruce and the E-Street Band played in Philadelphia in February 1975 really is that of a legendary Springsteen show. This is a seminal moment in his career, a classic performance and an essential part of any fan's library of The Boss' work.


    This is one of his greatest performances, ever.

    LP 1
    1. Intro
    2. Incident On 57th Street
    3. Mountain Of Love
    4. Born To Run
    5. The E Street Shuffle

    6. Wings For Wheels (Thunder Road)
    7. I Want You


    LP 2
    1. Spirit In The Night
    2. Shes The One

    3. Growin' Up

    4. Its Hard To Be A Saint In The City
    5. Jungleland
    6. Kitty's Back


    LP 3
    1. New York City Serenade

    2. Rosalita (Come Out Tonight)
    3. 4th Of July, Asbury Park (Sandy)


    LP 4
    1. A Love So Fine / Shout

    2. For You
    3. Back In The USA

    4. Thunder Road*
    5. Tenth Avenue Freeze-Out*

    6. Pretty Flamingo*

    7. Backstreets*


    * Live at The Roxy, Hollywood, CA. (17/10/1975)

    Bruce Springsteen
    $72.99
    Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • The Album Collection Vol. 1 (1973-1984) (Awaiting Repress) The Album Collection Vol. 1 (1973-1984) (Awaiting Repress) Quick View

    $269.99
    Buy Now
    x

    The Album Collection Vol. 1 (1973-1984) (Awaiting Repress)


    First 7 Albums Recorded & Released For Columbia Records Between 1973 and 1984


    Newly Remastered From Original Analogue Masters By Acclaimed Engineer Bob Ludwig


    Recreations Of Original Packaging & Accompanied By A 60-Page Book


    "Last Thursday, at the Harvard Square theatre, I saw my rock'n'roll past flash before my eyes. And I saw something else: I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time." --Jon Landau, The Real Paper, May 22, 1974


    Columbia Records/Legacy Recordings will release Bruce Springsteen: The Album Collection Vol. 1 1973-1984, a boxed set comprised of remastered editions of the first seven albums recorded and released by Bruce Springsteen for Columbia Records between 1973 and 1984. All of the albums are newly remastered and all seven are making their remastered debut on vinyl.


    The seven albums are recreations of their original packaging and the set is accompanied by a 60-page book featuring rarely-seen photos, memorabilia and original press clippings from Springsteen's first decade as a recording artist.


    Acclaimed engineer Bob Ludwig, working with Springsteen and longtime engineer Toby Scott, has remastered these albums, all newly transferred from the original analogue masters using the Plangent Process playback system.
    Albums included:


    • Greetings From Asbury Park, N.J. (1973)

    • The Wild, The Innocent and The E Street Shuffle (1973)

    • Born To Run (1975)

    • Darkness On The Edge Of Town (1978)

    • The River (1980)

    • Nebraska (1982)

    • Born In The U.S.A. (1984)


    LP 1 - Greetings From Asbury Park, N.J. (1973)
    1. Blinded By The Light
    2. Growin' Up
    3. Mary Queen Of Arkansas
    4. Does This Bus Stop At 82nd Street?
    5. Lost In The Flood
    6. The Angel
    7. For You
    8. Spirit In The Night
    9. It's Hard To Be A Saint In The City


    LP 2 - The Wild, The Innocent and The E Street Shuffle (1973)
    1. The E Street Shuffle
    2. 4th Of July, Asbury Park (Sandy)
    3. Kitty's Back
    4. Wild Billy's Circus Story
    5. Incident On 57th Street
    6. Rosalita (Come Out Tonight)
    7. New York City Serenade


    LP 3 - Born To Run (1975)
    1. Thunder Road
    2. Tenth Avenue Freeze-Out
    3. Night
    4. Backstreets
    5. Born To Run
    6. She's The One
    7. Meeting Across The River
    8. Jungleland


    LP 4 - Darkness On The Edge Of Town (1978)
    1. Badlands
    2. Adam Raised A Cain
    3. Something In The Night
    4. Candy's Room
    5. Racing In The Street
    6. The Promised Land
    7. Factory
    8. Streets Of Fire
    9. Prove It All Night
    10. Darkness On The Edge Of Town


    LP 5 - The River (1980)
    1. The Ties That Bind
    2. Sherry Darling
    3. Jackson Cage
    4. Two Hearts
    5. Independence Day
    6. Hungry Heart
    7. Out In The Street
    8. Crush On You
    9. You Can Look (But You Better Not Touch)
    10. I Wanna Marry You
    11. The River


    LP 6 - The River (1980)
    1. Point Blank
    2. Cadillac Ranch
    3. I'm A Rocker
    4. Fade Away
    5. Stolen Car

    6. Ramrod

    7. The Price You Pay
    8. Drive All Night
    9. Wreck On The Highway


    LP 7 - Nebraska (1982)
    1. Nebraska
    2. Atlantic City
    3. Mansion On The Hill
    4. Johnny 99
    5. Highway Patrolman
    6. State Trooper
    7. Used Cars
    8. Open All Night
    9. My Father's House
    10. Reason To Believe


    LP 8 - Born In The U.S.A. (1984)
    1. Born In The U.S.A.
    2. Cover Me
    3. Darlington County
    4. Working On The Highway
    5. Downbound Train
    6. I'm On Fire
    7. No Surrender
    8. Bobby Jean
    9. I'm Goin' Down
    10. Glory Days
    11. Dancing In The Dark
    12. My Hometown

    Bruce Springsteen
    $269.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 8 LPs Sealed AWAITING REPRESS Buy Now
  • The Ultimate Collection The Ultimate Collection Quick View

    $124.99
    Buy Now
    x

    The Ultimate Collection

    Packed In A Slipcase With Die-Cut Of The Classic Evanescence 'e' Logo


    Slipcase Features Glow In The Dark Elements


    Includes Casebound Book - 52-Page Collectable Art Portfolio Includes Never Before Seen Handwritten Lyrics And Art


    All Albums Are On Black 180-Gram Heavyweight Vinyl


    The Ultimate Collection (6-LP Set) is a career-spanning vinyl box set encompassing the Evanescence studio albums, Fallen, The Open Door and Evanescence (with the latter two making their vinyl debut) and for the first time ever, the commercial debut for the previously unreleased demo album Origin. The Lost Whispers album officially culls the band's legendary bonus tracks and features the studio version of the long sought-after tour intro "Lost Whispers" and the first new Evanescence studio recording in years, "Even In Death (2016)".

    Evanescence
    $124.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • The Bach Keyboard Concertos (Speakers Corner) (Awaiting Repress) The Bach Keyboard Concertos (Speakers Corner) (Awaiting Repress) Quick View

    $95.99
    Buy Now
    x

    The Bach Keyboard Concertos (Speakers Corner) (Awaiting Repress)

    The attempts that have been made to describe Glenn Gould's complex personality are endless in number, as are his surprising and often eccentric interpretations. Whether he is considered to be a sensitive maniac, neurotic individualist or uncompromising genius - Gould polarises, provokes and fascinates us long after his death in 1982. As early as 1964 the Canadian pianist ceased to give concerts, since he found appearing before an audience completely unacceptable and preferred to concentrate on studio recordings.



    Way in front of composers of the Viennese Classical era, which he did not take particularly seriously - although his performances keenly reflect Beethoven's rhythmicity - comes his personal deity: Bach. Gould's notorious strictness gives form to the minutest of figure in the score. He weaves his way through Bach's music and thereby articulates its tightly knit and multi-facetted depths. No lecturing keyboard proponent this, but a creative co-composer who imbues the spirit of the music with life and sonority. Upon the release in 1980 of the 80th Birthday Edition with its wealth of visual and tonal material, the music journalist Werner Theurich wrote that »no one had ever played more raptly, or more intensively. That Gould's performances are nothing but heavenly can be seen and felt. The rest is pure music.«




    Recording: April 1957, May 1967 and February 1969 at Columbia 30th Street Studio, New York City, by Fred Plaut

    Production: Andrew Kazdin




    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.

    The Bach Keyboard Concertos J. S. Bach: Keyboard Concertos Nos. 1-5 and 7
    L. v. Beethoven: Piano Concerto No. 1 - Glenn Gould, the Columbia Symphony Orchestra conducted by Vladimir Golschmann and Leonard Bernstein
    Glenn Gould
    $95.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed AWAITING REPRESS Buy Now
  • George Harrison Pro-Ject Turntable George Harrison Pro-Ject Turntable Quick View

    $499.00
    Buy Now
    x

    George Harrison Pro-Ject Turntable


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    EXTREMELY LIMITED!!! Only 500 Made!


    Pro-Ject Audio Systems have teamed up with the estate of legendary musician George Harrison to produce a special turntable, coinciding with the release of George Harrison - The Vinyl Collection LP box-set from USM.


    The limited edition Pro-Ject George Harrison record player boasts an entirely unique appearance created by design specialists, Studio Number One. Studio Number One was founded by Shepard Fairey, and the Pro-Ject George Harrison record player makes use of an image taken from the world-famous artist's work.


    The turntable itself is based on Pro-Ject Audio Systems' coveted Essential III design with an Acryl-IT E platter. The Essential III benefits from a sturdy MDF plinth mounted on anti-vibration feet. Supplied with an acrylic platter, high-quality tonearm and Ortofon OM 10 cartridge, the sound performance puts the turntable in a class of its own when compared to rival products.


    The Pro-Ject George Harrison turntable is the perfect product for any George Harrison fan who takes their sound quality seriously. It's also the ideal companion to the new vinyl box set, which features all twelve of Harrison's studio albums as well as the classic live album Live In Japan (2LP) and two 12" single picture discs of When We Was Fab and Got My Mind Set On You.


    Released to commemorate George Harrison's birthday (February 25th), the whole vinyl box set has been pressed onto high-quality 180g heavyweight vinyl with re-masters taken from the original analogue master tapes and newly cut at the legendary Capitol studios. With such a high-quality vinyl collection, it's essential that you play these iconic tracks on a good record player, and the Pro-Ject George Harrison is just the player you need.


    Pro-Ject
    $499.00
    George Harrison Pro-Ject Turntable Buy Now
  • Royal Albert Hall Royal Albert Hall Quick View

    $37.99
    Buy Now
    x

    Royal Albert Hall

    In May 2014 EELS embarked on an ambitious fifty-three show world tour. Starting in Phoenix, Arizona and crossing The United States and Canada before rolling through mainland Europe and Great Britain, the band performed spine-tingling shows at New York's Apollo, Chicago's Vic Theater, Los Angeles' Orpheum Theater, The Montreux Jazz Festival and The Amsterdam Concert Hall among many others. On the night of June 30th EELS returned to London's legendary Royal Albert Hall for the first time in nine years to play a stunning show that was filmed and recorded.


    In sharp contrast to the previous EELS tour that found the band in track suits playing high octane electric rock & roll, this EELS show was a gentlemen's EELS concert, as EELS leader Mark Oliver Everett, aka E, puts it. Filmed by nine cameras in the gorgeously-lit Royal Albert Hall, the new film and album find the EELS dapperly dressed in suits and ties, and all five band members stretching their musical capabilities past new boundaries, playing songs from 2014's critically-acclaimed THE CAUTIONARY TALES OF MARK OLIVER EVERETT for the first time along with songs spanning the EELS' 19 year career. When they played Royal Albert Hall in 2005 they were accompanied by a string section. This time there are only the five core members of the band on stage throughout the concert, splitting their time between guitar, piano, pedal steel guitar, trumpet, upright and bowed bass, melodica, vibraphone, timpani, drums, concert chimes and glockenspiel. And the results are stunning.


    The film features the band backstage preparing for the big night and captures the entire show from start to finish, as it happened, including Everett kissing the spot where John Lennon once stood on the stage, making his way to hug fans all the way around Albert Hall's massive floor, returning for several encores, as well as a surprise phantom encore where Everett's dream of playing the massive Albert Hall pipe organ for some spooky EELS classics finally comes true.


    Perhaps as a result of this fantastic show, EELS were quickly invited back for a second 2014 London show and Everett, once heavily-bearded and mistakenly suspected by London police to be a terrorist (while taking a break from press interviews in Hyde Park), was made an honorary citizen of London in a ceremony granting him Freedom of the City.

    1. Where I'm At
    2. When You Wish Upon a Star
    3. The Morning
    4. Parallels
    5. Addressing the Royal Audience
    6. Mansions of Los Feliz
    7. My Timing Is Off
    8. A Line in the Dirt
    9. Where I'm From
    10. It's a Motherf**ker
    11. Lockdown Hurricane
    12. A Daisy Through Concrete
    13. Introducing the Band
    14. Grace Kelly Blues
    15. Fresh Feeling
    16. I Like Birds
    17. My Beloved Monster
    18. Gentlemen's Choice
    19. Mistakes of My Youth/Wonderful, Glorious
    20. Where I'm Going
    21. I Like the Way This Is Going
    22. Blinking Lights (For Me)
    23. Last Stop: This Town
    24. The Beginning
    25. Can't Help Falling in Love
    26. Turn On Your Radio
    27. Flyswatter
    28. The Sound of Fear
    Eels
    $37.99
    Vinyl LP + DVD Box Set - 3 LPs Sealed Buy Now
  • Bizet: Carmen (Speakers Corner) Bizet: Carmen (Speakers Corner) Quick View

    $95.99
    Buy Now
    x

    Bizet: Carmen (Speakers Corner)

    This is a problem recording, and even fans of Leonard Bernstein and Marilyn Horne will find it odd« writes a large mail-order media company about this Carmen production. However, discerning listeners who submerge themselves in the music will soon conclude that the problem is rather to be found among the many highly acclaimed and styled-up other recordings that present the fiery musical portrait as a sanitized, spirited indoor ballet. This is very different from Bernstein, who hints at the work's inevitable tragedy already in the agonisingly weighty clashing cymbals of the surprisingly slow opening. His rustic-sounding street scenes are filled with vaudeville, raw and authentic, and so typical of how people behave when they dance out-of-doors. This Carmen is far closer to the cracking Westside Story than a saturated Traviata.


    Marilyn Horne in the title role lends the full-blooded Carmen such an incredible voice in all manner of moods that one can hardly believe that we are listening to just one singer. One minute we hear the bright voice of a young girl lusting for life, and in the next minute the mezzo-like pained cry of a man-killing heroine.
    James McCracken has a distinctive dry voice, which is full of rousing passion, and is ideal in the role of Don JosÉ. He is complemented by the dramatic, powerful baritone Tom Krause as the torero Escamillo.


    Harry Pearson, the founder and former Editor in Chief of the specialist magazine The Absolute Sound, accorded this outstanding recording a regular mention in his 'super disc' list - no problem!

    Musicians:



    • Marylin Horne

    • James McCracken

    • The Manhattan Opera Chorus and the Metropolitan Opera Orchestra conducted by Leonard Bernstein



    Recording: September and October 1972 im Manhattan Center, New York von
    GÜnter Hermanns

    Production: Thomas W. Mowrey



    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.



    LP 1
    1. Prelude
    First Act
    2. Introduction
    3. March And Chorus Of Urchins
    4. Chorus And Scene
    5. Habanera
    6. Scene
    7. Dialogue
    8. Duet
    9. Chorus

    10. Chanson And Melodrama

    11. Chanson Et Duet
    12. Finale


    LP 2
    1. Entracte
    Second Act
    2. Chanson
    3. Chorus And Ensemble
    4. Couplets / Chorus
    5. Quintet
    6. Chanson
    7. Duo
    8. Finale
    Third Act
    9. Entracte

    10. Introduction


    LP 3
    1. Trio
    2. Ensemble
    3. Air
    4. Duo
    5. Finale

    6. Entracte

    Fourth Act
    7. Chorus

    8. Chorus

    9. Final Duo

    Georges Bizet
    $95.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • Birth Control Birth Control Quick View

    $22.99
    Buy Now
    x

    Birth Control

    Three albums into their career, New Jersey's Fight Amp show no desire to outgrow their tough but taut noise rock tendencies, but that hardly means they are treading water in a sea of retarded sexuality either. Released in 2012, Birth Control introduces new drummer Dan Smith (who, conveniently, also designed its cover art) into vocalist/guitarist Mike McGinnis and vocalist/bassist Jon DeHart's private little fight club, and the tenacious, unforgiving music they produce in unison makes it just as easy to imagine the trio members sparring in a seedy old boxing gym as bashing away at their instruments in a dingy rehearsal space. And while the boys last just eight rounds (songs) on Birth Control, most of 'em extend well beyond the regulation three minutes and boast a series of curiously style-departing codas -- e.g., the menacing echoes of "White Pickett," the piano on "Should've Worn Black" -- that enhance the illusion of a championship bout going the distance. By and large, most tracks ("Fly Trap," "Creepy Kicks," "I Am the Corpse") focus on punishing instrumental interplay, guitars verging on the atonal, while McGinnis incessantly barks against the fading of the light, escalating to outright screams when the rage becomes more than he can contain. Not until the late-album instrumental left turn "Goner" does the band forgo its customary energy for a more measured, though no less intense, approach where bass grooves call the shots as guitars and drums deliver the body blows. All of which raises the question: are you man or woman enough to go toe to toe with Fight Amp? Then get in the ring!

    1. Fly Trap

    2. White Pickett

    3. Creepy Kicks

    4. Should've Worn Black

    5. Shallow Grave

    6. Goner

    7. I'm Out

    8. I Am the Corpse

    Fight Amp
    $22.99
    Vinyl LP - Sealed Buy Now
  • Lord Lord Quick View

    $19.99
    Buy Now
    x

    Lord

    "This thing is fast, heavy, and sneakily melodic - i.e. it sounds like something you
    might've heard out of the Pacific Northwest 20-30 years ago, like Nirvana having a
    Sonic Youth fever dream." - Stereogum


    Lord is the debut from Seattle-based punks FF, a trio comprised of Claire
    Nelson, Harley Thompson, and Michael Abeyta. For the entirety of their
    nascent existence they have existed on the fringes of the fertile enclave
    that is the Northwest DIY underground, materializing a singular vision of
    gloomy, ethereal punk anthems along the way. For sure, the touchstones
    are there - My Bloody Valentine, The Wipers, Sonic Youth, the Flying Nun
    Records cabal - but the collection of songs that compile Lord breakout
    from the suffocating box of 90's revivalism, and offer a profound alternative to an overwhelming culture of nostalgia.


    Recorded over the bulk of 2013 with Seattle engineering wiz Dylan Wall
    (Weed, Craft Spells), Lord is a collection of songs that capture a band
    on the cusp of their potency.

    1. Dead Head
    2. Dusted
    3. It's Alright
    4. Caught In A Dream
    5. In A Day
    6. Past Year
    7. Theme
    8. Come To Pass
    FF
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Adventures Of Tintin: The Secret Of The Unicorn Soundtrack The Adventures Of Tintin: The Secret Of The Unicorn Soundtrack Quick View

    $44.99
    Buy Now
    x

    The Adventures Of Tintin: The Secret Of The Unicorn Soundtrack

    Import


    180-Gram Audiophile Vinyl


    Gatefold Sleeve


    PVC Protective Sleeve


    Including Printed Innersleeves, 3 Post Cards + An Exclusive Litho


    Music Composed By John Williams


    Grammy Nomination For Best Score


    Unique Rainbow Laminate Effect On Jacket + Secret Inscriptions In Run-Out Groove


    Limited Edition Of 2000 Copies On Transparent Blue And Gold Mixed Vinyl


    With the production of the movie The Adventures of Tintin: The Secret Of The Unicorn the collaboration between director Steven Spielberg and composer John Williams got into a new chapter. A chapter which Williams fills with fascinating compositions on an adventurous ride. Progressive jazz mixed with orchestral cues are a big part of the soundtrack, but always with the signature if Williams himself. The masterful composer which is known for his work for the film scores of the Star Wars and Indiana Jones series and movies like E.T., Schindler's List and Jurassic Park is still recording as a perfectionist. All the energy and adventure of the movie is brought to life in the harmonic complexity and the creativity of his brilliant compositions. He converts the story to his orchestral pieces and know which melodies puts down the right mood for the different scenes.


    The American composer John Williams started his musical journey back in the 50's with his orchestral pieces and compositions for television series. It meant the advance of one of the greatest film composers the world would ever know about. His list of compositions is endless and he has won dozens Awards. He composed the score for eight of the top twenty highest-grossing films at the U.S. box office.


    The Adventures of Tintin package includes printed inner sleeves, 3 post cards and an exclusive litho. The gatefold jacket contains a unique rainbow laminate effect. The limited edition of 2000 copies is available on transparent blue and gold mixed vinyl.

    LP 1
    1. The Adventures Of Tintin
    2. Snowy's Theme
    3. The Secret Of The Scrolls
    4. Introducing The Thompsons And Snowy's Chase
    5. Marlinspike Hall
    6. Escape From The Karaboudjan
    7. Sir Francis And The Unicorn
    8. Captain Haddock Takes The Oars

    9. Red Rackham's Curse And The Treasure


    LP 2
    1. Capturing Mr. Silk
    2. The Flight To Bagghar
    3. The Milanese Nightingale
    4. Presenting Bianca Castafiore
    5. The Pursuit Of The Falcon
    6. The Captain's Counsel
    7. The Clash Of The Cranes
    8. The Return To Marlinspike Hall And Finale
    9. The Adventure Continues

    John Williams
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Fall The Fall Quick View

    $34.99
    Buy Now
    x

    The Fall

    Mastered by Kevin Gray at Cohearant Audio from the original source recordings!


    200-gram audiophile vinyl pressing by Quality Record Pressings. Gatefold, tip-on jackets on heavy cardboard stock, deluxe high quality!


    Part of Analogue Productions' reissue of the Norah Jones' solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album will also be featured in an exclusive LP box set to come that will include Norah's Covers album!


    Norah has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits and Modest Mouse. Richly detailed and vocally lush on 200-gram, super-silent vinyl from Analogue Productions, The Fall, Jones' fourth album, may surprise some of Jones' die-hard fans, Billboard magazine notes. During the 13-song set, Jones ditches the gentle piano playing of her previous work and tears into fresh, beat-savvy arrangements, playing plenty of electric guitar and exploring the piercing quality of Wurlitzer electric piano. Jones' smoky voice and soulful veneer highlight the opening track and first single, Chasing Pirates.


    Jones displays a slinky kind of ambience on Light As a Feather (co-written with Ryan Adams). The social commentary It's Gonna Be offers a garage-rock attitude, and You've Ruined Me has a rich Americana flavor. But Jones is still a little bit country (Tell Yer Mama) and a little bit rock'n'roll (Stuck). Overall, writes reviewer Gary Graff, Jones straddles those lines in an entirely different manner than she ever has before.


    For The Fall, Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River's Will Sheff, as well as her frequent partners Jesse Harris and Richard Julian. Musicians include drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer).


    This title is not eligible for discount.

    1. Chasing Pirates
    2. Even Though
    3. Light as a Feather
    4. Young Blood
    5. I Wouldn't Need You
    6. Waiting
    7. It's Gonna Be
    8. You've Ruined Me
    9. Back to Manhattan
    10. Stuck
    11. December
    12. Tell Your Mama
    13. Man of the Hour
    Norah Jones
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chronic Town Chronic Town Quick View

    $15.99
    Buy Now
    x

    Chronic Town

    Chronic Town established R.E.M.'s signature sound immediately, expanding the jangling riffs of their debut single, Radio Free Europe, into a full-fledged modus operandi. Recorded at Mitch Easter's Drive-In Studios, the EP has an endearingly ragged sound -- it's a garage band playing jangling pop songs, and while the music is melodic and memorable, it has an underground mentality that keeps it from sounding conventional. Their songwriting is distinctive, with Gardening at Night, Wolves, Lower, and Carnival of Sorts (Box Cars) ranking as early classics.
    1. Wolves, Lower
    2. Gardening At Night
    3. Carnival Of Sorts (Box Cars)
    4. 1,000,000
    5. Stumble
    R.E.M.
    $15.99
    Vinyl LP - Sealed Buy Now
  • Grand Stan (Pure Pleasure) Grand Stan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Grand Stan (Pure Pleasure)

    Mr. Levey worked with Peggy Lee, Ella Fitzgerald, Bobby Darin and many other singers, and with the big bands of Benny Goodman, Woody Herman and Stan Kenton. He was also a ubiquitous presence in Los Angeles recording studios for many years. But he earned his place in jazz history primarily through his work with Charlie Parker and Dizzy Gillespie, the leading lights of bebop.



    A self-taught drummer who played left-handed even though he was naturally right-handed, Mr. Levey was still a teenager when he began attracting attention for the ease with which he handled the breakneck tempos and tricky accents of the modern style. Working with Gillespie and Parker, he also attracted attention for being one of two white musicians (the pianist Al Haig was the other) in an otherwise all-black group, by no means a common sight in the 1940's.



    Stan Levey was born in Philadelphia on April 5, 1926. The son of a prizefight promoter, he took up boxing about the same time he took up drums, and for a few years pursued both careers. But boxing, at which he was never exceptional, soon lost out to drumming, at which he was.



    His work with Gillespie and Parker in 1945, when bebop was new and controversial, won him the admiration of his peers but not much of a living. Greater success came a few years later when he began working with big bands.



    In 1954, after two years with Kenton, he settled in Los Angeles, where he spent five years with the Lighthouse All-Stars, the group in residence at a popular local nightclub. He was also in great demand for studio work, recording with many of the best-known musicians in jazz and playing on hit records like Peggy Lee's Fever. In addition, his drumming was heard on the soundtracks of hundreds of movies and television shows, including five Disney documentaries for which he wrote the music.



    Musicians:



    • Conte Candoli (trumpet)

    • Frank Rosolino (trombone)

    • Richie Kamuca (tenor saxophone)

    • Sonny Clark (piano)

    • Leroy Vinnegar (bass)

    • Stan Levey (drums)



    Recording: August 1955 in New York City



    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. Yesterdays
    2. Angel Cake
    3. Why Do I Love You
    4. Grand Stan
    5. Hit That Thing
    6. Blues At Sunrise
    7. A Gal In Calico
    8. Tiny's Tune
    Stan Levey
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach: 1-6 Solo Cello Suites (Speakers Corner) Bach: 1-6 Solo Cello Suites (Speakers Corner) Quick View

    $95.99
    Buy Now
    x

    Bach: 1-6 Solo Cello Suites (Speakers Corner)

    Today it is difficult to understand that despite the tremendous Bach renaissance that took place in the 19th century many compositions by the Cantor of St. Thomas's Church in Leipzig had been underrated. The Cello Suites, for example, have been regarded for almost 300 years as purely a set of tricky etudes that every virtuoso in the making simply must tackle. What recording engineers and their equipment can bring to the ears is quite astounding. So it was back in the Thirties with Pablo Casal's legendary recording against which every cellist is measured today and to whose perfection he aspires.



    Janos Starker's recording of the Suites from 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience.



    Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker's full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach's thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach's Cello Suites are 'polyphony for a solo instrument'.



    Musicians:



    • Janos Starker (cello)




    Recording: April 1963, September and December 1965 at ballroom Studio A at Fine Recording Studios, New York, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart



    Format: 3LPs 33rpm / Box, booklet



    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    Janos Starker
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Quick View

    $99.99
    Buy Now
    x

    Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress)

    In early 1966, blues history was made with the issuance of a three-volume set of new recordings produced by blues historian Samuel Charters. This series was known as Chicago/The Blues/Today! and the release sent shock waves through the world of rock & roll. Every artist on the three volumes had recorded before (some, like Otis Rush and Junior Wells, had actually seen small hits on the R&B charts), but these recordings were largely their introduction to a newer -- and predominately white -- album-oriented audience. These recordings have stayed in print and have been reasonably good sellers over the years since their original release, all coming out on compact disc. This new packaging puts all three volumes together, but with no bonus tracks, as no extras were recorded for these sessions.



    A plus in the new packaging, is that it features a nice booklet with detailed, updated notes from Charters, a nice appreciation from Ed Ward, and absolutely eye-boggling session photos taken by Charters' wife, Ann. Even if you still have the original vinyl or CDs, this is one of the times when it would be best to spend the dough and add this one to your collection, because blues records seldom come as important, innovative, or just plain pleasurable to listen to as this set. File under 'essential'.




    Musicians:



    • J.B. Hutto

    • Junior Wells

    • Otis Spann

    • Otis Rush

    • Jimmy Cotton

    • Johnny Shines Blues Band

    • Johnny Young's South Side Blues Band

    • Homesick James

    • and Big Walter Horton's Blues Harp Band with Memphis Charlie Musselwhite




    Recording: 1965 at RCA Studios, Chicago

    Production: Samuel Chartersdeutsch



    Format: 3LPs 33rpm / Box, booklet



    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.



    LP1
    1. Help Me (A Tribute to Sonny Boy Williamson)
    2. It Hurts Me Too
    3. Messin' with the Kid
    4. Vietcong Blues
    5. All Night Long
    6. Going Ahead
    7. Please Help
    8. Too Much Alcohol
    9. Married Woman Blues
    10. That's the Truth
    11. Marie
    12. Burning Fire
    13. S P Blues
    14. Sometimes I Wonder
    15. Spann's Stomp


    LP2
    1. Cotton Crop Blues
    2. The Blues Keep Falling
    3. Love Me or Leave
    4. Rocket 88
    5. West Helena Blues
    6. Everything's Gonna Turn Out Allright
    7. It's a Mean Old World
    8. I Can't Quit You Baby
    9. Rock
    10. It's My Own Fault
    11. Dust my Broom
    12. Somebody Been Talkin'
    13. Set a Date
    14. So Mean to Me


    LP3
    1. One More Time
    2. Kid Man Blues
    3. My Black Mare
    4. Stealin' Back
    5. I Got Mine In Time
    6. Tighten Up On It
    7. Dynaflow Blues
    8. Black Spider Blues
    9. Layin' Down My Shoes and Clothes
    10. If I Get Lucky
    11. Rockin' My Boogie
    12. Mr. Boweevil
    13. Hey Hey

    Various Artists
    $99.99
    180 Gram Audiophile Virgin Vinyl - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Carry Fire Carry Fire Quick View

    $29.99
    Buy Now
    x

    Carry Fire

    Carry Fire, Robert Plant's eleventh solo album and first full-length release since 2014's acclaimed lullaby and... The Ceaseless Roar, was produced by Plant in the west of England and Wales, at Top Cat studio in Box, Wiltshire with additional recordings at Real World and Rockfield studios. As with lullaby, Plant is accompanied by The Sensational Space Shifters: John Baggott on keyboards, moog, loops, percussion, drums, brass arrangement, t'bal, snare drum, slide guitar, piano, electric piano, bendir; Justin Adams on guitar, acoustic guitar, oud, E-bow quartet, percussion, snare drum, tambourine; Dave Smith on bendir, tambourine, djembe, drum kit; and Liam Skin Tyson on dobro, guitar, acoustic guitar, pedal steel, twelve-string.


    Plant and the Space Shifters are also joined on Carry Fire by a number of special guests. Chrissie Hynde joins Plant on the duet Bluebirds Over the Mountain (written by rockabilly legend Ersel Hickey and later recorded by both Richie Valens and The Beach Boys). Albanian cellist Redi Hasa performs on three tracks, as does the celebrated Seth Lakeman on viola and fiddle.


    Plant and the Space Shifters (which now includes Lakeman) celebrate Carry Fire's release by beginning a world tour in November 2017 starting in UK & Ireland and touring all corners of globe from thereon.


    Plant and the band spent two years on the road together supporting lullaby and... The Ceaseless Roar, their unique sound and vision ultimately evolving into something even more creative and powerful.


    Plant, who lived in Texas for a time before returning to his native England three years ago, together with his friends, present the songs Carry Fire, melding unusual rhythms with naturalism and smoldering power.


    It's about intention, I respect and relish my past works but each time I feel the lure and incentive to create new work. I must mix old with new. Consequently the whole impetus of the band has moved on its axis somewhat, the new sound and different space giving way to exciting and dramatic landscapes of mood, melody and instrumentation.

    LP 1
    1. The May Queen
    2. New World...
    3. Season's Song
    4. Dance With You Tonight
    5. Carving Up The World Again...A Wall And Not A Fence
    6. A Way With Words
    7. Carry Fire


    LP 2
    1. Bones Of Saints
    2. Keep It Hid
    3. Bluebirds Over The Mountain
    4. Heaven Sent

    Robert Plant
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Phonography Phonography Quick View

    $24.99
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    Phonography

    Phonography was lo-fi legend R. Stevie Moores first vinyl release only 100 copies were pressed in 1976. The album (including a slightly larger 1978 pressing) barely earned the artist lunch money. But Phonography has since become the cornerstone of the Do-It-Yourself movement, while establishing Moore as the Granddaddy of home recording. Both Rolling Stone and Spin have proclaimed it one of the most influential independent releases of the past 50 years. Phonography was recorded by a self-taught control-freak, using cheap, malfunctioning analog equipment. Robert Steven Moore was born in 1952, in Nashville. His dad, veteran bassist/producer Bob Moore, taxied between sessions for major stars (including Elvis Presley). But Stevie preferred Brit Invasion, Zappa, Brian Wilsons idiosyncratic arrangements, and outliers like the Shaggs. At the urging of his supportive uncle, Harry Palmer, he moved to New Jersey in 1976.


    The Phonography material was recorded by this one-man virtual band at home between 1974 and 1976 with a pair of analog open-reel stereo decks and no multi-tracking equipment. Moore built songs starting with a rhythm track (e.g., played on drums, furniture, or boxes), upon which he layered instrumental and vocal tracks in a primitive sound-on-sound technique. Multiple generations of sound caused frequency loss and sonic distortion the embodiment of lo-fi but these are charming artifacts that dont obscure the brilliance of the compositions and Moores masterful music eccentricities. Moore and Palmer culled the top-tier songs, which were interspersed with spoken word, audio veritÉ, and radio snippets to create a program effect. The song styles were eclectic, reflecting Stevies omnivorous music appetite: hard rock, sweet ballads, Britpop, guitar raves, glam, and Zappa-esque weirdness. The album laid the foundation for Moores four-decade underground career.


    He has self-released hundreds of albums on each successive eras format du jour (cassette, LP, CD, digital download). Hes had vinyl and CD compilations produced worldwide on two dozen indie labels. For a songwriter with a massive catalog of prime material, Moores revenue stream has barely afforded him the luxury of replacing gear plagued by worn-out switches. Yet most of the surviving labels who turned deaf ears to R. Stevie Moore are now, like him, struggling to make a buck on their catalogs. Their corner-office execs come and go. R. Stevie Moore is still here. And Phonography is back.

    1. Melbourne
    2. Explanation of Artist
    3. Goodbye Piano
    4. Explanation of Listener
    5. California Rhythm
    6. I've Begun to Fall in Love
    7. The Spot
    8. I Want You in My Life
    9. I Wish I Could Sing
    10. Theme From A.G.
    11. The Voice
    12. Showing Shadows
    13. She Don't Know What to Do With Herself
    14. The Lariat Wressed Posing Hour
    15. I Not Listening
    16. Mr. Nashville
    17. Moons
    R. Stevie Moore
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) Quick View

    $89.99
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    The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress)

    There has never been (nor will there ever be again) a musician so beloved all over the world as Louis Armstrong. Artistically, he was not only the single most influential fount and inspiration for every pop-music instrumentalist and singer of his time and thereafter, but he was quite easily the greatest entertainer ever to step on the stage, musical or theatrical. And where Louis was concerned, there was no separation; he was as theatrical as he was musical.



    This album documents just one of his countless concert appearances. It is unique and typical at the same time, for the evening began with a review of '50 years of Jazz' (which also paralled Armstrong's life, for he and jazz were both born at the turn of the century - Louis in 1901, as a baptismal certificate discovered after his death has established, not 1900, as he had always believed), followed by a standard-issue Armstrong All Stars program.



    Although his choice of selections would change slightly from one night to another, and then more so from one year to the next, certain elements remained constant. No matter how often a composition was repeated (he opened every show "Sleepy Time Down South", almost invariably followed by "Indiana"), Louis Armstrong gave his all every performance - no matter how many or few in the audience, and no matter if the decades of nearly non-stop touring had left him exausted on a particular night.



    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Edmond Hall (clarinet, vocal)

    • Trummy Young (trombone, vocal)

    • Billy Kyle (piano)

    • Dale Jones (bass)

    • Barrett Deems (drums)

    • Velma Middleton (vocal)



    Recording: June 1956 live at Medina Temple, Chicago

    Production: George Avakian



    Format: 3LPs 33rpm / Box, booklet



    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. Medley: Flee As A Bird To The Mountain/ Oh, Didn't He Ramble

    2. Medley: Memphis Blues/Frankie And Johnny/Tiger Rag

    3. Do You Know What It Means To Miss New Orleans
    4. Basin Street Blues
    5. Black And Blue

    6. West End Blues
    7. On The Sunny Side Of The Street

    8. Struttin' With Some Barbecue
    9. When It's Sleepy Time Down South

    10. Medley: Manhattan / When It's Sleepy Time Down South

    11. Indiana
    12. The Gypsy
    13. The Faithful Hussar

    14. Rockin' Chair

    15. Bucket's Got A Hole In It

    16. Perdido
    17. Clarinet Marmalade
    18. Mack The Knife
    19. Medley: Tenderly / You'll Never Walk Alone

    20. Stompin' At The Savoy

    21. Margie
    22. Big Mama's Back In Town
    23. That's My Desire
    24. Ko Ko Mo (I Love You So)
    25. When The Saints Go Marching In
    26. The Star Spangled Banner
    Louis Armstrong
    $89.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
  • 10 Years Solo Live (Box Set) (Out Of Stock) 10 Years Solo Live (Box Set) (Out Of Stock) Quick View

    $149.99
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    10 Years Solo Live (Box Set) (Out Of Stock)

    Nonesuch Records releases Brad Mehldau's 10 Years Solo Live eight-LP vinyl box set October 16, 2015. The set is culled from 19 live recordings made over a decade of the pianist's European solo concerts and is divided into four thematic subsets of four sides each: Dark/Light, The Concert, Intermezzo/RÜckblick, and E Minor/E Major. 10 Years Solo Live will be released digitally and on CD the following month.


    As Mehldau explains in his liner note for the album, Although it totals around 300 minutes, the order of songs is not arbitrary, and I have tried to tell a story from beginning to end in the way I've sequenced it. He continues, There is a theme and character given to each four-side set.


    Of the Dark/Light theme, he says, In concerts, I find that I contrast dark and light emotional energies and highlight the way they depend on each other. Sides 1-4 focus on this dichotomy in pairs, beginning with the dark energy of Jeff Buckley's 'Dream Brother,' which is followed by the grace of Lennon/McCartney's 'Blackbird.' He further says, Although the songs on Sides 5-8 (The Concert) come from different concerts, on this set, I arranged them in a sequence similar to that I would perform in a single concert in 2010-11, he continues.


    The third set could be thought of as Intermezzo and RÜckblick-like in character. I'm thinking of the penultimate movement of Brahms's Third Piano Sonata with that title. RÜckblick means a look backward, perhaps a reappraisal. Brahms's Intermezzo movement was a look back at what had taken place in his Sonata before moving to the final movement. Here, the listener is invited to look back to music that was recorded 10 or more years ago, in 2004 and 2005. Mehldau explains that his approach to the sequence of the fourth set is to focus on the rub between the keys of E minor and E major. I return to the theme of dark and light from the first set, now allowing the listener to focus on how 'dark' and 'light' might manifest in tonality.


    Mehldau has performed around the world at a steady pace for 25 years, with his trio, with other collaborators, and as a solo pianist, building a large and loyal audience. It is actually strange, this whole business of performance. It is a direct, intense kind of empathy with a group of total strangers that lasts around 90 minutes. And then, it's over, and everyone goes home. I go back to a hotel room and go to bed, the pianist says in his10 Years Solo Livenote. Something happened, but what was most vital about it can't really be put in words. It is sweet, kind of bittersweet. In any case, it is not enough to say that the different audiences were important for the creation of this music. They were absolutely necessary; they were pivotal. Without those audiences, this music would not exist in the way it does.

    LP1
    1. Dark / Light: Dream Brother (Jeff Buckley)
    2. Dark / Light: Blackbird (John Lennon / Paul McCartney)
    3. Dark / Light: Jigsaw Falling into Place (Thom Yorke / Jonny Greenwood / Colin Greenwood / Phil Selway / Ed O'Brien)
    4. Dark / Light: Meditate I - Lord Watch Over Me (Brad Mehldau)


    LP2
    1. Dark / Light: And I Love Her (John Lennon / Paul McCartney)
    2. Dark / Light: My Favorite Things (Richard Rodgers / Oscar Hammerstein II)
    3. Dark/Light: This Here (Bobby Timmons)


    LP3
    1. The Concert: Smells Like Teen Spirit (Kurt Cobain)
    2. The Concert: Waltz for J. B. (Brad Mehldau)
    3. The Concert: Get Happy (Harold Arlen / Ted Koehler)
    4. The Concert: I'm Old Fashioned (Jerome Kern / Johnny Mercer)


    LP4
    1. The Concert: Teardrop (Grantley Marshall / Andrew Lee Isaac Vowles / Robert Del Naja / Elizabeth Fraser )
    2. The Concert: Meditation II - Love Meditation (Brad Mehldau)
    3. The Concert: Holland (Brad Mehldau)
    4. The Concert: Knives Out (Thom Yorke / Jonny Greenwood / Colin Greenwood / Phil Selway / Ed O'Brien)


    LP5
    1. Intermezzo / RÜckblick: Lost Chords (Brad Mehldau)
    2. Intermezzo / RÜckblick: Countdown (John Coltrane)
    3. Intermezzo / RÜckblick: On the Street Where You Live (Frederick Loewe / Alan Jay Lerner)
    4. Intermezzo / RÜckblick: Think of One (Thelonious Monk)


    LP6
    1. Intermezzo / RÜckblick: Zingaro/Paris (Antônio Carlos Jobim / Brad Mehldau)
    2. Intermezzo / RÜckblick: John Boy (Brad Mehldau)
    3. Intermezzo / RÜckblick: Intermezzo in B-flat major, Op. 76: No. 4 (Johannes Brahms)
    4. Intermezzo / RÜckblick: Junk (Paul McCartney)
    5. Intermezzo / RÜckblick: Los Angeles II (Brad Mehldau)
    6. Intermezzo / RÜckblick: Monk's Mood (Thelonious Monk)
    7. Intermezzo / RÜckblick: Knives Out (Thom Yorke / Jonny Greenwood / Colin Greenwood / Phil Selway / Ed O'Brien)


    LP7
    1. E Minor / E Major: La MÉmoire et la Mer (Leo Ferre)
    2. E Minor / E Major: Hey You (Roger Waters)
    3. E Minor / E Major: Bittersweet Symphony / Waterloo Sunset (Richard Ashcroft / Keith Richards / Mick Jagger / Ray Davies)
    4. E Minor / E Major: Intermezzo in E minor, Op. 119: No. 2 (Johannes Brahms)


    LP8
    1. E Minor / E Major: Interstate Love Song (Eric Kretz / Robert DeLeo / Scott Weiland / Dean DeLeo)
    2. E Minor / E Major: God Only Knows (Brian Wilson / Tony Asher)

    Brad Mehldau
    $149.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 8 LPs Sealed Temporarily out of stock
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