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  • Audioengine HD3 Speakers 3 COLORS AVAILABLE Audioengine HD3 Speakers Quick View

    $399.00
    Buy Now
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    Audioengine HD3 Speakers


    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.


    The ultimate personal music system

    The Audioengine HD Series was designed for the way people listen to music today and HD3 raises the bar and sets a new standard for compact mini music systems. HD3 fits just about anywhere you listen and was designed to play all your music from any device. Easy setup, simple but useful features, and real stereo sound make HD3 the go-to system for all your music!


    Today's music is available from many different sources including computers, tablets, smartphones, and turntables. HD3 is designed with multiple inputs to accommodate all of these digital and analog sources. HD3's Bluetooth receiver, which supports aptX and AAC codecs, has a range of about 100 feet so you can stream all your music from almost anywhere in your house. Its USB input bypasses your computer's lower-quality DAC for a high-fidelity listening experience. Lastly, dual analog inputs round out the HD3's impressive suite of connections.


    Versatile connectivity

    In the spirit of the HD Series, we've included features from some of our best-selling products making HD3 an incredibly versatile speaker system. Stream TIDAL, Spotify, Pandora, YouTube - or any other streaming service or media player - wirelessly from your smartphone, tablet or computer. You can also connect your favorite turntable and even connect a subwoofer, so no matter how you listen to music, HD3 has you covered.


    All your music, day and night

    HD3 includes a headphone output and volume control on the front panel so you can listen to your favorite headphones without disturbing the neighbors or significant other. HD3's built in headphone amplifier delivers a high-end sound that is a perfect match with even the most-demanding headphones.


    Retro-forward design

    HD3 was designed first for audio performance, but speakers also need to look great, right? The furniture-grade wood veneers, aluminum trim accents, and detachable magnetic grills give the HD3 a look and feel of old-school elegance that blends with any decor. Available in Satin Black for your stealth system as well as Walnut and Cherry wood finishes at no additional cost if you want to really show them off.


    Small speakers that pack a punch

    Built-in power amplifiers save space and eliminate the need to connect HD3 to a stereo receiver or external power amp. Simply plug the left speaker into a power outlet and connect the included speaker wire from the left to the right passive speaker. All internal components of the HD3 are designed and tuned together, so you'll get Audioengine's Signature Sound and a much more efficient system than traditional separate passive speakers and amplifiers.


    Audioengine Speakers
    $399.00
    Powered Speakers (Pair) - 3 Colors Available
    Buy Now
  • Crosley CR6018A-NA Player Turntable with Detachable Speakers (On Sale) Crosley CR6018A-NA Player Turntable with Detachable Speakers (On Sale) On Sale Quick View

    $149.99$99.99Save $50.00 (33%)

    Buy Now
    x

    Crosley CR6018A-NA Player Turntable with Detachable Speakers (On Sale)


    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.


    Featuring minimalist style and simplistic lines, the Crosley Player Turntable Shelf System marries mid-century design with modern audio conveniences. Listen to all your favorites no matter the format with the 3-speed turntable, analog AM/FM radio tuner, full-range stereo speakers and an auxiliary input for connecting MP3 players or other external audio devices. Vintage style never looked so good.


    Crosley
    $149.99 $99.99 Save $50.00 (33%)
    CR6018A-NA Player Turntable with Detachable Speakers Buy Now
  • VPI Player Turntable VPI Player Turntable Quick View

    $1,500.00
    Buy Now
    x

    VPI Player Turntable



    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Comes Pre-Mounted With An Ortofon 2m Red Cartridge, Phonostage And Headphone Amplifier


    The VPI Player is an all in one high-end entry level turntable. It comes complete with a phonostage, and pre-mounted Ortofon 2M Red cartridge, and a headphone amplifier. It is the perfect solution to enjoying your records! It also has standard RCA connections providing the ability to connect to a standard amplifier and desktop/floor standing speakers. The Player turntable is a precision instrument that has been thoroughly tested to create the musical experience you're looking for! It is also now available in two finished Hard Rock Maple and Mocha Walnut.


    VPI Turntables
    $1,500.00
    Player Turntable
    Buy Now
  • Crosley CR6017A-MA Player Turntable (On Sale) Crosley CR6017A-MA Player Turntable (On Sale) On Sale Quick View

    $99.99$79.99Save $20.00 (20%)

    Buy Now
    x

    Crosley CR6017A-MA Player Turntable (On Sale)


    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.


    No need to be coy, the Player from Crosley gets around with sharp mid-century inspired design and modern innovations. Change things up with the three-speed record player, or sidle on up and listen to the AM/FM radio through the dynamic full-range speakers.


    Crosley
    $99.99 $79.99 Save $20.00 (20%)
    CR6017A-MA Player Turntable Buy Now
  • Crosley S100 Stereo Powered Speakers (On Sale) Crosley S100 Stereo Powered Speakers (On Sale) On Sale Quick View

    $189.99$169.99Save $20.00 (11%)

    Buy Now
    x

    Crosley S100 Stereo Powered Speakers (On Sale)


    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.


    Designed with the turntable in mind, the S100 speakers feature a built-in 30 watt power amp and Bluetooth connectivity. Simply plug in the speakers, connect your Crosley turntable, and crank it up!


    Crosley
    $189.99 $169.99 Save $20.00 (11%)
    S100 Stereo Powered Speakers (Pair) Buy Now
  • Marshall Stanmore Bluetooth Speaker 3 COLORS AVAILABLE Marshall Stanmore Bluetooth Speaker Quick View

    $349.99
    Buy Now
    x

    Marshall Stanmore Bluetooth Speaker




    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.


    Small In Size, But Not Subtle In Sound


    The Stanmore is a compact active stereo speaker that yields clean and precise sound even at high levels.


    Stanmore's classic design is a throwback to the golden days of rock'n'roll, and its analogue interaction knobs give you custom control of your music.


    Hook it up wirelessly via the latest version of Bluetooth®, featuring aptX technology®, use the RCA input to plug in your record player, or simply connect the coil cord that's included to your phone using the 3.5mm auxiliary input.


    The Stanmore comes with two standby modes, powersaver and standard, to minimize your speaker's environmental impact when not actively in use.


    Marshall
    $349.99
    Bluetooth Speaker - 3 Colors Available
    Buy Now
  • Klipsch The Capitol Three Special Edition Speaker 2 COLORS AVAILABLE Klipsch The Capitol Three Special Edition Speaker Quick View

    $599.00
    Buy Now
    x

    Klipsch The Capitol Three Special Edition Speaker




    Klipsch and Capitol Records®, two iconic voices both celebrating over seven decades of bringing sound to life, partner to honor and pay tribute to the integral role music plays in shaping our lives. Incorporating luxury materials such as real wood veneer and tactile spun copper switches and knobs, The Capitol Three Special Edition tabletop stereo system blends the acoustics and classic design legacy of Paul W. Klipsch with the latest technologies available today




    RECORDING LEGEND

    The Capitol Records label was founded as the first West Coast-based record label in the United States in 1942. Throughout the years, Capitol has captured some of the most influential, iconic singers and songwriters ever. Artists currently signed to Capitol Records include the Beatles, Paul McCartney, Mary J. Blige, the Beach Boys, Beastie Boys, Neil Diamond, Eagles, Katy Perry and many more.




    SPECIAL EDITION BADGE

    Every speaker in this epic series will feature an exclusive Klipsch and Capitol Records insignia to commemorate this monumental partnership.




    FREE VINYL ALBUM

    Each Klipsch Capitol Records special edition speaker includes a free redemption code for an album of your choice from The Sound of Vinyl.




    PROFESSIONALLY TUNED STEREO SOUND

    The Capitol Three is a stereo tabletop system featuring two 2 1/4" full range drivers and a 5.25" long-throw woofer, bi-amplified for audio resolution and professionally tuned by Klipsch acousticians to deliver a premium audio experience.




    SUPERIOR BASS REFLEX

    In addition to the active 5.25" long-throw woofer, The Three also features dual opposed 5.25" passive radiators to deliver enhanced bass reflex.




    WIRELESS MULTI-ROOM READY

    The Capitol Three tabletop stereo system is part of the Klipsch Stream Wireless Multi-Room System, which is an all-encompassing solution for distributing your music throughout your home. Listen to your favorite internet radio stations, streaming services, personal digital music library, and CDs, DVDs, etc.




    CONNECTS TO ANY SOURCE

    The Three includes audio input connections for Wi-Fi (for Klipsch Stream Wireless Multi-Room Audio System), Bluetooth®, Analog, 3.5mm miniplug, Phono Pre-Amp, and USB Type B audio. So go ahead, connect your turntable, computer, CD player, smartphone, or tablet and enjoy superior stereo sound from a beautifully crafted tabletop stereo system.




    WATCH CONTROL

    Leave your phone in another room? No problem. Control your Klipsch Stream Wireless Multi-Room devices from your Apple or Android watch.




    rockrollkeepers


    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.


    Klipsch Speakers
    $599.00
    Capitol Three Special Edition Speaker - 2 Colors Available
    Buy Now
  • Klipsch R-15PM Powered Monitor Speaker (Pair) Klipsch R-15PM Powered Monitor Speaker (Pair) Quick View

    $499.00
    Buy Now
    x

    Klipsch R-15PM Powered Monitor Speaker (Pair)



    The R-15PM powered monitors provide room-filling sound while being compact enough to use anywhere. This extremely efficient, powerful yet simple speaker surrounds listeners in their favorite movies and music. Included with each speaker is a 1 aluminum diaphragm compression driver matched to 90° x 90° square Tractrix Horn and 5.25 copper spun magnetically shielded IMG woofer


    Designed For Simple Set Up With Your Turntable, Television, Computer Or Wireless Device.

    Featuring an integrated phono pre-amp, Bluetooth® wireless technology, digital optical, analog RCA and USB inputs, the R-15PM is the most exceptional, versatile monitor in the world.


    High Efficiency Amplification

    No need to worry about the expense, clutter and hassle of an external A/V receiver. The R-15PM monitors feature individual ultra-low noise amplifiers custom built to maximize system performance and eliminate the necessity external amplification.


    Full Featured IR Remote

    Provides easy access to system features such as dedicated source selection, track controls, and play/pause.


    System Expandability

    Allows the addition of a subwoofer to further enhance low frequencies.





    rockrollkeepers


    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.



    Klipsch Speakers
    $499.00
    R-15PM Powered Monitor Speaker - Pair Buy Now
  • Klipsch Heritage Wireless The Three Speaker 2 COLORS AVAILABLE Klipsch Heritage Wireless The Three Speaker Quick View

    $499.00
    Buy Now
    x

    Klipsch Heritage Wireless The Three Speaker





    Incorporating luxury materials such as real wood veneer and tactile spun copper switches and knobs, The One powered audio system combines the acoustics and classic design legacy of Paul W. Klipsch with the latest technologies available today.




    Professionally Tuned Stereo Sound

    The Three is a stereo tabletop system that contains two 2 1/4" full range drivers and a 5.25" long-throw woofer, bi-amplified for audio resolution and professionally tuned by Klipsch acousticians to create a premium audio experience.




    Superior Bass Reflex

    Along with the active 5.25" long-throw woofer, The Three also includes dual opposed 5.25" passive radiators to deliver enhanced bass reflex.




    Wireless Multi-Room Ready

    The Three tabletop stereo system is part of the Klipsch Stream Wireless Multi-Room System, which is an all-encompassing solution for playing music throughout your home. Listen to your favorite podcasts, streaming services, digital music library, as well as CDs, DVDs, etc.




    Connects To Any Source

    The Three includes audio input connections for Wi-Fi (for Klipsch Stream Wireless Multi-Room Audio System), Bluetooth®, Analog, 3.5mm miniplug, Phono Pre-Amp, and USB Type B audio. So now it's easy to connect your turntable, computer, CD player, smartphone, or tablet and enjoy amazing stereo sound from a magnificently crafted tabletop stereo system.


    rockrollkeepers


    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.


    Klipsch Speakers
    $499.00
    Wireless The Three Speaker
    Buy Now
  • Klipsch The Sixes Powered Monitor Speaker (Pair) 2 COLORS AVAILABLE Klipsch The Sixes Powered Monitor Speaker (Pair) Quick View

    $799.00
    Buy Now
    x

    Klipsch The Sixes Powered Monitor Speaker (Pair)



    Part of the Klipsch Heritage Wireless series, The Sixes is an incredibly versatile audio system. Able to connect directly to a turntable, TV, computer or Bluetooth® wireless enabled device - these speakers deliver amazing acoustics no matter what source.




    Hi-Fi Sound Without A Receiver

    The Sixes powered monitors deliver room-filling sound without taking up much space thanks to a built-in amplifier that is custom-engineered for these high performance speakers, maximizing output and sound quality. It's finally time to completely forget the expense, clutter and hassle of an external a/v receiver.




    High Efficiency Amplification

    The Sixes incorporate individual ultra-low noise amplifiers that are custom designed to maximize system performance and eliminate the need for external amplification. That means that world-class Klipsch engineers have full control of the signal path. We've picked and tuned the components to be an absolute perfect match throughout, making the system sound incredibly immersive and complete.




    Incredibly Versatile

    Whether you are connecting to a turntable, television, computer, or smart phone, the Sixes powered monitors provide the solution. The Sixes come equipped with an integrated phono pre-amp, Bluetooth® wireless technology, digital optical, analog RCA and USB inputs, allowing you to enjoy superior stereo sound from a beautifully crafted tabletop stereo system.




    Add A Subwoofer

    The Sixes also include a subwoofer output so you can easily add a powered sub to the system.




    Mid-Century Magnificent

    Incorporating luxury materials such as real wood veneer and tactile spun copper switches and knobs, the Klipsch Heritage Wireless series of powered audio systems blends the acoustics and classic design legacy of Paul W. Klipsch with the latest technologies available today.


    192kHz / 24-Bit Decoding To Support High Resolution
    Audio Tracks


    The Sixes powered monitors also feature 192kHz / 24-bit decoding for
    flawless reproduction of high resolution audio tracks from your PC.


    rockrollkeepers


    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.


    Klipsch Speakers
    $799.00
    Powered Monitor Speaker (Pair) - 2 Colors Available
    Buy Now
  • Ortofon Stereo Test Record Ortofon Stereo Test Record Quick View

    $49.99
    Buy Now
    x

    Ortofon Stereo Test Record

    Ortofon's new Test Record is designed to allow you to verify your HiFi system in the most natural audio surroundings at home. The Test Record contains special test signals developed for analyzing cartridge performance as well as its interaction with your tonearm and turntable.


    Before testing your cartridge, please verify the HiFi system's functionality. The left speaker should be connected to the left amplifier channel and vice versa; both speakers should work in phase and be optimally positioned in the room.
    The Test Record is designed to be played through your system with in-built RIAA equalization. Volume control is recommended to be set at a moderate signal level.


    Please refer to your turntable and tonearm's instructions for correct installation and alignment, adjust tonearm to be parallel to record surface, set Vertical Tracking Force and antiskating according to the cartridge's recommended technical data, and adjust stylus overhang.

    Each side of the record consists of 15 tracks which have been cut from 1-4 and 5-15:


    1. Frequency Sweep Left Channel 800 Hz - 50 kHz. Log. 28 sec. Linear cut* (800 - 20000 Hz ±1,5 dB)
    2. Frequency Sweep Right Channel 800 Hz - 50 kHz. Log. 28 sec. Linear cut* (800 - 20000 Hz ±1,5 dB)
    3. Frequency Sweep Left Channel 800 Hz - 50 kHz. Log. 28 sec. Linear cut* (800 - 20000 Hz ±1,5 dB)
    4. Frequency Sweep Right Channel 800 Hz - 50 kHz. Log. 28 sec. Linear cut* (800 - 20000 Hz ±1,5 dB)
    5. Reference tone 1000 Hz 5 cm/sec rms Left
    6. Reference tone 1000 Hz 5 cm/sec rms Right
    7. Reference tone 1000 Hz 5 cm/sec rms Left
    8. Reference tone 1000 Hz 5 cm/sec rms Right
    9. Tracking ability, lateral 50 m peak
    10. Tracking ability, lateral 60 m peak
    11. Tracking ability, lateral 70 m peak
    12. Tracking ability, lateral 80 m peak
    13. Tracking ability, lateral 90 m peak
    14. Tracking ability, lateral 100 m peak
    15. Square Wave Form 2.7 msec duty cycle 3:7
    * The record has a constant velocity amplitude throughout the sweep.


    1-4 Frequency sweep - a tool for checking frequency response
    There are several factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the cartridge loading, a better overall frequency response can be achieved. Considering the above the signal must be clean throughout the sweep.


    5-8 Reference tone for testing channel output
    With this standard reference signal is it possible to check the correctness of the connections of the left and right channels, channel balance and speed of the turntable.


    9 -14 Tracking ability test, 315 Hz lateral modulation
    These tracks contain a 315 Hz signal, recorded at increasing pick amplitudes of 50, 60, 70, 80, 90 and 100 micrometers. Please refer to your cartridge's tracking ability value specified in the technical data sheet. Your cartridge should be able to track the actual level without audible distortion. Inability to track can be heard as a departure from a pure tone or a sputtering and intermittent tone. To determine if it is one or both channels, the balance control can be utilized. In case of differing tracking ability in the left and right channels it is probably necessary to readjust the anti-skating correction of the tonearm. If both channels fail to track properly, then vertical tracking force should be increased until no further improvement of tracking force can be obtained.


    15. Square Wave Form 2.7 msec duty cycle 3:7
    When monitoring the output of your cartridge with an oscilloscope you'll then see a square wave located precisely above each other if the connection from the cartridge is correct.


    After successful completion of the above test procedures, you can ensure that your cartridge is optimized. Still the human ear is very sensitive to difference in tone distortion; its level depends on the stylus condition and record wear.

    Ortofon
    $49.99
    Ortofon Stereo Test Record Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Miles Smiles (Speakers Corner)

    Except for the taping of a live performance at the Portland Festival, Miles Davis's discography for 1966 only lists the recordings made for the LP Miles Smiles! How strange when one considers the usual large output of Miles and his ensembles for Columbia Records in the Sixties.



    The bass player Ron Carter was best suited for the complicated rhythm part and remained Miles's 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as Freedom Jazz Dance by Eddie Harris and Jimmy Heath's Gingerbread Boy.



    Every second of the nine-minute-long Footprints by Shorter is an absolute highlight, while the drumming of the young Tony Williams in Freedom Jazz Dance is full of vitality, with a quick pulse, and even described as threatening in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That's exactly what Miles Smiles was upon its release 40 years ago - and that's what it is to this day! And that Miles Davis smiled for once thanks to the great musical relationship between the five individualists is certainly no mere rumour.



    Musicians:



    • Miles Davis

    • Wayne Shorter (tenor saxophone)

    • Herbie Hancock (piano)

    • Ron Carter (bass)

    • Tony Williams (drums)




    Recording: October 1966 at Columbia RecordsStudios, New York, by Frank Laico

    Production: Teo Macero




    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. Orbits
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Backlash (Speakers Corner) Backlash (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Backlash (Speakers Corner)

    After his great success as a new discovery through playing on tour and in the studio with Art Blakey's creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
    It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled Backlash, is still until today the best of the bunch.


    Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is Little Sunflower. The sound colouring of the flute harmonizes particularly well with Hubbard's brass, and Ray Barretto's contribution is more than mere decoration. You're certainly on the right track with this LP, no matter whether it's the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.


    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:



    • Freddie Hubbard (fluegel horn, trumpet)
    • James Spaulding (alto saxophone, flute)
    • Albert Dailey (piano)
    • Bob Cunningham (bass)
    • Ray Appleton (drums)
    • Ray Barretto (percussion)



    Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber

    Production: Arif Mardin




    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. Backlash
    2. The Return Of The Prodigal Son
    3. Little Sunflower
    4. On The Que-Tee
    5. Up Jumped Spring
    6. Echoes Of Blue
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Burgers (Speakers Corner) Burgers (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Burgers (Speakers Corner)

    The exploration of psychedelic depths did not appear to suffice the founders of Jefferson Airplane - Jorma Kaukonen and Jack Casady - when searching for their musical salvation. So why not amalgamate their hippy-like simple lifestyle and folksy music with the formation of a second band called Hot Tuna, emotional yet not so synthetically hotted-up? Even in the very first number, True Religion, whose airy, bubbling folksy finger-picking soars up into powerful waves of rock, the message of this first studio album comes over loud and clear. Growling bass melodies and the representation of a life on the road (Keep On Truckin') conjure up a down-to-earth country feeling, with an off-key fiddle tune (Let Us Get Together Right Down Here) accentuating the rough yet cordial get-together. The purely instrumental Water Song is a stroke of genius - this humming, buzzing guitar mix doesn't only demonstrate the players' instrumental dexterity but also their keen sense of melody and ear for sound colouring. No matter whether gruff Hillbilly, cool blues rocker, or square and nostalgic former hippy - they'll all love this album. Just think: for whom else does Hot Tuna still go on tour ...?

    Musicians:



    • Jorma Kaukonen (guitar, vocal)

    • Jack Casady (bass, vocal)

    • Papa John Creach (violin, vocal)

    • Sammy Piazza (drums, percussion, vocal)

    • Nikki Buck (organ, piano)

    • Richmond Talbott (vocal, guitar)

    • David Crosby (vocal)




    Recording: 1972 by 'The Unknown Engineer' at Wally Heider Studios, San Francisco

    Production: Fisohobay Production



    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. True Religion
    2. Highway Song
    3. 99 Year blues
    4. Sea Child
    5. Keep on Truckin'
    6. Water Song
    7. Ode for Billy Dean
    8. Let Us Get Together Right Down Here
    9. Sunny Day Strut
    Hot Tuna
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • La Cuna (Speakers Corner) La Cuna (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    La Cuna (Speakers Corner)

    Ray Barretto disliked his music being labelled 'Latin Jazz' - yet the album La Cuna is one of the most memorable of this genre, since it amalgamates the diverse moods of both Americas. In this album, the expertise of the legendary producer Creed Taylor is combined with an all-star ensemble and the supreme musicality of the skilful jazz percussionist Barretto to create a tightly-knit performance. The title-giving opening number sails along merrily with a salsa swing, but then the soaring flute melodies and the powerful piano improvisations cool down the Caribbean rhythms. How the players mingle driving patterns with delicate melodies to form beautiful song is demonstrated best in Doloroso and also in Mambotango, whereby the latter exudes controlled coolness in the somewhat electric mood.


    John Tropea leans seemingly intentionally towards Santana and his art of guitar-playing, and this is further enhanced by the late Joe Farrell's phenomenal performance.
    A further tribute is paid to one of the greatest musicians ever to combine various styles and trends with a speeded-up version of Stevie Wonder's Pastime Paradise.


    To conclude: if not Latin Jazz, then definitely Latin AND Jazz.

    Musicians:



    • Ray Barretto (conga, percussion)

    • Joe Farrell (tenor saxophone, soprano saxophone, flute)

    • John Tropea (guitar)

    • Charlie Palmieri (piano,percussion)

    • Carlos Franzetti (piano)

    • Jeremy Wall (synthesizer)

    • Francisco Centeno (bass)

    • Steve Gadd, Mark Craney (drums)

    • Willy Torres (vocal)

    • Tito Puentes (timbales)



    Recording: August 1979 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor

    About Speakers Corner



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



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



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



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



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



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




    1. La Cuna
    2. Doloroso
    3. Mambotango
    4. The Old Castle
    5. Pastime Paradise
    Ray Barretto
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
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    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    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:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    It's Monk's Time (Speakers Corner)

    With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.


    Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    Production: Teo Macero



    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. Lulu's Back In Town
    2. Memories Of You
    3. Stuffy Turkey
    4. Brake's Sake
    5. Nice Work If You Can Get It
    6. Shuffle Soil
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tyranny And Mutation (Speakers Corner) Tyranny And Mutation (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tyranny And Mutation (Speakers Corner)

    Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.


    After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?

    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal, keyboards)

    • Albert Bouchard (drums, vocal)



    Recording: 1972 at Columbia Studios, New York City, by Tim Geelan

    Production: Murray Krugman and Sandy Pearlman




    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. The Red & The Black
    2. O.D.'d On Life Itself
    3. Hot Rails To Hell
    4. 7 Screaming Diz-Busters
    5. Baby Ice Dog
    6. Wings Wetted Down
    7. Teen Archer
    8. Mistress Of The Salmon Salt (Quicklime Girl)
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Caravanserai (Speakers Corner) (Awaiting Repress) Caravanserai (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Caravanserai (Speakers Corner) (Awaiting Repress)

    To attempt to categorise Carlos Santana's music is, for the prophets of rock music, rather like dancing on the edge of a volcano. While the New York Times acclaimed the band as a reincarnation of Dizzy Gillespie's Cuban-jazz bigband from the end of the Forties, the specialist magazine Rolling Stone spoke of a »methadrine trip without visions«. Organ-player Gregg Rolie offered a very simple explanation of the origins of the highly differentiated sound colouring and the throb and chirp of the Afro-Cuban polyrhythms: he succinctly remarked that each member of the multi-cultural band just played the music which he had grown up with.



    Just how thrilling this sounds is already evident from the first number on the disc, with its sounds of nature, twisted rhythms, and little snatches of melody, which - as in several other titles - remains spellbinding even without the fascinating drive of Santana's lead-sound. Of course there is plenty of solo material on the guitar which manifests itself in exuberant improvisations with a fusion of rock, salsa and jazz elements. When listening to this well-oiled rhythm machine, one quite rightly gets the impression that this unique band has stretched itself to its limits, and it is not by mere coincidence that they split up shortly afterwards. What has remained is one of the most powerful Santana records ever made.



    Musicians:



    • Carlos Santana (guitar, percussion)

    • Hadley Caliman (saxophone)

    • Gregg Rolie (organ, piano)

    • Wendy Haas (piano)

    • Tom Coster (electric piano)

    • Neal Schon (guitar)

    • Douglas Rauch (guitar, bass)

    • Tom Rutley (bass)

    • Mike Shrieve (drums)

    • Jose Chepito Areas, Armando Peraza (percussion)



    Recording: February and May 1972

    Production: Carlos Santana and Michael Shrieve



    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. Eternal Caravan Of Reincarnation
    2. Waves Within
    3. Look Up (To See What's Coming Down)
    4. Just In Time To See The Sun
    5. Song Of The Wind
    6. All The Love Of The Universe
    7. Future Primitive
    8. Stone Flower
    9. La Fuente Del Ritmo
    10. Every Step Of The Way


    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Two Of A Mind (Speakers Corner) Two Of A Mind (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Two Of A Mind (Speakers Corner)

    Although the beautiful sound, mutual understanding and harmonic balance mostly predominate, the music of alto saxophonist Paul Desmond performing together with baritone saxophonist Gerry Mulligan is far from what one calls 'easy listening'. For many, it is even difficult to identify the melody of evergreens such as Stardust and The Way You Look Tonight. (And what theme is tucked away in Two Of A Mind????)
    The recording in the RCA Victor Studio took place over several days in 1962, and this is why different bass players and percussionists are heard - Wendell Marshall, Joe Benjamin and John Beal each take their turn on the bass, while Connie Kay and Mel Lewis change places behind the drum set. These musicians form a brilliant team, and that there is no piano is both deliberate and inevitable for Gerry Mulligan recordings of the day. By the way, the second saxophonist in The Way You Look Tonight is Paul Desmond - by means of over-dubbing in the middle of the stereo recording!
    The present LP could certainly take a rightful place in a 'Best Of' collection alongside the other recordings by Gerry Mulligan with Ben Webster and Stan Getz.



    Musicians:



    • Gerry Mulligan (bassoon)

    • Paul Desmond (alto saxophone)

    • Joe Benjamin, John Beal, Wendell Marshall (bass)

    • Connie Kay, Mel Lewis (drums)




    Recording: 1962 at RCA Victor's Studio A, New York City by Ray Hall, Bob Simpson and Mickey Crofford

    Production: Bob Prince and George Avakian





    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. All the Things You Are
    2. Stardust

    3. Two of a Mind
    4. Blight of the Fumble Bee
    5. The Way You Look Tonight
    6. Out of Nowhere
    Paul Desmond & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • An Evening With Makeba/Belafonte (Speakers Corner) An Evening With Makeba/Belafonte (Speakers Corner) Quick View

    $34.99
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    x

    An Evening With Makeba/Belafonte (Speakers Corner)

    Songs from Africa: Just by reading this subtitle, one might well ask oneself whether an album with such an unpretentious title would ever manage to find its way to the charts. But as soon as the disc is placed on the turntable, all doubts are dispelled that this collection of songs was actually one of the top sellers of its genre in the Sixties. The melodies, all of which stem from South African tribal songs, are treated lovingly to sensitive new arrangements. It goes without saying that the producers only wanted a minimum of background instrumentalists for these two star singers in order to preserve the original character of the songs. A little bit of guitar here, a touch of mouth organ there, and the soft rhythm of drums are all that are needed for the soft springy sound. Central to the authentic sound is a mixed chorus that mostly uses the traditional art of antiphonal singing with the soloists.



    Such delightful sounds and harmony will make you want to put the stylus back on the groove again and again. This is addictive music of the world, which one can listen to for hours on end.



    Musicians:



    • Harry Belafonte, Miriam Makeba (vocal)

    • Jonas Gwangwa (arranger, conductor)

    • Sam Brown, Eddie Diehl, Jay Berliner (guitar)

    • William Salter (bass violin)

    • Auchee Lee, Solomon Ilori, Chief Bey, (percussion)




    Recording: 1965 in RCA Victor's Studios, New York

    Production: Andy Wiswell and Harry Belafonte




    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.



    Harry Belafonte
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beck, Bogert & Appice (Speakers Corner) Beck, Bogert & Appice (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beck, Bogert & Appice (Speakers Corner)

    On the whole, the supergroups of the Seventies didn't last very long, but for that - all the more notably. This certainly applies to the Anglo-American trio made up of the extremely talented though narcissistic guitarist Jeff Beck, the bass-player Tim Bogert, and the drummer Carmine Appice. As early as 1970, the British Beck wanted to engage the two American musicians for a joint project. This plan however had to be postponed for two years because the speed-mad Beck had had a serious car accident and needed time to recover. 1973 saw the release of the trio's first and only studio album, which not only demonstrated Beck's powerful-hectic style of guitar playing but also allowed his musical companions to show off their prowess. The trio applied their musical talents to all facets of rock 'n' roll, right from the bluesy first number (Black Cat Moan), via the agile rock sound of Lady, ending up with the moans of a vocal love ballad (Oh To Love You), followed by a really convincing gospel song (Sweet And Surrender) and the super funky beat of Lose Myself With You.
    The trio seemed to lust for more - but this was not to be. For the very next year, during the intense preparations for their next studio album, the moody Jeff Beck dissolved the group on the spur of the moment.



    Musicians:



    • Jeff Beck (guitar, vocal)

    • Jimmy Greenspoon (piano)

    • Duane Hitchings (keyboards,melophone, piano)

    • Tim Bogert (bass)

    • Carmine Appice (drums, vocal)

    • Danny Hutton (background vocal)




    Recording: 1973 by Baker Bigsby and Gray Starr

    Production: Don Nix and The Boys




    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. Black Cat Moan
    2. Lady
    3. Oh To Love You
    4. Superstition
    5. Sweet Surrender
    6. Why Should I Care
    7. Lose Myself With You
    8. Livin' Alone
    9. I'm So Alone
    Jeff Beck, Tim Bogert & Carmine Appice
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Just As I Am (Speakers Corner) (Awaiting Repress) Just As I Am (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Just As I Am (Speakers Corner) (Awaiting Repress)

    Just As I Am - anyone who sets off on a late career can already have earned himself quite a reputation, although in the case of Bill Withers it had had nothing to do with music at this stage. Withers served for many years with the US Navy, had a job as a milkman, and installed toilets in jets for American aeroplane construction companies; all the while he bombarded record companies with self-produced demo tapes which landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him on board and sent him into the recording studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald 'Duck' Dunn.



    In his debut album Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings. Harlem, an unadorned milieu-funk number about the New York slums, Grandma's Hands, with its obligatory retrospect of his childhood, and the sentimental ballad Ain't No Sunshine with its prayer-wheel-like »I know, I know ...«, repeated over and over again on the offbeat, are the musical credo of a experienced artist in his mid-thirties who at last is given a hearing. There's simply no alternative to this recording by the great songwriter with the small repertoire.



    Musicians:



    • Bill Withers (vocal, guitar)

    • Booker T. Jones (arranger, organ, guitar)

    • Steven Stills (guitar)

    • Donald Duck Dunn, Chris Ethridge (bass)

    • Al Jackson, Jim Keltner (drums)

    • Bobbie Hall Porter (percussion)




    Recording: 1971 at Sunset Sound Recorders by Bill Lazerus and at Wally Heider Recording Studio by Bill Halverson, both Hollywood, Ca.

    Production: Booker T. Jones





    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.


    1. Harlem
    2. Ain't No Sunshine

    3. Grandma's Hands
    4. Sweet Wanomi
    5. Everybody's Talkin'
    6. Do It Good
    7. Hope She'll Be Happier
    8. Let It Be
    9. I'm Her Daddy
    10. In My Heart
    11. Moanin' And Groanin'
    12. Better Off Dead
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) (Awaiting Repress) Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) (Awaiting Repress)

    Made during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky's "PathÉtique" has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay. The reasons for the non-release are a matter of speculation because those responsible have kept them under their hat.



    Not even the man behind the microphone, Werner Wolf, can recall making this recording - although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last!



    And at long last a gap in Fricsay's repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.



    This record was part of the 3-LP Set "The Conductors" and is now available again.




    Musicians:



    • Radio-Symphony-Orchestra Berlin

    • Ferenc Fricsay (conductor)




    Recording: 17-19 and 22 September 1959 at Jesus-Christus Kirche, Berlin, by GÜnter

    Hermanns and Werner Wolf / Production: Otto Gerdes





    About Speakers Corner



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



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



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



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



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



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



    Symphony No. 6 in B minor, Op. 74 (Pathetique)
    Satz: Adagio - Allegro non troppo
    Satz: Allegro con grazia
    Satz: Allegro molto vivace
    Satz: Finale. Adagio lamentoso
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
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