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  • In Defiance Of Empty Times In Defiance Of Empty Times Quick View

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    In Defiance Of Empty Times

    Legendary melodic punk rockers Strike Anywhere have pieced together a live
    acoustic collection, titled In Defiance of Empty Times, that is set to be released
    on August 14th from Bridge Nine Records. Two sets were recorded last year,
    in Rochester in July and Richmond in September, and merged together for this
    very special release. Side Rochester features six songs captured from Strike
    Anywhere s acoustic performance alongside labelmates Polar Bear Club, while
    Side Richmond was recorded during a benefit show for the IWW on the eve
    of the Occupy Movement in RVA. This album follows the release of Strike
    Anywheres landmark album Iron Front, which was released on Bridge Nine in
    October of 2009 and called the bands best output to date by Punknews.org.
    1. We Amplify/Blaze
    2. Infared
    3. Hollywood Cemetery
    4. I m Your Opposite Number
    5. Chorus of One
    6. Postcards from Home
    7. Timebomb Generation
    8. Orphan Age
    9. Prisoner Echoes
    10. Extinguish
    11. Sunset on 32nd
    Strike Anywhere
    $15.99
    Vinyl LP - Sealed Buy Now
  • The Journey Man The Journey Man Quick View

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    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • In The Offing (Discontinued) In The Offing (Discontinued) Quick View

    $12.99
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    In The Offing (Discontinued)

    WORN IN RED hail from the long-standing promised land of thick, blistering hardcore; Virginia. They share hometowns in both Richmond and Charlottesville, drinking deep from a rich history of since-fallen bands like Sleepytime Trio, Hoover, Four Hundred Years, Maximillian Colby, Action Patrol, and Frodus, while also paying tribute to contemporary titans Planes Mistaken For Stars, Glass and Ashes, and Hot Water Music. Considering how nice these guys are, they sure do yell a lot. They feel like family. Their songs gnawed their way into my brain over the last year, and being involved in this record was not an option: it became an imperative. Heavy and pummeling locks in with a melodic, open groove. Duality in tandem. Good hair too.Var / No Idea. (STREET DATE - 12/01/2009)
    1. Vital Joys
    2. Piled Like Bricks
    3. When People Have Something To Say
    4. Resigned Not Resigning
    5. As Best We Can
    6. And You Knew
    7. Mise En Abyme
    8. Fort Reno
    Worn In Red
    $12.99
    Vinyl LP - Sealed Buy Now
  • Blues & Roots Blues & Roots Quick View

    $27.99
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    Blues & Roots

    Import


    The 1998 reissue of BLUES & ROOTS contains all the original tracks and liner notes, plus additional tracks and rare photos. Personnel: Charles Mingus (bass); Jackie McLean, John Handy (alto saxophone); Booker Ervin (tenor saxophone); Pepper Adams (baritone saxophone); Jimmy Knepper, Willie Dennis (trombone); Horace Parlan, Mal Waldron (piano); Dannie Richmond (drums). Recorded at Atlantic Studios, New York, New York on February 4, 1959. Originally released on Atlantic (1305). Includes liner notes by Charles Mingus. All tracks have been digitally remastered.Mingus goes to church. A thrilling album of blues and spirituals Mingus style. This 1959 Atlantic recording certainly ranks among his very best. Memorable performances of some of the bassist's most soulful tunes such as Wednesday Night Prayer Meeting and E's Flat Ah's Flat Too. Mingus is joined by an exuberant ensemble including a stellar saxophone section of Jackie McLean, John Handy, Booker Ervin, and Pepper Adams.

    1. Wednesday Night Prayer Meeting
    2. Cryin' Blues
    3. Moanin'
    4. Tensions
    5. My Jelly Roll Soul
    6. E's Flat Ah's Flat Too
    7. We Got Blue*


    * Bonus Track

    Charles Mingus
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Paradise Gallows Paradise Gallows Quick View

    $24.99
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    Paradise Gallows

    After already having taken forward-thinking extreme music to unprecedented heights over the course of their short but propulsive career, Richmond's INTER ARMA are back with another opus of epic proportions.


    Like the band's previous works, the new albumParadise Gallows is direct and foreboding while maintaining a nuanced, artful perspective. INTER ARMA's signature palette of dissonant high-end and abyssal low-end has been augmented with swathes of thick, impressionistic melody that lend Paradise Gallows a truly biblical sense of scale, both lyrically and in terms of the album's sonic content.


    Harsh and acoustic passages (including the band's first-ever foray into clean vocals) spar with complex rhythmic structures across nine sweeping tracks over 71 minutes of expansive, progressive heaviness. Dense, funereal, and richly evocative, Paradise Gallows is a vibrant blend of doom, post-metal, sludge, avant-garde, black and death metal, and is a singular and powerful new addition to the band's already monumental discography.

    1. Nomini
    2. An Archer in the Emptiness
    3. Transfiguration
    4. Primordial Wound
    5. The Summer Drones
    6. Potomac
    7. The Paradise Gallows
    8. Violent Constellations
    9. Where the Earth Meets the Sky
    Inter Arma
    $24.99
    Vinyl LP - Sealed Buy Now
  • Charles Mingus Presents Charles Mingus (Pure Pleasure) Charles Mingus Presents Charles Mingus (Pure Pleasure) Quick View

    $34.99
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    Charles Mingus Presents Charles Mingus (Pure Pleasure)

    Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus, has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off Folk Forms No. 1, followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. Original Faubus Fables is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, What Love? and the outrageously titled All the Things You Could Be by Now if Sigmund Freud's Wife Was Your Mother, are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.




    Musicians:



    • Eric Dolphy (alto saxophone, bass clarinet)

    • Ted Curson (trumpet)

    • Charles Mingus (bass)

    • Dannie Richmond (drums)




    Recording: October 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    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.


    and that the lacquer discs are newly cut.



    1. Folk Forms, No. 1

    2. Original Faubus Fables

    3. What Love

    4. All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother

    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • No Question (Pre-Order) No Question (Pre-Order) Quick View

    $20.99
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    x

    No Question (Pre-Order)

    West Coast Berkeley grad, battle rapper, and musician Locksmith has hammered out a reputation as one of Hip-hop's most enlightened no punch pulling emcees. From his early appearances on MTV's Freestyle Championship to his frequent Shade 45 appearances, Locksmith always brings cutting lyricism that not only questions the status quo but offers deep truths for reflection. Meanwhile, Detroit's Apollo Brown has built his illustrious career on emotive production that draws the best out of already legendary mic kings. From his work with Ras Kass and OC, Skyzoo to Ghostface Killah, Apollo repeatedly creates eyes shut, head nodding, soul-stirring perfection for our greatest storytellers to lay their truth bare.


    So when Richmond & Detroit came together in the studio the answer was "No Question" - a new project that finds Locksmith ruminating on everything from advice to his younger self to his continued drive to rise without following in anyone's footsteps. Apollo Brown is back with yet another of the best emcees to ever do it.

    1. Just Ask
    2. Advice To My Younger Self
    3. No Question
    4. Between The Raindrops
    5. Litmus
    6. Slow Down
    7. In My Element
    8. Wake Up
    Apollo Brown & Locksmith
    $20.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Tijuana Moods (Speakers Corner) Tijuana Moods (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tijuana Moods (Speakers Corner)

    Tijuana Moods is an album by Charles Mingus originally recorded in 1957 but not released until 1962. It is notable that the name Charlie Mingus appears on the cover of the original album. Mingus hated all nicknames derived from Charles (Don't call me Charlie; that's not a man's name, that's a name for a horse). All songs were composed by Mingus except Flamingo.



    Musicians:



    • Charlie Mingus (bass)

    • Curtis Porter (alto saxophone)

    • Jimmy Knepper (trombone)

    • Clarence Shaw (trumpet)

    • Bill Triglia (piano)

    • Dannie Richmond, Frankie Dunlop (percussion)

    • Danny Richmond (drums)

    • Lonnie Elder (voices)




    Recording: July and August 1957 in RCA Victor's Studio A, New York City, by Bob Simpson

    Production: Bob Rolontz





    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. Dizzy Moods
    2. Ysabel's Table Dance
    3. Tijuana Gift Shop
    4. Los Mariachis (The Street Musicians)
    5. Flamingo
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • East Coasting (Pure Pleasure) East Coasting (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    East Coasting (Pure Pleasure)

    Charles Mingus is usually known for his wild, soulful and avant-garde compositions. East Coasting is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on West Coast Ghost (the album's stand-out track) and Celia are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.East Coasting sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel On The Road and have become interested in exploring Jazz. East Coasting will allow them to get a taste of lost creative America.



    Musicians:



    • Charles Mingus (bass)

    • Clarence Shaw (trumpet)

    • Jimmy Knepper (trombone)

    • Shafi Hadi (tenor saxophone, alto saxophone)

    • Bill Evans (piano)

    • Dannie Richmond (drums)




    Recording: August 1957 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. Memories Of You
    2. East Coasting
    3. West Coast Ghost
    4. Celia
    5. Conversation
    6. Fifty-First Street Blues
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Recorded Live On Stage In Memphis Recorded Live On Stage In Memphis Quick View

    $74.99
    Buy Now
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    Recorded Live On Stage In Memphis

    Import

    3-Fold Gatefold Sleeve


    Includes 16-Page Booklet


    Remastered Audio


    40th Anniversary Edition


    Following the artistic success of his 1973 Stax sessions and the global phenomenon of the Aloha From Hawaii Via Satellite album and broadcast the same year, Elvis opened 1974 with a 15 city tour routed to end in Memphis and a state-of-the-art concert recording. When originally released as a single LP, Elvis Recorded Live On Stage In Memphis reached #1 on the Country charts and featured How Great Thou Art, the track that would bring Elvis his third Grammy win.


    This luxury quadruple vinyl reissue contains a previously unreleased Test Run of the entire show recorded with a live audience at the Richmond Coliseum a few days before the legendary concert. The remarkable test run performance was recorded in MONO, drenched in the reverb Elvis preferred, and provides new insight into the magic of Elvis.


    As a special added bonus for Elvis aficionados, we've included five intimate tracks (three of them previously unreleased) cut at the RCA Studios in Hollywood on August 16, 1974. Originally intended as reference recordings for an upcoming Las Vegas engagement, the performances-which include Down In The Alley, Good Time Charlie's Got The Blues, Softly As I Leave You, The First Time Ever I Saw Your Face and The Twelfth Of Never - provide a rare fly-on-the-wall glimpse into Elvis' consummate backstage artistry as he prepares these songs for concert.


    Elvis Recorded Live On Stage In Memphis will include a 16 page booklet featuring rare photos, previously unseen memorabilia, new liner notes, press clips and more.

    LP1
    1. Also Sprach Zarathustra
    2. See See Rider
    3. I Got A Woman / Amen
    4. Love Me
    5. Trying To Get To You
    6. All Shook Up
    7. Steamroller Blues
    8. Teddy Bear / Don't Be Cruel
    9. Love Me Tender
    10. Long Tall Sally / Whole Lotta Shakin' Goin' On / Your Mama Don't Dance / Flip Flop And Fly / Jailhouse Rock / Hound Dog
    11. Fever
    12. Polk Salad Annie
    13. Why Me Lord


    LP2
    1. How Great Thou Art
    2. Suspicious Minds
    3. Introductions
    4. Blueberry Hill / I Can't Stop Loving You
    5. Help Me
    6. An American Trilogy
    7. Let Me Be There
    8. My Baby Left Me
    9. Lawdy, Miss Clawdy
    10. Funny How Times Slips Away
    11. Can't Help Falling In Love
    12. Closing Vamp


    LP3
    1. Also Sprach Zarathustra
    2. See See Rider
    3. I Got A Woman / Amen
    4. Love Me
    5. Trying To Get To You
    6. All Shook Up
    7. Steamroller Blues
    8. Teddy Bear / Don't Be Cruel
    9. Love Me Tender
    10. Long Tall Sally / Whole Lotta Shakin' Goin' On / Your Mama Don't Dance / Flip Flop And Fly / Jailhouse Rock / Hound Dog
    11. Fever
    12. Polk Salad Annie
    13. Why Me Lord


    LP4
    1. Suspicious Minds
    2. Introductions
    3. I Can't Stop Loving You
    4. Help Me
    5. An American Trilogy
    6. Let Me Be There
    7. Funny How Times Slips Away
    8. Can't Help Falling In Love
    9. Closing Vamp
    10. Down In The Alley (Rehearsal Take)
    11. Good Time Charlie's Got The Blues (Rehearsal Take)
    12. Softly As I Leave You (Rehearsal Take)
    13. The First Time Ever I Saw Your Face (rehearsal Take)
    14. The Twelth Of Never (Rehearsal Take)

    Elvis Presley
    $74.99
    180 Gram Audiophile Virgin Vinyl LP - 4 LPs Sealed Buy Now
  • By A Thread By A Thread Quick View

    $18.99
    Buy Now
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    By A Thread

    With over 1,000,000 Gov't Mule albums sold to date and over 2,000,000 downloads sold through Mule.net,
    Gov't Mule is one of the most successful and respected bands in the world. Once lauded by Rolling Stone for successfully bringing the classic power-trio sound of Cream and the Jimi Hendrix Experience into the 21st century - the band has completed work on 'By A Thread'. Their first studio album in three years.


    Recorded largely at Willie Nelson's Pedernales Studio in 2009, the album's origins are apparent from the first track, "Broke Down On The Brazos," named after the nearby river, with a deep Texas stomp for the backbeat and featuring the trademark guitar-work of ZZ Top founder Billy Gibbons. Perhaps less descriptively named,
    "Steppin' Lightly" is another burner, set off by the soulful vocals and mind-bending guitar work of Haynes, who proves anew why Rolling Stone named him one of the Top 25 guitarists of all time.


    Other highlights include the lament "Railroad Boy," informed by both Celtic tradition and the Mississippi Delta; the expansive psych-rock of 'Monday Mourning Meltdown"; and the optimistic 'Frozen Fear," with
    its lush harmony and even a hint of rocksteady skank. In recent months, Haynes has been spectacularly busy in his other dual roles as guitarist and singer for The Allman Brothers, who recently wrapped an epic stand 15 night stand at NYC's Beacon, and The Dead, where he recently drew raves from USA Today:
    "Haynes has the toughest role to fill... he did so masterfully."


    Gov't Mule tour dates this summer included Mountain Jam, Bonnaroo Music Festival, Rothbury Music Festival, The Weesner Amphitheatre in Minneapolis MN, Mile High Music Festival in Denver, CO, Minglewood Music Hall in Memphis, TN, Sloss Furnace in Birmingham AL, The Fillmore in Charlotte NC, Masquerade
    Music Park in Atlanta GA, Lincoln Theatre Street Stage in Raleigh NC, Innsbrook Pavilion in Richmond VA, National Harbor Pavilion in Washington DC, Bank of America Pavilion in Boston MA, Ives
    Concert Park in Danbury, CT, Rocks The Harbor in Buffalo NY, RiverPlex in Pittsburgh PA, The Wellmont Theatre in Montclair NJ, Party in the Park in Rochester NY.

    LP1
    1. Broke Down On The Brazos
    2. Steppin' Lightly
    3. Any Open Window
    4. Railroad Boy
    5. Monday Mourning Meltdown
    6. Gordon James


    LP2
    1. Frozen Fear
    2. Forevermore
    3. Inside Outside Woman Blues #1
    4. Scenes From A Troubled Mind
    5. World Wake Up

    Gov't Mule
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Belly of the Sun (Pure Pleasure) Belly of the Sun (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Belly of the Sun (Pure Pleasure)

    Cassandra Wilson continues to move down a highly eclectic path on Belly Of The Sun, the somewhat belated follow-up to Traveling Miles. While displaying a jazz singer's mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms -- roots music, rock, Delta blues, country, soul -- to create a kind of earthy, intelligent pop with obvious crossover appeal. Her core band includes guitarists Marvin Sewell and Kevin Breit, who blend marvelously, Sewell mostly on mellow acoustic and Breit adding atmospheric touches on electric, 12-string, and slide guitars, as well as mandolin, banjo, and even bouzouki. Bassist Mark Peterson and percussionists Jeffrey Haynes and Cyro Baptista provide a superbly sensitive rhythmic foundation. But because Wilson returned to her home state of Mississippi to record most of this album, she made sure to book some time with local musicians. Thus guitarist Jesse Robinson guests on (and co-writes) the funky Show Me a Love, and the octogenarian pianist Boogaloo Ames plays an unpolished yet utterly heartfelt duet with Wilson on the classic Darkness on the Delta. Other guests include drummer Xavyon Jamison, trumpeter Olu Dara, pianist and vocalist Rhonda Richmond (who penned the slowly swaying Road So Clear), guitarist Richard Johnston, backup vocalists Patrice Monell, Jewell Bass, Henry Rhodes, and Vasti Jackson, and the children of New York's Middle School 44. Wilson delves into vintage blues with Mississippi Fred McDowell's You Gotta Move and a brief yet dynamic rendition of Robert Johnson's Hot Tamales. But the best tracks are the rock/pop covers: the Band's The Weight, Bob Dylan's Shelter From the Storm, James Taylor's Only a Dream in Rio, Jobim's Waters of March, and Jimmy Webb's Wichita Lineman (a 1968 hit for Glen Campbell). Wilson and band are in peak interpretive form on these ethereal reinventions. While her own lyrics may not rise to the level of a Robbie Robertson or a Bob Dylan, her versatility and focus come through clearly on the originals Justice, Just a Parade (a collaboration with neo-soul rookie India.Arie), and the Caribbean-tinged Cooter Brown.



    Musicians:



    • Cassandra Wilson (guitar)

    • Kevin Breit (vocal, mandolin, guitar, banjo, bouzouki)

    • Olu Dara (trumpet)

    • Rhonda Richmond (vocal, piano)

    • Mark Peterson (bass)

    • Xavyon Jamison (drums)

    • Jeffrey Haynes (percussion)




    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. The Weight
    2. Justice
    3. Darkness On the Delta
    4. Waters of March
    5. You Gotta Move
    6. Only A Dream In Rio
    7. Just Another Parade
    8. Wichita Lineman
    9. Shelter From the Storm
    10. Drunk As Cooter Brown
    11. Show Me A Love
    12. Road So Clear
    13. Hot Tamales
    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Legion: XX Legion: XX Quick View

    $19.99
    Buy Now
    x

    Legion: XX

    Pressed On Green Smoke-Colored Vinyl


    RIAA-certified, Billboard chart-topping, Richmond, VA band LAMB OF GOD may be one of the biggest bands in modern metal, but they will never forget where they came from. Mark Morton (guitar), John Campbell (bass), and Chris Adler (drums) formed the first incarnation of the band, BURN THE PRIEST, in the winter of 1994 after meeting four years earlier as students at Virginia Commonwealth University. Less than a year later, in the summer of 1995, they met vocalist Randy Blythe before adding Chris Adler's brother, Willie Adler (guitar), prior to transitioning to LAMB OF GOD - and the rest is global metal history.


    Guitarist Mark Morton says, "To truly understand the essence of the band BURN THE PRIEST, one must first consider the landscape in which it began: the mid-90s. Grunge and alternative music ruled the airwaves. Social media and the internet had yet to assume their role as our collective sources for entertainment and cultural exchange. It was a time when DIY 'zines turned us onto new bands and regional scenes, and 'copy and paste' still implied a print shop and a glue stick."


    BURN THE PRIEST's self-titled debut album, released via Philadelphia-based Legion Records, documented what was, in essence, a primal punk band performing metal. Ultimately, as they grew in local popularity, the five-piece chose to stray away from their name to avoid being associated with satanic metal, choosing the name LAMB OF GOD.


    Morton continues, "As our sound and songs developed, so did our goals we began playing basement parties and warehouse shows and in doing so, we realized that the energy we were creating was transferable. The shows we played in those squats and warehouses [in Philadelphia] and the people we met there are forever embedded in our collective consciousness and the DNA of our band."


    As they enter their 20th year since releasing their first self-titled album as BURN THE PRIEST, the band will release a full-length covers album that reflects on the greatness of classic punk, hardcore, crossover and noise - rock subgenres that contributed to what LAMB OF GOD - and indeed, the world - now view as modern heavy metal.


    As BURN THE PRIEST, the band presents Legion: XX - featuring tracks originally performed by CRO-MAGS, AGNOSTIC FRONT, QUICKSAND, MINISTRY, BAD BRAINS, MELVINS, S.O.D., THE ACCUSED, BIG BLACK and Richmond punk band SLIANG LAOS. The tracks are performed with the unmistakable precision that has kept the band vital for two decades, but ultimately harks back to the raw, punk-driven sound first explored by four unsuspecting college students and a line cook-turned-vocalist in their formative years. Produced with Josh Wilbur at the helm, Legion: XX exhibits BURN THE PRIEST in their true element.


    "Our inauspicious beginnings somehow grew into something none of us had ever even imagined possible, let alone aspired to, however, this is the story of BURN THE PRIEST," adds Morton. "The songs we chose to cover on this album reflect that story. They are touchstones from that point in time. The inspiration we gleaned from these bands and these songs carries through our work and our creative pursuits, even to this day. Many thanks to these bands for lighting our fire and endless gratitude to our fans around the world for keeping it lit."


    "I've been an ACCUSED fan since I was 14 when they were on the »Thrasher Skate Rock Volume 3« compilation with C.O.C. and all these amazing crossover bands," says frontman Randy Blythe. "Their singer Blaine Cook was a huge influence on me, vocally."


    Drummer Chris Adler recalls, "'Inherit The Earth' hit me in the face soon after I managed to get my grubby mitts on the album sometime around '88. I got the ACCUSED record at a "Yellow Banana" record store on Route 1 south of DC while in route back from my "counselor" to my home in Woodbridge, Virginia. I got home and grabbed my board and I rocked it on my Discman. At about 2:12 into the tune the clouds parted above me and on a loudspeaker, God bellowed down to me, 'RECEIVE YOUR PURPOSE.' That was the moment I knew that if I tried hard enough, I could convey myself and how I felt - with music. It will never be "ours," and we know that about all the tunes we've covered, but hopefully one of them hit you in the face as I had been, and God will part the clouds for you, too."


    Blythe adds, "I have a radio show on Gimmie Radio, and [the station] is all metal shows except for mine. I do the punk rock show because I want to show the direct correlation between my band, and the punk scene going back to THE MC5 and THE STOOGES. There is a direct link - look at old pictures of METALLICA, SLAYER and ANTHRAX, and they're wearing MISFITS, D.R.I., and C.O.C. t-shirts. They fused the technicality of metal with the intensity of punk rock. Before them, metal was like in slow motion. Speed metal bands were listening to DISCHARGE. I beat that drum all the time when I talk to kids."


    Legion: XX is a sonic tribute to metal's dark, dirty secret - the punk inspiration of all future heavy music to come.

    1. Inherit The Earth (originally performed by THE ACCUSED)
    2. Honey Bucket (originally performed by MELVINS)
    3. Kerosene (originally performed by BIG BLACK)
    4. Kill Yourself (originally performed by S.O.D.)
    5. I Against I (originally performed by BAD BRAINS)
    6. Axis Rot (originally performed by SLIANG LAOS)
    7. Jesus Built My Hotrod (originally performed by MINISTRY)
    8. One Voice (originally performed by AGNOSTIC FRONT)
    9. Dine Alone (originally performed by QUICKSAND)
    10. We Gotta Know (originally performed by CRO-MAGS)
    Burn The Priest (Lamb Of God)
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Let My Children Hear The Music (Pure Pleasure) Let My Children Hear The Music (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Let My Children Hear The Music (Pure Pleasure)

    On the original LP issued by Columbia, Mingus thanked producer Teo Macero for his »untiring efforts in producing the best album I have ever made.« From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that Let My Children Hear Music was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington. The pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra.





    Musicians:



    • Snooky Young (trumpet)

    • Jimmy Knepper (trombone)

    • Julius Watkins (fruegel horn)

    • Charles McPherson (alto saxophone)

    • Jaki Byard (piano)

    • Charles McCracken (cello)

    • Ron Carter (bass)

    • Charles Mingus (bass, composer, arranger)

    • Dannie Richmond (drums)



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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


    1. Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
    2. Adagio ma Non Troppo
    3. Don't Be Afraid, the Clown's Afraid Too
    4. Hobo Ho
    5. Chill of Death
    6. The I of Hurricane Sue
    Charles Mingus
    $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
  • Down Home (Pure Pleasure) Down Home (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Down Home (Pure Pleasure)

    Bethlehem Records was a major jazz label in the 1950's formed by Gus Wildi with an impressive roster of artists including singers Nina Simone, Carmen MacRae, Chris Conner & Mel Torme, to name a few; arrangers: Marty Paich, Russ Garcia, Frank Hunter; and musicians including: Dexter Gordon, Roland Kirk, Charles Mingus, Frank Rosolino, Herbie Mann, Stan Levey, Art Blakey, Milt Hinton, Errol Garner, Zoot Sims, Duke Ellington, J.J. Johnson and many, many others. The label distinguished itself by giving artists creative control of their projects and presented albums of rather cutting edge graphic design. Its legacy is a lengthy discography that freshly and ambitiously captured and preserved an era of truly amazing music including West Coast Cool Jazz, East Coast Bop, and Vocalists. For many of the artists, their first or greatest recorded work happened at Bethlehem. By trusting its staff and artists to make their own creative decisions, to experiment, and thus to flourish, Bethlehem actively helped create and not just document a whole and diverse era of Jazz music.
    1960, when this album was recorded, was one of Zoot Sims' most productive years. The performances here are recognised as being the masterpieces of Sims' middle period.



    Musicians:



    • Zoot Sims (tenor saxophone)

    • Dave McKenna (piano)

    • George Tucker (bass)

    • Dannie Richmond (drums)



    Recording: June 1960 in New York City by Peter Ind

    Production: Teddy Charles



    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. Jive At Five
    2. Doggin' Around
    3. Avalon
    4. I Cried For You
    5. Bill Bailey
    6. Goodnight Sweetheart
    7. There'll Be Some Changes Made
    8. I've Heard That Blues Before
    Zoot Sims
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Clown (Speakers Corner) The Clown (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Clown (Speakers Corner)

    Who hasn't got an ancient, worn-out copy of The Clown on his shelf, with a tatty cover and torn inner sleeve? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. The Clown was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.


    In the present new release, The Clown can be enjoyed to the full from the very first note of Haitian Fight Song up until the words William Morris Sends Regrets in the title work.

    Musicians:



    • Charles Mingus (bass)
    • Curtis Porter (alto saxophone, tenor saxophone)
    • Jimmy Knepper (trombone)
    • Wade Legge (piano)
    • Dannie Richmond (Drums)
    • Jean Shepherd (Vocals)



    Recording: February and March 1957 in New York City by Tom Dowd and Larry Hiller in mono

    Production: Nesuhi ErtegÜn




    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. Haitian Flight Song
    2. Blue Cee
    3. Reincarnation of a Lovebird
    4. The Clown
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Sacrament Sacrament Quick View

    $19.99
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    Sacrament

    Richmond, Virginia's own Lamb of God and their franchise of Pure American Metal is undoubtebly growing and they've allready headlined Ozzfest and toured with Slayer. Their new album Sacrament is once again produced by Machine and it is destined to expand their audience even further and bring them mainstream attention with their anthemic hooks and explosive riffs.
    1. Walk with Me In Hell
    2. Again We Rise
    3. Redneck
    4. Pathetic
    5. Foot to the Throat
    6. Descending
    7. Blacken The Cursed Sun
    8. Forgotten (Lost Angels)
    9. Requiem
    10. More Time to Kill
    11. Beating On Deaths Door
    Lamb Of God
    $19.99
    Vinyl LP - Sealed Buy Now
  • Landmines Landmines Quick View

    $15.99
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    Landmines

    Formed in the fall of 2005, Landmines play a fast and aggressive yet melodic style of hardcore rock n roll with socially and personally relevant lyrical content and emotion. Landmines call the city of Richmond, VA home but members originate from Boston, Providence and Gainesville as well. The diverse musical backgrounds of the individuals involved lends a fresh and urgent approach to the genre.
    1. 80 Proof
    2. Excess And Indifference

    3. In Our Name

    4. First Chords
    5. Penny Ante

    6. Blook Money
    7. If You Were In This Band, You'd Be Drunk By Now
    8. Making Good On A Promise
    9. Piggyback
    10. Turn It Up, Tear It Down!

    11. Talk Is Cheap, Your's Is Worthless
    12. Shadows And Ashes
    Landmines
    $15.99
    Vinyl LP - Sealed Buy Now
  • Destroyers Of The Soft Life Destroyers Of The Soft Life Quick View

    $21.99
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    Destroyers Of The Soft Life

    J. Roddy Walston & The Business will release their fourth studio album Destroyers Of The Soft Life via ATO Records. The album came to life in the band's own Richmond, VA recording studio, a space they built by hand in 2016, and was finished in Seattle with co-producer Phil Ek (Band of Horses, The Walkmen, Built To Spill).
    1. You Know Me Better
    2. Blade Of Truth
    3. Numbers

    4. Ways And Means
    5. Heart Is Free

    6. I Called You

    7. The Wanting

    8. Bad Habits

    9. Bleed Out

    10. Burn Black
    J Roddy Walston And The Business
    $21.99
    Vinyl LP - Sealed Buy Now
  • Know Better Learn Faster Know Better Learn Faster Quick View

    $14.99
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    Know Better Learn Faster

    Thao and the Get Down Stay Down are an awesome example of a great band making their success the old-fashioned way: by earning it. With only a locally-released full-length in her hometown of Richmond, VA under her belt, Thao put together an impressive backing band and began touring the US and Europe non-stop in 2007. When her debut full-length, We Brave Bee Stings And All was released on KRS in January 2008 she continued touring, building her fanbase with an exciting, electric live show. Massive acclaim in the press and word of mouth propelled sales until she became the best-selling KRS artist of 2008 and the second-fastest selling artist in KRS history.
    01 The Clap
    02 Cool Yourself
    03 When We Swam
    04 Know Better Learn Faster
    05 Body
    06 The Give
    07 Good Bye Good Luck
    08 Trouble Was For
    09 Oh. No.
    10 Fixed It!
    11 Burn You Up
    12 But What of the Strangers
    13 Easy
    Thao With The Get Down Stay Down
    $14.99
    Vinyl LP - Sealed Buy Now
  • Sky Burial Sky Burial Quick View

    $24.99
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    Sky Burial

    Merging doom, psychedelic sludge, grind, black metal and mighty mighty riffs to create a sound wholly their own, Inter Arma deliver Sky Burial, easily an early contender for heavy music record of the year. Emerging from the ever-fertile metal breeding grounds of Richmond, Virginia, Inter Arma have spent the last few years touring relentlessly, perfecting a hypnotically punishing live show. Sky Burial brings that focus onto record, and what a record it is. Truly heavy in all senses of the word, Sky Burial is a spiritually intense journey through the halls of extreme metal. Inter Arma have made a decisively loud proclamation with Sky Burial.
    1. The Survival Fires
    2. The Long Road Home (Iron Gate)
    3. The Long Road Home
    4. Destroyer
    5. 'sblood
    6. Westward
    7. Love Absolute
    8. Sky Burial
    Inter Arma
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Slime And Punishment Slime And Punishment Quick View

    $20.99
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    Slime And Punishment

    Pressed On Coke Bottle Green Colored Vinyl


    Slime and Punishment is the first Waste album to be engineered by bassist Phil Landphil Hall at Blaze of Torment Studios in Richmond, VA. Mixing and mastering were completed by Bill Metoyer (SLAYER, W.A.S.P., LIZZY BORDEN and DARK ANGEL) in Hollywood, CA.


    The cover artwork for the sixth album was created by Andrei Bouzikov. This is the fourth cover he has created for MUNICIPAL WASTE as he was responsible for the art for Massive Aggressive, The Art of Partying, and the split with TOXIC HOLOCAUST - Toxic Waste.

    1. Breathe Grease
    2. Enjoy The Night
    3. Dingy Situations
    4. Shrednecks
    5. Poison The Preacher
    6. Bourbon Discipline
    7. Parole Violators
    8. Slime And Punishment
    9. Amateur Sketch
    10. Excessive Celebration
    11. Low Tolerance
    12. Under The Waste Command
    13. Death Proof
    14. Think Fast
    Municipal Waste
    $20.99
    Colored Vinyl LP - Sealed Buy Now
  • Not Another Teen Movie Soundtrack Not Another Teen Movie Soundtrack Quick View

    $26.99
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    Not Another Teen Movie Soundtrack

    Not Another Teen Movie is a 2001 American parody teen comedy film directed by Joel Gallen and written by Mike Bender, Adam Jay Epstein, Andrew Jacobson, Phil Beauman, and Buddy Johnson. The film features an ensemble cast including Chyler Leigh, Chris Evans, Jaime Pressly, Eric Christian Olsen, Eric Jungmann, Mia Kirshner, Deon Richmond, Cody McMains, Sam Huntington, Samm Levine, Cerina Vincent, Ron Lester, Randy Quaid, Lacey Chabert, and Riley Smith.


    Brookvale Records presents Not Another Teen Movie's soundtrack on vinyl for the first time! Featuring music from Marilyn Manson, The Smashing Pumpkins, System of a Down, Muse, and many more.

    1. Marilyn Manson - Tainted Love
    2. The Smashing Pumpkins - Never Let Me Down Again
    3. Orgy - Blue Monday
    4. System of a Down - The Metro
    5. Scott Weiland - But Not Tonight
    6. Saliva - Message of Love
    7. Stabbing Westward - Bizarre Love Triangle
    8. Goldfinger - 99 Red Balloons
    9. Mest - I Melt With You
    10. Good Charlotte - If You Leave
    11. Muse - Please, Please, Please, Let Me Get What I Want
    12. Phantom Planet - Somebody's Baby
    Various Artists
    $26.99
    Vinyl LP - Sealed Buy Now
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