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  • From The Vault: No Security - San Jose 1999 (Pre-Order) From The Vault: No Security - San Jose 1999 (Pre-Order) Quick View

    $53.99
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    From The Vault: No Security - San Jose 1999 (Pre-Order)

    Release Date: July 13, 2018*


    Live From The San Jose Arena, California, 1999


    No Security captures a stand-out Stones show, with the band in searing form during the closing leg of their American tour in San Jose, treating the crowd to an up-close and personal experience and leaving a frenzy in their wake.


    The set list spans from the mid-sixties hit singles to the Bridges to Babylon album, including a bluesy, dramatic version of 'Midnight Rambler', a dark and swaggering 'Out of Control', and the rarely performed live, 'Some Girls' and 'Saint of Me'. The show was an electrifying, anthem-packed, cross-generational hot ticket, concluding yet another chapter from the band that wrote the book on rock 'n' roll.


    *Please note that release dates are subject to change.

    1. Jumpin' Jack Flash
    2. Bitch
    3. You Got Me Rocking
    4. Respectable
    5. Honky Tonk Woman
    6. I Got the Blues
    7. Saint of Me
    8. Some Girls
    9. Paint It Black
    10. You Got the Silver
    11. Before They Make Me Run
    12. Out of Control
    13. Route 66
    14. Get Off of My Cloud
    15. Midnight Rambler
    16. Get Off of My Cloud
    17. It's Only Rock 'N' Roll (But I Like It)
    18. Start Me Up
    19. Brown Sugar
    20. Sympathy for the Devil
    The Rolling Stones
    $53.99
    Vinyl LP - 3 LPs Sealed PRE-ORDER Buy Now
  • Charlie Watts Meets The Danish Radio Big Band Charlie Watts Meets The Danish Radio Big Band Quick View

    $25.99
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    Charlie Watts Meets The Danish Radio Big Band

    Before Charlie Watts became the best-known drummer on the planet with The Greatest rock 'n' Roll Band in the World he lived for a few months in Denmark. According to English trumpeter and flugelhorn player, Gerard Presencer, who is also a member of the Danish Radio Big Band, it was something he only found out about by chance when he and Charlie talked on the telephone in 2009


    "I landed a job with Danish Radio Big Band in 2009. A week or two after arriving in Copenhagen I got a call from Charlie. Later the idea dawned upon me for a return to his Jazz days over here after nearly 50 years. I spoke with my boss at the Danish Radio Big Band and went about putting this live project together. We agreed upon a week in Copenhagen in October 2010."


    They rehearsed for 4 days, then played a concert on the fifth day at the newly opened Danish Radio Concert Hall in Copenhagen. This concert was recorded for broadcast by Danish National Radio. Charlie and his long-time bassist Dave Green went to record shops and strolled around the city, with no need for security guards. Charlie made it clear that he did not want to be placed on a big riser above the band, as he found that this did not help the musicians to bond.


    In choosing the material, it was important to focus on the groove. According to Prescencer, "Having Dave Green on bass as special guest was an essential ingredient, as these two boyhood friends (next door neighbours growing up in Wembley, North London) have unspoken psychic connections that bassists and drummers, so there are times on this recording where their abundant empathy makes the rest of the band comfortable enough to really play out and take chances."


    The album includes seven tracks, including two Mick and Keith compositions, 'Paint it Black' and 'You Can't Always Get What You Want', both arranged by Prescencer and another one, 'Faction' that is based on another Stones' classic. There are also two by Charlie himself, both written with fellow drummer Jim Keltner.


    A day or two after the broadcast Prescencer began to think that the concert was so good it deserved to be heard more widely. "The Danish Radio needed very little convincing to hand over the recordings to me to work on, as well as Søren Frost our regular drummer and rhythm section consultant from the big band and the brilliant recording engineer, Lars C. Bruun. So, after several years work on this, we have produced this collection of music from our gig."


    Charlie Watts meets the Danish Radio Big Band is the kind of album that many jazz fans had probably given up hope of hearing. In the glory days of big band jazz and arrangers like Oliver Nelson coming up with brilliant music, albums like this were, if not commonplace, at least more readily available. The truth is there is nothing commonplace about this album, it is a sheer delight.


    Anyone who knows Charlie, knows how much he loves jazz. A few years ago when he and I were looking at a photo of the Stones playing in the 1960s he pointed at a particular cymbal and said, "I've still got that cymbal, but I don't use it on Stones' gigs, it's too good for them. I just use it on my jazz gigs." There's no doubt, that's the cymbal you hear on the first part of the 'Elvin Suite'.


    Charlie Watts is one of the great ambassadors for jazz and every jazz lover will relish this record, and the fact that Charlie is involved may bring jazz to the attention of some that are not sure if they like jazz. Listen to this and you know you do.

    1. Elvin Suite - Part 1
    2. Elvin Suite - Part 2
    3. Faction (AKA Satisfaction)
    4. I Should Care
    5. You Can't Always Get What You Want
    6. Paint It Black
    7. Molasses
    Charlie Watts & The Danish Radio Big Band
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pain In My Heart Pain In My Heart Quick View

    $34.99
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    Pain In My Heart

    Import

    This album works on so many different levels, that it's essential listening for at least three categories of buyer -- fans of Otis Redding and Stax Records (natch), and more general soul listeners, and also anyone serious about their devotion to the work of the Rolling Stones and any other British invasion bands that covered American soul. Pain In My Heart was practically a road map to Mick Jagger and any number of other would-be white soul shouters in the UK, not just on the title track but also numbers like the hard rocking Hey Hey Baby. For someone only 22 years old at the time of these sessions, and just two years past his first 45 rpm record, Redding exudes astonishing power, energy and boldness, though it's all packaged with greater restraint than his subsequent records did. This was the only LP that Redding recorded during the lifetime of his idol, Sam Cooke, and his version of You Send Me is the least stylized of any of his renditions of Cooke's songs -- later on, after Cooke's death, he would throw more of himself into it. The very fact that he was covering Cooke's soul classic shows an essential difference between Redding's and Cooke's early LPs; as Redding was on a soul label, no one tried to make him into a pop singer as that'd done at RCA with Cooke -- thus, he was running on all cylinders right out of the starting gate, though he wouldn't get really interesting or show his full depth until two albums later. But even covering Rufus Thomas's The Dog, Richard Berry's Louie Louie, Little Richard's Lucille, or Ben E. King's Stand By Me, he's already doing 70% of what we came to expect from Otis Redding in the years ahead -- his writing, apart from Security, These Arms Of Mine and That's What My Heart Needs, was still somewhat less than memorable, but this is still a first-rate debut.

    -All Music Guide

    1. Pain In My Heart
    2. The Dog
    3. Stand By Me
    4. Heh Heh Baby
    5. You Send Me
    6. I Need Your Lovin'
    7. These Arms Of Mine
    8. Louie Louie
    9. Something Is Worrying Me
    10. Security
    11. That's What My Heart Needs
    12. Lucille
    Otis Redding
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Legend Remixed Legend Remixed Quick View

    $24.99
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    Legend Remixed

    For the first time, Bob Marley and the Wailers' iconic 1984 album, Legend, is re-imagined for Legend Remixed, an inspired new spin on the reggae classic to celebrate the summer. Legend's 16 tracks have been remixed by top DJs/producers. Included in this the cohesive new set are tracks by ten time Grammy winner Stephen Marley, Pretty Lights, Thievery Corporation, Jason Bentley, Z-Trip with Lee Scratch Perry, Photek, My Morning Jacket's Jim James, Roni Size, RAC, Beats Antique, Nickodemus & Zeb, as well as a new rendition remix of Redemption Song by five-time Grammy Award winning reggae artist, Ziggy Marley.


    The fourth track on the album, Three Little Birds, was remixed by Stephen Marley and DJ/producer Jason Bentley. This iconic Marley track serves as the worry-free anthem for Hyundai's new Assurance Connected Care program, a new suite of features that allows drivers to feel safe and secure and enjoy a stress-free ownership experience. Prior to its television debut, Three Little Birds made its television debut on May 14 with free downloads available to the first 15,000 fans through Hyundai's Facebook and YouTube channels and is also available for sale through all digital retailers.


    Hyundai also supported the creation of the Making of Legend Remixed documentary, a short film about the creation of the new album including interviews with the Marley family and the musicians and remixers involved.


    Bob Marley and The Wailers' Legend is the world's best-selling reggae album with global sales exceeding 40 million copies, including more than 14 million in the U.S. alone. The RIAA Diamond®-certified album holds the distinction of being the second longest-charting album in the history of Billboard magazine, second only to Pink Floyd's The Dark Side Of The Moon. In 2003, Rolling Stone ranked LEGEND at No. 46 on its 500 Greatest Albums of All Time list.


    Bob Marley remains one of the 20th century's most important and influential entertainment icons. Marley's lifestyle and music continue to inspire new generations as his legacy lives on through his music. In the digital era, he has the second-highest social media following of any posthumous celebrity, with the official Bob Marley Facebook page drawing more than 42 million fans, ranking it among the Top 25 of all Facebook pages and Top 10 among celebrity pages. Since 1992, Marley's music catalog has sold more than 77 million albums worldwide and his accolades include inductions into the Rock and Roll Hall of Fame (1994) and ASCAP Songwriters Hall of Fame (2010), a GRAMMY® Lifetime Achievement Award (2001), multiple entries in the GRAMMY® Hall Of Fame, and a star on the Hollywood Walk of Fame (2001).



    1. Waiting In Vain (Jim James Remix)
    2. Stir It Up (Ziggy Marley Remix)
    3. Three Little Birds (Stephen Marley and Jason Bentley Remix)
    4. Could You Be Loved (RAC Remix)
    5. No Woman, No Cry (Stephen Marley Remix)
    6. Get Up, Stand Up (Thievery Corporation Remix)
    7. Satisfy My Soul (Beats Antique Remix)
    8. I Shot The Sheriff (Roni Size Remix)
    9. Exodus (Pretty Lights Remix)
    10. Easy Skanking (Stephen Marley Remix)
    11. One Love / People Get Ready (Photek Remix)
    12. Redemption Song (Ziggy Marley Remix)
    13. Is This Love (Jason Bentley Remix)
    14. Jamming (Nickodemus and Zeb Remix)
    15. Punky Reggae Party (Z-Trip Remix featuring Lee Scratch Perry)
    16. Buffalo Soldier (Stephen Marley Remix)
    Bob Marley
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • From Elvis in Memphis (Speakers Corner) From Elvis in Memphis (Speakers Corner) Quick View

    $34.99
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    From Elvis in Memphis (Speakers Corner)

    Ranked 190/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    A record by Elvis, produced in Tennessee. What's so special about that? Surely everyone knows that the lorry driver from the Southern State sobbed his early songs into the local radio microphones. But Elvis in Memphis is far more than just one of around 40 albums which the King of Rock' n' Roll produced during the course of 35 years. »This marks what is probably the most impressive comeback in the entire history of pop music«, enthused the normally reticent New York Times.



    What had happened? In 1969, after a 14-year meteoric career in show business and movies, and an exemplary PR campaign, Elvis returned to his hometown to record these songs which, in their style, are reminiscent of those recorded in the Fifties for Sun Records. Alongside the lavishly mixed pop and blues numbers (Power Of My Love) and country sound (I'm Movin' On), there is also one of the greatest chart-busters and heart-breakers of a whole generation: In The Ghetto.



    There is certainly no room for discussion about the value of this collectors' item - the astronomical price for a good secondhand copy speaks for itself!



    Musicians:



    • Elvis Presley (vocal, guitar, piano)

    • Ronnie Milsap (piano)

    • Bobby Emmons (organ)

    • Reggie Young (guitar, electric-guitar)

    • Tommy Cogbill, Mike Leech (bass)

    • Gene Chrisman (drums)

    • The Memphis Horns and background vocals




    Recording: 1969 by Al Pachucki

    Production: Felton Jarvis and Chips Moman





    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. Wearin' that Loved Look
    2. Only the Strong Survive
    3. I'll Hold You in My Heart
    4. Long Black Limousine
    5. It Keeps Right On A-Hurtin'
    6. I'm Movin On
    7. Power of My Love
    8. Gentle on My Mind
    9. After Loving You
    10. True Love Travels on a Gravel Road
    11. Any Day Now
    12. In the Ghetto
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Transformer (Speakers Corner) (Awaiting Repress) Transformer (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Transformer (Speakers Corner) (Awaiting Repress)

    Ranked 194/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    It is well known that comparisons seldom get to the root of the matter, but in the case of Lou Reed, for example, they certainly reveal the unassuredness of those people who made them. Is he or isn't he the Chuck Berry or Sergeant Pepper of the Seventies, or is he deliberately building up an image of himself as an ultra-sensitive Frankenstein, who lived out his neuroses and drug trips in horrific sound? Some records are so unbelievably repulsive, raged the magazine Rolling Stone, that one would best like to take physical revenge on the artists who commit such offences.



    The album Transformer, however, can by no means be classified as a case of 'acoustic bodily harm'. It appeared just a few months after the somewhat unsuccessful appearance of Lou Reed's fairly underground first release and rocketed straight into the charts. This production had two British guardian angels to help it on its way, namely David Bowie and Mick Ronson, both of whom obviously knew how to steer Reed's songwriting qualities into safe waters, without watering down his biting sarcasm and humorous provocation.
    And that's why grating guitar rock (Vicious) is found alongside a bittersweet, tender ballad (Perfect Day) and even an old-time jazz parody (Goodnight Ladies) which is sung with a tongue a heavy as lead. Why then compare this highly original music mix with others, when it's so much easier to hear this record for what it is - a truly cult album?



    Musicians:



    • Lou Reed (vocal, guitar, arranger)

    • Mick Ronson (vocal, guitar, piano, arranger)

    • David Bowie (vocal, arranger)

    • Ronnie Ross (saxophone)

    • Klaus Voorman (bass)

    • Herbie Flowers (tuba, bass)

    • John Halzey, Barry Desouza; Ritchie Dharma (drums)




    Recording: 1972 by Arun Chakranerty

    Production: David Bowie and Mick Ronson





    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. Vicious
    2. Andy's Chest
    3. Perfect Day
    4. Hangin' Round
    5. Walk on the Wild Side
    6. Make Up
    7. Satellite of Love
    8. Wagon Wheel
    9. New York Telephone Conversation
    10. I'm So Free
    11. Goodnight Ladies

    Lou Reed
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Happy Trails (Pure Pleasure) Happy Trails (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Happy Trails (Pure Pleasure)

    Ranked 189/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's Who Do You Love? and Mona, as well as the lesser lauded - yet no less intense - contribution of Gary Duncan's (guitar/vocals) Calvary. This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cipollina (guitar/vocals), Greg Elmore (percussion), David Freiberg (bass/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic Who Do You Love? suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers.



    Musicians:



    • John Cipollina (guitar)

    • Gary Duncan (guitar, vocals)

    • David Freiberg (bass, vocals)

    • Greg Elmore (drums, 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. Who Do You Love - Part 1
    2. When You Love
    3. Where You Love
    4. How You Love
    5. Which Do You Love
    6. Who Do You Love - Part 2
    7. Mona
    8. Maiden of the Cancer Moon
    9. Calvary
    10. Happy Trails
    Quicksilver Messenger Service
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gimme Some Neck (Speakers Corner) Gimme Some Neck (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Gimme Some Neck (Speakers Corner)

    'Gimme Some Neck' - words with a double meaning! Ron Wood's demand for a guitar and/or a bottle serves well to demonstrate both his lifestyle and his commitment to music. On the one side he is a rock'n'roll legend who played his way up the career ladder beginning with the Jeff Beck Group via The Faces to become a member of The Rolling Stones. On the other side we hear a man who was not adverse to the odd drink now and again, but who was a musician through and through, and whose slick hands conjured magical waves of sound on his slide guitar. This sound is brilliantly demonstrated in the opening number I Don't Worry No More, with its bluesy, earthy honky-tonk groove. It is followed by Breakin' My Heart, which gives us a glimpse of Wood's soul by means of sharp organ chords which come from a psychedelic abyss. Then he turns another corner to take us to the gentle, sensitive poetry of Delia with an unamplified guitar.


    Woods presents Buried Alive and Come To Realize with powerful vocals and enough power for a stage performance, and then comes a previously unreleased song by Bob Dylan - Seven Days, in which he sounds more like Big D than D himself. But this is no cover version for Wood's personality is more than alive and kicking. Ron Wood remains Ron Wood - totally distinctive and quite inimitable.

    Musicians:



    • Ron Wood (guitar, vocal, harmonica)

    • Bobby Keys (saxophone)

    • Mick Jagger, Keith Richards (guitar, vocals)

    • Dave Mason (guitar)

    • Ian McLagan (keyboards)

    • Swamp Dogg, Harry Phillips (piano)

    • Mick Taylor (bass, guitar)

    • Mick Fleetwood, Jim Keltner, Charlie Watts (drums)



    Recording: January - March 1978 at Pathe Marconi Studios, Paris, and October - December 1978 at Cherokee Studios, Los Angeles

    Production: Roy Thomas-Baker

    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. Worry No More
    2. Breakin My Heart
    3. Delia
    4. Buried Alive
    5. Come To Realise
    6. Infekshun
    7. Seven Days
    8. We All Get Old
    9. F.U.C. Her
    10. Lost And Lonely
    11. Don't Worry
    Ron Wood
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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