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  • Endless Wonder Endless Wonder Quick View

    $16.99
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    Endless Wonder

    "Hi, I'm Dr. Eric Elbogen." (actor portrayal, not actually a doctor). "I created Endless Wonder for one reason: to make the world a less weary place." Since founding Say Hi labs in 2002, Elbogen and his team of slightly flawed and persistently-flat clones have been proving to humanity that synthesizer music doesn't have to lack a sense of humor and that drum machines can still swing and shuffle like the jazz great ones. But it wasn't until the team began working on Endless Wonder in late 2011, when all rock and roll bands were required to trade in their Warlock guitars for step sequencers and self-oscillating sweepable low pass filters, that they knew they were on the brink of something crucial: the probable savior of humankind itself.
    1. Hurt In The Morning
    2. Such A Drag
    3. Critters
    4. When I Think About You
    5. Like Apples Like Pears
    6. Figure It Out
    7. Clicks & Bangs
    8. Sweat Like The Dew
    9. Love Love Love
    10. The Trouble With Youth
    Say Hi
    $16.99
    Vinyl LP - Sealed Buy Now
  • Oohs & Aahs Oohs & Aahs Quick View

    $15.99
    Buy Now
    x

    Oohs & Aahs

    Written and recorded in the home studio of critically acclaimed Seattle via Brooklyn via Los Angeles DIY icon Eric Elbogen, Oohs & Aahs is an extraordinary and consistently witty album of dimly lit indie rock fables that ponder the many hues of gloom, lust and the inevitability and the beauty of imperfection. Even for fans of Elbogen's past work, it's a marvel of modern post-pop.
    1. elouise
    2. hallie and henry
    3. oh oh oh oh oh oh oh oh
    4. november was white, december was grey
    5. dramatic irony
    6. maurine
    7. one, two ... one
    8. audrey
    9. the stars just blink for us
    10. sallie's heart is stone
    Say Hi
    $15.99
    Vinyl LP - Sealed Buy Now
  • Hi De Hi De Ho (Pure Pleasure) Hi De Hi De Ho (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Hi De Hi De Ho (Pure Pleasure)

    In that wistful, screwball age that was the Thirties, one man, practically single-handed, launched an era of musical nonsense that had the whole nation humming bits of rhythmic fol-de-rol.



    It was Cab Calloway, the 'Hi-De-Ho man' in cream colored tails who gyrated to the point of actually flying while leading his band, and who sang slightly insane ditties (as well as the leading hit songs of the day) in a remarkably rich and resonant baritone. The Cab was one of that group of leaders of the 1930's who, although playing no musical instrument, collected a fine band and a completely personal style.
    In this album, Cab has freshly recorded a dozen of his biggest hits of former years, taking full advantage of the most modern high fidelity recording techniques. In so many ways Cab symbolized that whole era of "The Jumpin' Jive" when people needed something to make you nine feet tall when you're four feet five .




    Musicians:



    • Cab Calloway (voc) & orchestra





    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 Hi De Ho Man (That's Me)
    2. I'll Be Around
    3. Summertime
    4. It Ain't Necessarily So
    5. Kickin' the Gong Around
    6. You Rascal You
    7. Minnie the Moocher (The Ho De Ho Song)
    8. I See a Million People (But All I Can See Is You)
    9. St. James Infirmary
    10. Stormy Weather
    11. The Jumpin' Jive
    Cab Calloway
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hi-Vis High Tea Hi-Vis High Tea Quick View

    $15.99
    Buy Now
    x

    Hi-Vis High Tea

    After two and half decades, 8 studio albums, and their recent greatest hits record We Lived Like Kings; it is safe to say that FRENZAL RHOMB are Australian Punk royalty. Now, with "most hospitalized band in the world" (broken arms, detached retinas, tapeworms in the brain ) added to their resume, nothing can slow these Aussies down. For Hi-Vis High Tea, FRENZAL RHOMB pulled out all the stops, and returned to the unswerving Bill Stevenson and Jason Livermore at the Blasting Room to create 20 blistering tracks clocking in at just over 30 minutes. From the opening track "Classic Pervert" to "Don't Cast Aspergers on Me" and "Sneeze Guard"; Hi-Vis High Tea takes Frenzal fans on a familiar ride which only FRENZAL RHOMB operate. With loads of touring lined up, and the bumps and bruises all healed, 2017 looks to be a big year for FRENZAL RHOMB! Hi-Vis High Tea, their first new record since 2011, is sure to have FRENZAL RHOMB fans far and wide clamoring to get their fix.
    1. Classic Pervert
    2. Ray Ahn Is My Spirit Animal
    3. Cunt Act
    4. Sneeze Guard
    5. I'm Shelving Stacks (As I'm Stacking Shelves)
    6. The Criminals' Airline
    7. Storage Unit Pill Press
    8. School Reunion
    9. Ex Pat
    10. Beer and a Shot
    11. The Black Price
    12. Bunburry
    13. Pigworm
    14. Digging a Hole for Myself
    15. Don't Cast Aspergers on Me
    16. Messed Up
    17. Everyone I Know Has Mental Problems
    18. Waiting for the Postman
    19. Organ Donor
    20. Food Court
    Frenzal Rhomb
    $15.99
    Vinyl LP - Sealed Buy Now
  • Audioengine A2+ Speakers (Hi-Gloss White) Audioengine A2+ Speakers (Hi-Gloss White) Quick View

    $249.00
    Buy Now
    x

    Audioengine A2+ Speakers (Hi-Gloss White)


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


    A2+ is the gateway drug for computer audio.

    - Steve Guttenberg, CNET


    Premium Powered Desktop Speaker System


    The award-winning Audioengine 2 powered desktop speakers just got better. With a built-in digital-to-analog converter (DAC), the Audioengine 2+ allows you to send high-quality digital audio direct from your computer's USB port.


    - Excellent sound with elegant simplicity and a new standard for computer audio

    - Versatile connections, including USB digital audio and subwoofer output

    - Designed for your desktop but also sounds great across the room


    Upgrade your Audio

    The Audioengine 2+ is the new standard for computer audio and these small, but high-performance speakers are the perfect upgrade for your computer. Everyone knows the difference between custom-built, small batch products and the disappointment of mass-produced and over-marketed products. The A2+ was designed and hand-built with the goal of exceeding expectations of both value and performance.


    Brotherly Love

    The Audioengine 2+ is about one-third the size of our flagship Audioengine 5+ powered speakers and an ideal size for your desktop or smaller room. We used the same custom tweeters as in the Audioengine 5+, matched them with compact Kevlar woofers, then added high-performance amplifiers with high-quality connectors. All this great engineering is wrapped in wood cabinets with a hand-polished finish to create a premium quality desktop multimedia speaker system that puts all those sad plastic computer speakers to shame!


    Smaller Speakers, Still Big Bass

    To say that the bass on the Audioengine 2+ is substantial for their size may be an understatement, but you should be the judge. The bass was teased from the A2+ with some clever acoustic and electrical design without using any digital signal processing or fake bass boost circuits. Wood remains a preferred speaker enclosure material for its stiffness at higher volume levels and the cabinet focuses just the right amount of low end from the tuned front port slots.


    Versatile and Efficient

    The A2+ was designed for your desktop but their superb soundstage and imaging also makes them the perfect choice for across the room. Well-suited for all your music, movies and games, the A2+ sounds great with or without a subwoofer. Using a similar analog design as the Audioengine 5+, the A2+ power amplifiers are built inside the left speaker providing a very efficient system. An auto-standby idle mode is also included to conserve power when you're not playing music.


    Easy Connections

    The A2+ features analog amplifiers that are built into the left speaker, while the right speaker is passive so setup is simple. Just plug the left speaker into AC power and connect the included speaker wire from left to right. We've included minijack, RCA, and USB inputs for easy connection to your computer or iDevice and other cables you may need are included. There is no software or plug-ins to install and A2+ works with any computer or music player. The A2+ also has a variable RCA output for connecting a subwoofer, upgraded connectors, improved accessory cables, and a redesigned power supply.


    Minding the Gap

    The Audioengine 2+ sets a new level of audio and aesthetic quality for Powered Multimedia Speakers and further closes the gap between computer speakers and home audio. Even if you're not an audio enthusiast, we guarantee you will still hear a difference!


    Audioengine Speakers
    $249.00
    Audioengine A2+ Powered Speakers (Hi-Gloss White) Buy Now
  • Chants Chants Quick View

    $15.99
    Buy Now
    x

    Chants

    Chants is the debut album by Seattle multi-instrumentalist / singer Nouela. Born to Norwegian & Korean parents, Nouela spent the first her first 11 years living in Korea and learning to love what her parents played - Beach Boys, Pet Shop Boys, Beatles, Kraftwerk, Monk, Mingus. Nouela spent her teens and early twenties fronting bands (Mon Frere, People Eating People) and recording & touring with other Seattle Bands (The Fall Of Troy, Say Hi, Schoolyard Heroes, Cursive). After working w/ some amazing musicians & producers Nouela decided to change things up and play most everything on Chants.
    1. Joke
    2. Buckle Down
    3. Fight
    4. Home
    5. Suckers
    6. Chants
    7. Secrets
    8. Joke Part II
    9. Doubts
    10. Regrets
    Nouela
    $15.99
    Vinyl LP - Sealed Buy Now
  • Heathen Heathen Quick View

    $31.99
    Buy Now
    x

    Heathen


    The David Bowie/Friday Music 180 Gram Audiophile Series Begins!


    David Bowie's 2002 Masterwork Album!


    Produced By David Bowie & Tony Visconti


    Mastered By Joe Reagoso - Pressed At R.T.I.


    First Time 180 Gram Audiophile Translucent Blue Vinyl & Tri-Fold Cover Presentation


    Featuring Pete Townsend, Dave Grohl Tony Levin, & Carlos Alomar


    David Bowie is truly a gift to rock music fans everywhere. There will
    never be another David Bowie, an artistic genius who has enthralled
    generations of aspiring musicians and music lovers the world over with
    the many fine recordings and concert tours he's created seamlessly for
    many years.


    Celebrating over four decades in the music business, this English
    native initially captivated millions of kids in the 70's with his Ziggy Stardust
    persona. He drove the rockers mad with his stellar concerts and dynamic
    presence on the stage. As David moved on and started venturing into other
    fields of music, film and art, he soon emerged as one of the early founders
    of alternative and ambient music with albums like Low and Heroes. At the
    turn of the millennium, Bowie scored a new legion of fans with more harder
    edged recordings like his 2002 multi-platinum masterwork Heathen.


    Heathen kicks things off with the hard rock guitar sounds on Sunday.
    This radio and fan favorite graced the alternative and college radio stations
    and helped bolster even further the rest of the Lp with follow up hits like
    the tour de force Slow Burn featuring the legendary Pete Townsend, and a
    stellar revisit of Neil Young's I've Been Waiting For You featuring the guitar
    work of Dave Grohl. All in all, a truly remarkable album which paved the
    way to a whole new level of fans as David Bowie continues to be a major
    force in the music of now and forever.


    Friday Music is no stranger to the music of the legendary David Bowie,
    as we've been releasing his fine recordings on our label. That is why
    we are so very proud to announce another first installment in The David
    Bowie/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
    masterpiece Heathen.


    Mastered impeccably by Joe Reagoso (David Bowie/Jeff Beck/Deep
    Purple) for the first time on audiophile vinyl, David Bowie's Heathen will
    truly become one of the most important and historical 180 Gram Audiophile
    Vinyl titles in quite some time.


    To celebrate David Bowie's amazing career, we further enhance this
    limited anniversary edition with a stunning tri-fold cover featuring the
    original artwork elements as well as being pressed by R.T.I on translucent
    blue vinyl.


    Everyone Says Hi!

    1. Sunday
    2. Cactus
    3. Slip Away
    4. Slow Burn
    5. Afraid
    6. I've Been Waiting For You
    7. I Would Be Your Slave
    8. I Took A Trip In A Gemini Spaceship
    9. 5:15 The Angel's Have Gone
    10. Everyone Says 'Hi'
    11. A Better Future
    12. Heathen (The Rays)
    David Bowie
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Congrats Congrats Quick View

    $21.99
    Buy Now
    x

    Congrats

    A cyborg dance party for a broken future that's closer
    than you think - Pitchfork


    Off Your Face Euphoria - The Line of Best Fit


    hypnotic, electronic climax-rock - SPIN


    scuzzy, funk-fuelled energy - FACT Mag


    Holy Fuck took the world by surprise around 2005 because there was
    just nothing like them-a hardcore thrift-store found-object punk
    band with a relentless commitment to rhythm and a sense for
    atmosphere better matched to a close encounter of the third kind
    than a simple rock concert. Think EinstÜrzende Neubauten re-inspired
    by Fela Kuti with Brian Eno working as keyboard tech and every
    channel on the mixer set to max power. It was the best ride out there
    while it lasted, up to and including their 2010 full-length Latin,
    recorded largely in too-brief breaks while on the road. That album
    cemented Holy Fuck's sound and reputation for unapologetic
    instrumental noise but at the end of yet another insane touring cycle,
    it was time to take a break which turned into a hiatus which turned
    into a chance to explore other projects and production work. (Like the
    bands Lids, Dusted and Etiquette, or production for Metz, Alvvays and
    Viet Cong.)


    They'd been moving faster than they'd ever expected, especially after
    a 2007 sophomore release that came close to securing Canada's
    prestigious Juno and Polaris Music Prize. (Not to mention festival slots
    at All Tomorrow's Parties, Glastonbury, Coachella and more-plus Lou
    Reed said they were the best band he'd seen at SXSW.) The strategy
    was just to stay busy, says founder and noisemaster Brian Borcherdt,
    but soon they started to feel like Indiana Jones running from that
    boulder: "He had to step aside and let things settle!"


    But there's nothing Indiana Jones does better than the shock reveal, is
    there? And so in 2016 Holy Fuck suddenly announced the release of
    Congrats, a surprise full-length two years in the making that is by any
    scientific measure their holiest fuckiest release ever: "When you're
    sitting still in a van and staring out the windows, you start to dream
    about all the other things you want to do," says Borcherdt. "This album
    is exactly what we couldn't do then."


    Checking into a "proper" studio, rather than the barn in rural Ontario
    where most of Holy Fuck's records were made, Congrats was
    recorded by the same lineup that recorded Latin: Borcherdt, Graham
    Walsh, Matt "Punchy" McQuaid, and Matt Schulz. As they worked, they
    discovered that Congrats was a process of refining things, Walsh
    says-both physically and philosophically. Their ad hoc arsenal of
    low-budget hi-tech toys has been streamlined down to what he calls
    the nervous system of the band: "What gets run through our system is
    the seed of the idea for our music, and the system is what we play. This
    record is almost a beginning-the first stage of a new way for us."


    So consider those previous albums prelude to Holy Fuck's true
    breakthrough, and recognize Congrats as the moment when Holy
    Fuck take the chaos and craziness (and charm) that have always been
    at the heart of their band and not so much control it as concentrate it.
    Now they're heavier, wilder, leaner, sharper, more daring and more
    unpredictable than ever before, on fire with the power of inspired
    outsiders like Suicide, Silver Apples, Can, Mission of Burma or the
    Monks or even Sun Ra, says Borcherdt, whose pursuit of his own kind
    of musical purity is exactly what Holy Fuck are after. Yes, it took them
    a few years, which in 2016 is supposed to be the career suicide, but
    they took that time to take chances. "We were told we did everything
    wrong," Borcherdt says now, laughing-but really Congrats is the
    sound of a band doing absolutely everything right.

    1. Chimes Broken
    2. Tom Tom
    3. Shivering
    4. Xed Eyes
    5. Neon Dad
    6. House Of Glass
    7. Sabbatics
    8. Shimmering
    9. Acidic
    10. Crapture
    Holy Fuck
    $21.99
    Vinyl LP - Sealed Buy Now
  • Prestige Series Gold Cartridge Prestige Series Gold Cartridge Quick View

    $260.00
    Buy Now
    x

    Prestige Series Gold Cartridge

    The Prestige (and upscale Reference) cartridges from Grado are the first released since the elder Grado's retirement, but they mark an evolution, not dramatic change, of the classic Grado style. There are three basic levels in the Prestige lineup: Black/Green, Blue/Red, and Silver/Gold. In each of these pairings, the latter model is the same as the former, but is able to meet more astringent test specifications. The Green, for instance, is taken from the top 15% of the Black models production.


    The newly redesigned Silver1 and Gold1 have had their coil design reconfigured, and the effective moving mass of their generating system has been reduced by 17%. The Silver1 and gold1 models use a four piece OTL cantilever technology, ultra-high purity long crystal (UHPLC) oxygen free copper wire in the coils and Grado's specially designed elliptical diamond mounted on a brass bushing. The Gold1 model is selected from the Silver1 production run and meets higher test specifications. Approximately 5% of the production run meet these standards and become Gold1 models.


    What People are saying about the Gold... "The Prestige Gold's sound was readily identifiable, but after just a few seconds it didn't matter much, so engaging were the results."

    - Wayne Garcia - The Absolute Sound


    "It's a definite Best Buy!"

    - Hi Fi Choice / Alan Sircom


    "Beefheart's Clear Spot, the undoing of many an under-performing cartridges, didn't faze the Grado." - Hi Fi Choice / Alan Sircom "It was lively and detailed but never edgy on vocal sibilants, and didn't over-emphasis leading edges on acoustic guitar."

    - Hi Fi Choice / Alan Sircom


    "While the Prestige Gold cannot provide quite the same ultra-refined, take-you-to-the-mountaintop listening experiences that big buck moving coils can, it takes you a long way up the path toward analog excellence, and for a pennies-on-the-dollar price."

    - Chris Martens / The Absolute Sound


     


    Frequency Response: 10-60

    Principal: MI

    Channel Separation at 1KHz: 35

    Input Load: 47K

    Output at 1KHz 5CM/Sec.: 5mV

    Recommended Tracking Force: 1.5

    Stylus Type: E

    Inductance: 45mH

    Resistance: 475

    Compliance CUs: 20

    Stylus Replacement F: U

    Mounting: S/P

    Weight: 5.5



    This product is not eligible for discount.

    Grado Cartridges
    $260.00
    Cartridge Buy Now
  • Gets Next To You (Awaiting Repress) Gets Next To You (Awaiting Repress) Quick View

    $16.99
    Buy Now
    x

    Gets Next To You (Awaiting Repress)

    Born April 13, 1946 in Forest City, AR, Al Green began singing in his family's gospel group. His distinctive vocal talent and extraordinary ability to master pop, R&B, and gospel genres has enabled him to become an international superstar. Not only is he Hi Records' most awarded singer/songwriter, but in a phenomenal career spanning more than thirty years, he's charted six #1 hits and has been inducted into the prestigious Rock 'n' Roll Hall of Fame.


    Originally released in 1971, Al Green Get's Next To You was his first major release and it features a killer selection of raw Memphis soul. The formula for his string of subsequent hits is firmly in place and Al's beautiful voice is swept up wonderfully in the sympathetic production handled here by the great Willie Mitchell.


    It's hard to imagine how anyone could have come up with a better showcase for Al's amazing voice. Proof of this can be heard on the record's great Green originals All Because, I'm A Ram, You Say It and the classic Tired of Being Alone as well as on the covers like Driving Wheel, Can't Get Next To You and Light My Fire.

    1. I Can't Get Next To You
    2. Are You Lonely For Me Baby
    3. God Is Standing By
    4. Tired Of Being Alone
    5. I'm A Ram
    6. Driving Wheel
    7. Light My Fire
    8. You Say It
    9. Right Now, Right Now
    10. All Because
    Al Green
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Royal Sessions The Royal Sessions Quick View

    $29.99
    Buy Now
    x

    The Royal Sessions

    200-Gram Audiophile Vinyl Pressed At Quality Record Pressings!


    Paul Rodgers, longtime singer, songwriter and multi-instrumentalist with Bad Company, has partnered with 429 Records and is gearing up for the release
    of "The Royal Sessions"-a lovingly crafted collection of classic R&B and soul songs re-imagined by the iconic rock singer recorded at Memphis' Royal
    Studios, historic home of Willie Mitchell and Hi Records, with many of the musicians who played on the original tracks.


    Truly a lifetime in the making, Rodgers has come full circle with "The Royal Sessions" as he pays homage to the legendary hits he collected on 45s
    released on Stax/Volt, Goldwax and Hi Records-recordings by Otis Redding, Albert King and Ann Peebles which made such an indelible impression on
    the young Rodgers inspiring him to pursue a career as a singer. Produced by Perry Margouleff, "The Royal Sessions" is an extraordinary recording which
    captures the music in its pure form-live band and vocal takes as performed together at Royal Studios by Rodgers and an all-star roster of legendary musicians.


    -


    About the record, Michael Fremer says, Sonically, what do you think results from live in the hallowed studio basic tracks and vocals recorded all analog, mixed to analog tape and cut from analog tape? It's spectacular! Play this record and then the CD for your friends who think CD is transparent to the source. Let them compare the drum sound, the cymbal crashes, the space and the image three dimensionality. Let them consider Rodgers in the room and then on CD not quite in the room. A musical triumph and a sonic in the studio spectacular.


    - Michael Fremer (Analog Planet)

    Click here to read the full review: Review By Michael Fremer

    1. I Thank You
    2. Down Don't Bother Me
    3. I Can't Stand The Rain
    4. I've Been Loving You Too Long (To Stop Now)
    5. That's How Strong My Love Is
    6. Walk On By
    7. Any Ole Way
    8. It's Growing
    9. I've Got Dreams To Remember
    Paul Rodgers
    $29.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I Can't Stand The Rain (Pure Pleasure) I Can't Stand The Rain (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    I Can't Stand The Rain (Pure Pleasure)

    This wonderful album, originally released in 1974 on the Memphis-based Hi Records label, deserved a wider audience than it ended up getting at the time. It played to Ann Peebles' great strength, her poised and sultry voice, and surrounded by the sparse, easy funkiness of the trademark Hi rhythm section and producer Willie Mitchell's perfect use of horns and strings, she sings like a resilient but disappointed angel on this impressive set of songs about the darker side of love. Her best song is here, the eccentric but brilliant I Can't Stand the Rain, along with a marvelous version of Joe Simon's (You Keep Me) Hangin' On, and perfect readings of a pair of Earl Randle songs, If We Can't Trust Each Other and I'm Gonna Tear Your Playhouse Down. Peebles sings her heart out, and with those somehow bright-sounding Hi grooves behind her, it all comes together to make a classic album of dark, bouncy, and beautiful Southern soul.



    Musicians:



    • Ann Peebles (vocal)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Charles Hodges (keyboards)

    • Archie Turner (piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)

    • Memphis Sanctified Singers (horn section)



    Recording: 1973 at Royal Recording Studios, South Lauderdale, Memphis, Tennessee

    Production: Willie Mitchell





    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. I Can't Stand The Rain
    2. Do I Need You?
    3. Until You Came Into My Life
    4. (You Keep Me) Hangin' On
    5. Run, Run, Run
    6. If We Can't Trust Each Other
    7. A Love Vibration
    8. You Got To Feed The Fire
    9. I'm Gonna Tear Your Playhouse Down
    10. One Way Street
    Ann Peebles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Total Explosion (Pure Pleasure) Total Explosion (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Total Explosion (Pure Pleasure)

    During his eight-year stint with Hi Records, Syl Johnson was in the shadows of both Al Green and Ann Peebles. His albums never flew off the shelves but he could be trusted to release two or three good singles a year. By 1975, Johnson's partnership with Hi Records started to yield even more success. As this album's predecessors had Johnson vacillating between being a romantic and a wretch, Total Explosion explores his unrepentant side with good results. I Only Have Love for You is a classic Memphis shuffle and finds Johnson all but boasting about his lack of financial savvy, as he sings, »all I got to give is me«. With all of the ill will and venom spewed on Total Explosion, the innocent Star Bright, Star Lite just still doesn't ring true. Johnson comes back to his senses on Steppin' Out. The dramatic, hard-edged track is all anger and domestic unrest as he sings, »excuse me, excuse me while I get dressed«; you get the feeling he won't be back anytime soon. The album's biggest single was Johnson's slowed-down take on Green's Take Me To The River. Although the religious/sexual imagery is lost in the translation, Johnson does a good job with it. The best track, the brilliantly arranged Watch What You Do to Me has Johnson playing the role of cuckold, and as he sings »I carry my piece, everywhere I go«, it certainly made him more a menace than romantic balladeer. Total Explosion was Johnson's most successful album at Hi Records and was one of the best in the label's catalog.



    Musicians:



    • Syl Johnson (vocal)

    • Wayne Jackson (trumpet)

    • Andrew Love, Lewis Collins (tenor saxophone)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Archie Turner & Earl Randle (piano)

    • Charlie Hodges (organ, piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)




    Recording: 1973 by Willie Mitchell at Royal Recording Studios, South Lauderdale, Memphis, Tennessee

    Production: Willie Mitchell




    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. I Only Have Love
    2. Bustin' Up Or Bustin' Out
    3. Star Bright Star Lite
    4. Whatch What You Do To Me
    5. Steppin' Out
    6. Take Me To The River
    7. It Ain't Easy
    8. 'Bout To Make Me Leave Home
    9. That's Just My Luck
    Syl Johnson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Versus Versus Quick View

    $16.99
    Buy Now
    x

    Versus

    Some bands burn out, other bands fade away. Emarosa did neither of these things. They
    released their previous self titled album in June of 2010, the album was praised by both fans and
    critics, and the band toured the world over, headlining everything from club shows to festivals.
    Then right at the peak of the bands success, they took a surprising step back. It wasn't a break
    up, and it wasn't a proper hiatus, it was just a band who had been busy relentlessly touring and
    recording for 5 years deciding that they needed to take a deep breath.


    It's been 4 years and Emarosa is back, and stronger than ever. The nice thing about taking a
    break when you're at your peak, is that everyone is anxiously waiting for you to return. Emarosa's fanbase is still here, and it's just as rabid as it's ever been. They have been begging for the
    band to return. And that's exactly what the band has done. Emarosa's new album Versus is
    the bands strongest material to date. And while the bands absence from the scene these past 4
    years has been frustrating, it's all forgiven the moment you hear the album in it's entirety. The
    band has been busy playing the new songs on tour with Chiodos this past spring, and they will
    head out on tour making a stop at Riot Fest then hi ing the entire U.S. with Yellowcard and
    Memphis May Fire this fall to support the album around its release.


    They always say that good things take time, and in the case of Emarosa it's the truth.

    1. People Like Me, We Just Don't Play
    2. American Deja Vu
    3. A Hundred Crowns
    4. I'll Just Wait
    5. But You Won't Love A Ghostv
    6. Say Hello To The Bad Guy
    7. Cliff Notes
    8. Mad
    9. Gold Dust
    10. Same Tight Rope
    11. 1996 On Bevard
    Emarosa
    $16.99
    Vinyl LP + CD - Sealed Buy Now
  • By The Time It Gets Dark (Pure Pleasure) By The Time It Gets Dark (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    By The Time It Gets Dark (Pure Pleasure)

    Hi Folks,

    Hard to believe it's been 30 years since the release of "By The Time It Gets Dark" in 1987. There's been a lot of water under the bridge since then and how time flies when you're busy and having a good time! As it's always been one of my favorite albums I felt that it deserved to be revisited to celebrate its 30th anniversary. With that in mind, we sent the old 24 track tapes to be baked (a process to preserve them) allowing us to do a complete remix and remaster the album. We enlisted the services of my great friend and sound engineer Billy Robinson to do the job and I'm delighted with the outcome - it sounds great, even if I say so myself! We added a few bits where needed and I'm happy to see it being released on vinyl again.

    It's been a nice journey revisiting that time and remembering the sights and sounds of life back then.

    As we listened closely to some of the tracks, the beautiful voice of Mandy Murphy came through and I felt so sad that she passed away, so young, last year. I wish to dedicate this release to her memory.

    Mary Black - January 2017

    Musicians:

    • Mary Black (vocal)
    • Pat Crowley (synthesizer, piano, accordian, vocal)
    • Declan Sinnott (synthesizer, guitar, vocal)
    • Carl Geraghty (soprano saxophone)
    • Garvan Gallagher (bass)
    • Noel Bridgeman (congo, 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. By The Time It Gets Dark

    2. Schooldays Over

    3. Once In A Very Blue Moon

    4. Farewell Farewell

    5. Sparks Might Fly

    6. Katie

    7. Leaving The Land

    8. There Is A Time

    9. Jamie
    10. Leaboys Lassie

    11. Trying To Get The Balance Right
    12. Moon River
    Mary Black
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Al Green Explores Your Mind (Pure Pleasure) (Awaiting Repress) Al Green Explores Your Mind (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Al Green Explores Your Mind (Pure Pleasure) (Awaiting Repress)

    By the time of 1974's Al Green Explores Your Mind, this version of the Memphis sound was the production style for only a handful of artists. Producer Willie Mitchell used a lighter touch for his most famous artist, and it's all but crafted into the Al Green sound. Despite his skills, Green never falls into mannerism here and gives heartfelt and cogent vocals rooted in intelligence and technique. Sha-La-La (Make Me Happy), although lyrically slight, has the artist's charisma and Mitchell's pop chops. Take Me to the River, with perfect backing from Hi Rhythm and a horn and string arrangement, finds Green at his most persuasive. The last track, School Days, has Green longing for a school girlfriend and despite the potentially sappy sentiment, it works like a charm. The greatness of Al Green Explores Your Mind comes from a collective effort, including James Mitchell's dreamlike string arrangements and the always skilled backing vocals of Rhodes, Chalmers & Rhodes. But the biggest draw here is Green's phrasing and intimate vocals, making the record an extremely strong effort.



    Musicians:



    • Al Green (vocal)

    • Wayne Jackson (trumpet)

    • Andrew Love (tenor saxophone)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Charles Hodges (keyboards)

    • Archie Turner( piano)

    • Mabon Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Howard Grimes (drums, percussion)




    Recording: 1974 at Royal Recording Studios, South Lauderdale, Memphis, Tennessee by Willie Mitchell

    Production: Willie Mitchell & Al Green




    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. Sha-La-La (Make Me Happy)
    2. Take Me To The River
    3. God Blessed Our Love
    4. The City
    5. One Nite Stand
    6. I'm Hooked On You
    7. Stay With Me Forever
    8. Hangin' On
    4. School
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Al Green Gets Next To You (Pure Pleasure) (Awaiting Repress) Al Green Gets Next To You (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Al Green Gets Next To You (Pure Pleasure) (Awaiting Repress)

    After the shaky start of Green Is Blues, Al Green and producer Willie Mitchell established their classic sound with Green's second album, Gets Next to You. The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke's croon and Otis Redding's shout, Green develops his own distinctive style, and Gets Next To You only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell's reinterpretation of the Temptations' I Can't Get Next to You, which turns the original inside out.



    Musicians:



    • Al Green (vocal)

    • Wayne Jackson (trumpet)

    • Ed Logan (tenor saxophone)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Charles Hodges (keyboards)

    • Mabon Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Al Jackson (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. I Can't Get Next To You
    2. Are You Lonely for Me, Baby
    3. God Is Standing By
    4. Tired of Being Alone
    5. I'm a Ram
    6. Driving Wheel
    7. Light My Fire
    8. You Say It
    9. Right Now, Right Now
    10. All Because
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Straight From The Heart (Speakers Corner) Straight From The Heart (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Straight From The Heart (Speakers Corner)

    Ann Peebles' climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song I Can't Stand The Rain.



    Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.
    Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart (Slipped, Tripped And Fell In Love). The beat is powerful, throbbing, young and fresh (What You Laid On Me) or surging and groovy (How Strong Is A Woman?). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven (Somebody's On Your Case), while a fusion of soft swing and snappy acerbity (I Pity The Fool) rounds off this album which is filled with pure emotion, heart and soul.



    Musicians:



    • Ann Peebles (vocal)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Andrew Love, Ed Logan (tenor saxophone, vocals)

    • Charles Hodges (organ, piano)

    • Wayne Jackson (trumpet)

    • Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)



    Recording: August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Willie Mitchell





    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. Slipped, Tripped and Fell In Love
    2. Trouble, Heartaches & Sadness
    3. What You Laid On Me
    4. How Strong Is A Woman
    5. Somebody's On Your Case
    6. I Feel Like Breaking Up Somebody's Home Tonight
    7. I've Been There Before
    8. I Pity The Fool
    9. 99 Pounds
    10. I Take What I Want
    Ann Peebles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Call Me (Speakers Corner) Call Me (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Call Me (Speakers Corner)

    What connects celebrity chefs and pop stars is their fine nose for ingredients, especially when hot and spicy ones are mixed with milder elements to create an aromatic result. A combination of 'sweet' and 'funky' is the secret of Al Green's gloriously sentimental and sensual pop songs, which in the sexually free Seventies were often referred to as »songs to make love by«. What swings along gently is, however, Al Green's subtly controlled falsetto, which he can tone right to the threshold of audibility. But watch out! This music belts out some fiery sounds right from the very first number. The sinuous, swinging request in the brilliant hit single Call Me, the relaxed and groovy Stand Up, with its sharp wind interjections which demand one's unerring attention, are typical for Green's style, just as is his almost disturbing capability to gain comfort from loneliness (I'm So Lonesome, I Could Cry). This rhythmically powered music can best be described as light, intensive, dynamic but never flashy (Your Love Is Like The Morning Sun). It finds its earthly culmination in soul (I'm Waiting) and spiritual depth.



    Musicians:



    • Al Green (vocal)

    • James Mitchell (bassoon, arranger)

    • Andrew Love (tenor sax)

    • Jack Hale (trombone)

    • Wayne Jackson (trumpet)

    • Mabon Hodges (guitar)

    • Charles Hodges (keyboards)

    • Archie Turner (piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)

    • The Memphis Strings



    Recording: 1973 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Al Green and Willie Mitchell




    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. Call Me (Come Back Home)
    2. Have You Been Making out O.K.
    3. Stand Up
    4. I'm So Lonesome I Could Cry
    5. Your Love Is Like the Morning Sun
    6. Here I Am (Come and Take Me)
    7. Funny How Time Slips Away
    8. You Ought to Be with Me
    9. Jesus Is Waiting
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Crush Crush Quick View

    $34.99
    Buy Now
    x

    Crush

    The growling, choppy guitar sample that opens the first track here, It's My Life, is a virtual declaration of intent for the first Bon Jovi album in five years, a statement that they're updating the sound without abandoning the traditional virtues that made them one of the biggest bands on the planet. So make way for a hi-tech parade of smooth-but-gutsy rock anthems, almost any one of which will gladden the heart of every AOR radio programmer in the land. Unless the world has changed irredeemably, cuts like the midpaced heartbreak chugger Say It Isn't So are destined to become Bon Jovi standards, while an outbreak of scarf-waving and lighter-flicking is certain to accompany any live performance of the big weepie, Thank You For Loving Me. Arguably, everything on Crush is done by the numbers, but with consummate pros like Jon Bon Jovi and Richie Sambora at the helm, these are the kind of numbers you have to take seriously, because by the second time they kick into the chorus of any song it's damn near impossible not to sing along. --Johnny Black
    1. It's My Life
    2. Say It Isn't So
    3. Thank You For Loving Me
    4. Two Story Town
    5. Next 100 Years
    6. Just Older
    7. Mystery Train

    8. Save The World

    9. Captain Crash & The Beauty Queen From Mars
    10. She's A Mystery

    11. I Got The Girl
    12. One Wild Night
    Bon Jovi
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Fleetwood Mac (Deluxe Box Set) Fleetwood Mac (Deluxe Box Set) Quick View

    $99.99
    Buy Now
    x

    Fleetwood Mac (Deluxe Box Set)

    5.1 Surround Sound Mix, Unreleased Outtakes, & More!


    Fleetwood Mac's 1975 eponymous album will be reissued as a five-disc deluxe box set.


    The original album is newly remastered and features on CD and 180 gram vinyl LP in the box set. The CD also includes the original single mixes of Over My Head, Rhiannon, Say You Love Me and Blue Letter.


    Like previous sets there's plenty of unreleased outtakes and CD 2 in the deluxe edition features a completely alternate version of the album (none of it ever released before), along with a handful of live tracks and a couple of jam/instrumentals.


    The third CD features 14 live tracks (all previously unreleased) while disc four is a DVD which features a 5.1 surround sound mix of Fleetwood Mac, a hi-res stereo version of the album and those four single versions.


    Completing the set is the LP version of the original album pressed on 180-gram vinyl. The packaging sounds consistent with what was issued for previous albums (Rumours, Tusk, Mirage and Tango In The Night) since this comes in a 12 x 12 embossed sleeve with in-depth sleeve notes and new interviews with all the band members.


    -Superdeluxeedition

    Vinyl LP
    1. Monday Morning (Remastered)
    2. Warm Ways (Remastered)
    3. Blue Letter (Remastered)
    4. Rhiannon (Remastered)
    5. Over My Head (Remastered)
    6. Crystal (Remastered)
    7. Say You Love Me (Remastered)
    8. Landslide (Remastered)
    9. World Turning (Remastered)
    10. Sugar Daddy (Remastered)
    11. I'm So Afraid (Remastered)


    CD 1: Original Album Remastered and Singles
    1. Monday Morning
    2. Warm Ways
    3. Blue Letter
    4. Rhiannon
    5. Over My Head
    6. Crystal
    7. Say You Love Me
    8. Landslide
    9. World Turning
    10. Sugar Daddy
    11. I'm So Afraid
    12. Over My Head - Single Version
    13. Rhiannon - Single Version
    14. Say You Love Me - Single Version
    15. Blue Letter - Single Version *


    CD 2: Alternates and Live
    1. Monday Morning - Early Take *
    2. Warm Ways - Early Take *
    3. Blue Letter - Early Take *
    4. Rhiannon - Early Take *
    5. Over My Head - Early Take *
    6. Crystal - Early Take *
    7. Say You Love Me - Early Version *
    8. Landslide - Early Version *
    9. World Turning - Early Version *
    10. Sugar Daddy - Early Take *
    11. I'm So Afraid - Early Version *
    12. Over My Head - Live *
    13. Rhiannon - Live *
    14. Why - Live *
    15. World Turning - Live *
    16. Jam #2
    17. I'm So Afraid - Early Take Instrumental *


    CD 3: Live
    1. Get Like You Used To Be *
    2. Station Man *
    3. Spare Me A Little *
    4. Rhiannon *
    5. Why *
    6. Landslide *
    7. Over My Head *
    8. I'm So Afraid *
    9. Oh Well *
    10. The Green Manalishi (With The Two Pronged Crown) *
    11. World Turning *
    12. Blue Letter *
    13. Don't Let Me Down Again
    14. Hypnotized *


    * Previously Unreleased


    DVD: 5.1 Surround Mix and 24/96 Stereo Audio of Original Album plus four single mixes

    Fleetwood Mac
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set + 3 CD + DVD - Sealed Buy Now
  • Body Pill Body Pill Quick View

    $19.99
    Buy Now
    x

    Body Pill

    It's amazing how much can happen in a short time frame. At the
    beginning of 2012, Anthony Naples didn't have a song to his name; by
    the end of that year, he'd been heralded as one of the city's rising
    producer talents. The genesis was "Mad Disrespect" - a single that
    dominated Brooklyn's underground electronic music scene from even
    before its offical release. The track was a milestone for all involved. Not
    only was it Naples' first single, but it also was the first track he'd
    recorded, period. On a whim, he sent the track to Eamon Harkin and
    Justin Carter, the founders of New York's respected Mister Saturday
    Night series. A regular at their parties but an unknown to the duo,
    Anthony caught the pair's attention with "Mad Disrespect," and ended
    up as the cornerstone of label's inaugural release: the Mad Disrespect
    EP.


    Anthony's music caught the ear of a number of people that summer,
    none more important than Kieran Hebden, aka Four Tet, who
    commissioned Anthony to remix his single "128 Harps" - again,
    Anthony's first remix at that point. From there on, things sped up. He
    followed "Mad Disrespect" with a series of 12" released on a veritable
    who's who of influential labels: Scotland's respected Rubadub label,
    Four Tet's Text Records, Opal Tapes - all of which culminated in El
    Portal, his EP for Will Bankhead's Trilogy Tapes imprint. Along the way,
    he was invited to open for Four Tet at London's Fabric and invited to
    play Berlin's prestigious Panorama Bar.\


    And now, a little over two years later, comes Body Pill, Anthony Naples
    debut full-length for Text Records. As Anthony tells it, the title comes
    from a mangled English translation that caught his eye in a Japanese
    vending machine. "When I ran the title past Kieran, and he said it just
    sounded like a lost rave classic, but I thought in the end it makes
    sense. The LP is a small dose of synthetic noises and rhythms."
    Naples says. Stylistically, the album draws inspiration from the city that
    gave Anthony his start: New York. "I wanted to make a streetwise
    record that was also solid and simple, like a brick or those weird
    fluorescent light tubes in the subway. They give off this weird hum that
    you hear only when you're alone in the station between trains late at
    night. I wanted to make a record that evoked that experience."


    Body Pill is a surprising album for Anthony, his most understated and
    mature release to date. Body Pill opens with a wall of ambient noise on
    "Ris," only to be overtaken by a modest synth groove. Ambient noise
    washes over and eventually overtakes tracks like "Way Stone" and
    "Pale" later on in the record. But that's not to say there aren't echoes of
    Naples' work for Mister Saturday Night lurking throughout the record.
    "Abrazo" feels like the natural companion to Anthony's earlier singles,
    with elegant strings mingling with a deconstructed house-inspired beat.
    "Used to Be" is arguably Anthony's largest beat to date whose rolling
    hi-hats counterbalance the track's stabbing synths. The album's closer
    "Miles" abruptly morphs from a lo-fi house anthem into a surprisingly
    minimal synth soundscape, a microcosm of the record as a whole.

    1. Ris
    2. Abrazo
    3. Changes
    4. Way Stone
    5. Refugio
    6. Pale
    7. Used to Be
    8. Miles
    Anthony Naples
    $19.99
    Vinyl LP - Sealed Buy Now
  • Dormarion Dormarion Quick View

    $18.99
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    Dormarion

    Telekinesis is both a band and a person. Now a grizzled and wizened 26 year old, Michael Benjamin Lerner has recorded his third album, Dormarion. The record is, in ways both practical and profound, the sound of a man figuring out exactly who he is. Also, it's a total fucking hoot. Lerner originally intended to record the album completely on his own. Instead, he made the record in two weeks with Spoon drummer Jim Eno in his Austin, TX studio, Public Hi-Fi. On Dormarion Lane, to be specific. "It's a beautiful-sounding word, and if you Google it, nothing but this one tiny street comes up," says Lerner. "No origin, no description. I can't tell you what the word means. It's like something from Lost."
    1. Power Lines
    2. Empathetic People
    3. Ghosts and Creatures
    4. Wires
    5. Lean on Me
    6. Symphony
    7. Dark to Light
    8. Little Hill
    9. Ever True
    10. Island #4
    11. Laissez-faire
    12. You Take It Slowly
    Telekinesis
    $18.99
    Vinyl LP - Sealed Buy Now
  • That's The Way It Is (Awaiting Repress) That's The Way It Is (Awaiting Repress) Quick View

    $29.99
    Buy Now
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    That's The Way It Is (Awaiting Repress)

    First Time 180 Gram Audiophile Soundtrack Vinyl & Gatefold Cover Presentation!


    Mastered Impeccably By Joe Reagoso And Manufactured At R.T.I.


    Elvis Aaron Presley was born during The Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known.


    The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long term deal, forever etching "The King Of Rock And Roll" trademark to his name. In 1970 after a plethora of chart topping albums and a bevy of number one singles, Elvis Presley continued to build his marquee value even further while starring in a staggering amount of feature motion pictures. More incredible fame followed as the That's The Way It Is movie starring Elvis Presley became another box office hit for the King. The 70's epic documentary captured Elvis's first concert tour in over a decade, as the brilliant soundtrack album recorded live in Las Vegas and in RCA Studios, Nashville, was also was a blockbuster as it rose to the upper rungs of the album charts, making this his 40th hit album in a row! Both the That's The Way It Is movie and soundtrack LP truly proved once again that his career was unlike any other in music history.


    Filled with more winners than in a Las Vegas casino, That's The Way It Is takes off with several smashes in a row, including the classic I Just Can't Help Believin' which became a UK smash, plus the definitive hit single version of You Don't Have to Say You Love Me plus an LP live only version of the killer rocker Patch It Up featuring James Burton's trail blazing guitar work. More soundtrack treasures follow with the beautiful ballads I've Lost You and Mary in the Morning. The album also features his stellar rendition of You've Lost That Lovin' Feelin' featuring the vocals of The Sweet Inspirations as well as the superlative Simon & Garfunkel interpretation of Bridge Over Troubled Water. In total, the album showcases 12 very important Elvis Presley recordings which have truly gone on to become international classics.


    In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the first time 180 Gram Audiophile Soundtrack Vinyl release of the RCA Victor classic That's The Way It Is by Elvis Presley. As another classic installment in our exciting Elvis Presley 180 Gram Audiophile Vinyl Series, we are very pleased to present this masterwork in all its true stereophonic hi-fi glory. Mastered impeccably by Joe Reagoso at Friday Music Studios and manufactured at R.T.I., That's The Way It Is will be a much anticipated audiophile dream release for Elvis fans everywhere Especially during the celebration of his birthday month!


    For this exclusive anniversary presentation, we are also including the first time ever gatefold artwork which includes the groundbreaking original LP cover elements from this historic Elvis Presley era. We are also enclosing a poly bag to protect your album cover and poly lined inner
    sleeve to help keep your Elvis vinyl in mint shape.
    Elvis Presley's That's The Way It Is A history making rock soundtrack album from a historic legend, an original stereophonic audiophile
    dream release first time gatefold cover is now an audiophile Anniversary vinyl dream come true From your friends at Friday Music Stay
    tuned for more Elvis Presley original RCA Record audiophile recordings from Friday Music.

    1. I Just Can't Help Believin'
    2. Twenty Days and Twenty Nights
    3. How the Web Was Woven
    4. Patch It Up
    5. Mary in the Morning
    6. You Don't Have to Say You Love Me
    7. You've Lost That Lovin' Feelin'
    8. I've Lost You
    9. Just Pretend
    10. Stranger in the Crowd
    11. The Next Step Is Love
    12. Bridge Over Troubled Water
    Elvis Presley
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
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