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Earth Vs The PipettesIn their first incarnation, donning polka dot dresses and referencing the girl groups of the late '50s in the heyday of skinny tie indie music, The Pipettes had remarkable success. A Top 10 album in Japan where the single Pull Shapes was only kept off the #1 spot by J-Lo, Top 10 radio positions all across Europe, two Top Forty hits in the U.K. and a Top Ten in the U.S. billboard indies. They played on the main stages at Reading and Glastonbury and sold a heap of records.
Since then they've been working on their new album with the legendary Martin Rushent, producer of The Stranglers, The Buzzcocks, Shirley Bassey, and, most famously, The Human League's Dare. Now the polka-dot dresses have been swapped for alien chic, and The Pipettes have emerged as a two-girl fronted, six-piece pop band. Earth vs. The Pipettes is chockfull of classic influences and killer pop songs, knocked out by a bunch of pop theorists from Brighton, a pair of golden voices from the valleys and a hibernating genius of a producer. Once again The Pipettes are ready to use the past to trail blaze into the future!1. Call Me
2. Aint No Talking
3. Thank You
4. Need a Little Time
6. I Always Planned to Stay
7. Stop the Music
8. I Vibe U
9. Our Love Was Saved By Spacemen
10. Finding My Way
11. Captain Rhythm
12. From Today$21.99Vinyl LP - Sealed Buy Now
Lovely And Alive (Speakers Corner)
Singing actors and actresses do not always cut a good figure on the silver screen; play-acting singers, however, are all the better when they draw attention to themselves with great vocals. As did Lena Horne in the days of the black-and-white film, who, with her sultry, versatile voice, was constantly employed by Hollywood. Although she occasionally ventured into the world of jazz, and made music with Teddy Wilson and Benny Carter, she never forayed into the wide world of improvisation. Her musical home was in the American Songbook, which she approached with a natural and entertaining manner. A good example of this is the first number here - the Cole Porter classic I Concentrate On You, which swings along to the perfectly recorded big-band sound of the Marty Paich Orchestra. A surprise element is the extensive palette of vocal sound-colouring with which the diva enhances her voice to achieve the drama of a Shirley Bassey or the dusky depths of a Dinah Washington. Each and every number on this Grammy-worthy album has been thought out in great detail and guarantees sophisticated entertainment, and a hint of West Coast jazz is perceptible when Jack Sheldon treats us to the sound of his warm and dark trumpet solos.
Production: Dick Peirce
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. I Concentrate On You
2. I Get The Blues When It Rains
3. I've Grown Accustomed To His Face
4. I Got Rhythm
5. I'm Confessin' (That I Love You)
6. I Want To Be Happy
7. I Surrender, Dear
8. I Found A New Baby
9. I Understand
10. I Let A Song Go Out Of My Head
11. I Ain't Got Nobody (And Nobody Cares For Me)
12. I Only Have Eyes For You$34.99180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
Diamonds Are Forever2015 is a big year for Bond, James Bond with the late Fall release of Spectre, the latest installment of this mega successful film franchise and brand. The seventh Bond soundtrack, Diamonds Are Forever features score by John Barry and the title song is performed by the legendary Dame Shirley Bassey.1. Diamonds Are Forever
2. Bond Meets Bambi And Thumper
3. Moon Buggy Ride
4. Circus, Circus
5. Death At The Whyte House
6. Diamonds Are Forever
7. Diamonds Are Forever
8. Bond Smells A Rat
9. Tiffany Case
10. 007 And Counting
11. Q's Trick
12. To Hell With Blofeld$24.99Vinyl LP - Sealed Buy Now
James Bond: Goldfinger SoundtrackMusic Composed by John Barry and Vocals by Shirley Bassey!
This is the first of three James Bond films with a theme song sung by Shirley Bassey, whose forceful, dramatic style became a series trademark (she would go on to sing Diamonds Are Forever and Moonraker). Goldfinger was composed by John Barry, with lyrics by Anthony Newley and Leslie Bricusse, and is widely acknowledged as a classic of its genre. Famously, co-producer Harry Saltzman hated the song and only agreed to use it when persuaded by Albert Broccoli.
Originally, Newley recorded a version of the theme song, but it was later re-recorded with Bassey's voice for the film and soundtrack album. In 1992, Newley's version was released for the 30th Anniversary of James Bond on film, in the compilation collectors edition The Best of Bond...James Bond.
The score was composed by Barry, making this his second, credited Bond score. The score makes regular use of instrumental arrangements of the title theme, as well as the Bond theme from Dr. No used in the gun barrel sequence . The score makes heavy use of brass. The distinctive music for Goldfinger's henchman, Oddjob, makes use of repeated strokes on a metallic anvil. Metallic chimes are also heard in many scenes associated with Oddjob or gold, notably that in which the dead golden girl is discovered. The very effective use of music and various sound effects in the film won it an Academy Award for Best Sound Editing. The album reached No. 1 on the Billboard 200, and spent 70 total weeks on the chart.1. Main Title - Into Miami - Goldfinger
2. Alpine Drive - Auric's Factory
3. Oddjob's Pressing Engagement
4. Bond Back In Action Again
5. Teasing the Korean
6. Gassing the Gangsters
7. Goldfinger (instrumental)
8. Dawn Raid on Fort Knox
9. The Arrival of the Bomb and Count Down$24.99Vinyl LP - Sealed Buy Now