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  • Beethoven: Sonatas Nos. 30-32 (Speakers Corner) (Awaiting Repress) Beethoven: Sonatas Nos. 30-32 (Speakers Corner) (Awaiting Repress) Quick View

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    Beethoven: Sonatas Nos. 30-32 (Speakers Corner) (Awaiting Repress)

    Ludwig van Beethoven: Piano Sonatas No. 30 in E major op. 109, No. 31 in A-flat major op. 110, No. 32 in C minor op. 111


    Myths abound when it comes to the late works of important composers. It is debatable as to whether this is due to their timelessness, or their often extensive form, which makes great demands on the listener, or simply the supreme skill with regard to the composer's own musical language, which is demonstrated in mature works. It is commonly understood that a performer of late works should treat them with due respect and possess an exceptional command of his instrument. But not so with Glenn Gould, who at the tender age of 23, shortly after his recording debut for the Columbia label of Bach's Goldberg Variations, dared to perform Beethoven's last three Piano Sonatas.


    Gould, as always analytical, yet supremely flowing, carves out the tightly-knit contrapuntal structure of the fast movements. The slow movements are finely perceived though free of contemplative sentiment and waft gently through the air, here somewhat drily dabbed at, then again singing and full of round, melodious piano sound. Bar for bar it is noticeable that the young Gould knows exactly what he is doing and with whom he is dealing. Here in the hands of this young maestro Beethoven's spirit is certainly compelling and intoxicating.

    Musicians:



    • Ludwig van Beethoven (composer)

    • Glenn Gould (piano)




    Recording: June 1956 at Columbia 30th Street Studio, New York, by Fred Plaut in mono

    Production: Howard H. Scott




    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. Sonata No. 30 In E Major, Op. 109 - Vivace, Ma Non Troppo, Sempre Legato
    2. Sonata No. 30 In E Major, Op. 109 - Prestissimo
    3. Sonata No. 30 In E Major, Op. 109 - Andante Molto Cantabile Ed Espressivo; Variations I-VI
    4. Sonata No. 31 In A-Flat Major, Op. 110 - Moderato Cantabile Molto Espressivo
    5. Sonata No. 31 In A-Flat Major, Op. 110 - Allegro Molto
    6. Sonata No. 31 In A-Flat Major, Op. 110 - Adagio No Non Troppo (Beginning)
    7. Sonata No. 31 In A-Flat Major, Op. 110 - Fuga (Conclusion)
    8. Sonata No. 32 In C Minor, Op. 111 - Maestoso; Allegro Con Brio Ed Appassionato
    9. Sonata No. 32 In C Minor, Op. 111 - Arietta (Adagio Molto Semplice E Cantabile)
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Sky 30 CineMag 1:15/1:30 Sky 30 CineMag 1:15/1:30 Quick View

    $1,250.00
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    Sky 30 CineMag 1:15/1:30

    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.


    Ultra High quality laminations, lower inductance and superior sound. These transformers were especially designed and tested with several low-output moving coil cartridges. These are very difficult transformers to construct and require a precision manufacturing process that can only be done by David Geren at CineMag. The same construction techniques are used as in the 1131, except that the inductance of the SKY 30 is even lower due to the lower step up ratios.


    Hand Crafted, Moving Coil (MC) Cartridge Step-up Transformer (SUT) built with new CineMag SKY 30 (Blue Version) Transformers and gold plated hardware in a hand polished black powder coated cast-aluminum enclosure. All lettering is laser etched. Included are 2 switches: high/low gain and ground/lift.


    Includes premium construction with C&K Brand Silver contact toggle switches, and Deluxe Gold Plated RCA jacks.


    These specially designed transformers are wired to connect a moving coil cartridge (on a turntable) to a phono preamplifier, phono input of a receiver, or your preamp's phono input.


    Switchable for 1:15 (24 dB gain) or 1:30 (30 dB gain).


    Into a standard 47k phono preamp, the effective input impedance of the low gain (1:15 ratio) is 209 ohms. At 1:30, the effective input impedance is 52 ohms.


    The 1:30 ratio is perfect for most low output cartridges.


    Construction Techniques:

    All connections are Resistance soldered using the American Beauty system which avoids heat damage to the delicate insulation on the hair-like wires of the transformers. Test equipment is very low current to avoid saturating the transformer cores. You can count on a premier product that is state-of-the-art.


    This unit includes a grounding post that can be used to connect your turntable ground and your preamplifier ground. It also includes a ground lift switch. In all modes, the transformer cases and faraday shield internal to the transformers are connected to the ground screw. In the ground mode, the phono system minus sides (negative sides) are connected to the grounding lug. This configuration works well for those systems where the turntable ground is connected to the negative leads coming from the phono cartridge or where the negative inputs to the preamp are internally connected to ground. In the lift mode, none of the conductors in the RCA jacks are connected to the case, ground, or shield and there is no electrical connection between channels. This design allows you much flexibility to mitigate for ground loops regardless of the configuration of your other equipment.


    This item is not eligible for discount.

    Bob's Devices
    $1,250.00
    Sky 30 CineMag 1:15/1:30 Buy Now
  • Empty Sky Empty Sky Quick View

    $24.99
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    Empty Sky

    Empty Sky is the debut studio album by British singer-songwriter Elton John, originally released on June 6, 1969. It would not be released in the United States until January of 1975 (on MCA), with different cover art, well after John's fame had been established internationally.
    1. Empty Sky
    2. Val-Hala
    3. Western Ford Gateway
    4. Hymn 2000
    5. Lady What's Tomorrow
    6. Sails
    7. The Scaffold
    8. Skyline Pigeon
    9. Gulliver / Hay Chewed / Reprise
    Elton John
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sand In The Sky Sand In The Sky Quick View

    $17.99
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    Sand In The Sky

    Santa Cruz, CA-based reggae-rock-metal band THE EXPENDABLES will kick start 2015 with the release of their sixth full-length studio album SAND IN THE SKY.


    SAND IN THE SKY-mixed by Butthole Surfer guitarist and legendary producer Paul Leary (Sublime, Slightly Stoopid, U2, Weezer) and co-produced by THE EXPENDABLES and Gordon Brislawn (who was a co-producer on their Getting' Filthy album)-features the new song "Starry Night." SAND IN THE SKY marks the follow up to their 2010 full-length album Prove It (Stoopid Records), which debuted at #4 on Billboard's Heatseekers Chart and #30 on the Independent Chart, and 2012's acoustic album Gone Soft.


    "We are beyond excited to finally release Sand In the Sky," the band shares. "We know our fans have been waiting for new music and we can't wait for everyone to hear it!


    THE EXPENDABLES is Geoff Weers (guitar/vocals), Adam Patterson (drums/vocals), Raul Bianchi (lead guitar) and Ryan DeMars (bass).

    1. Starry Night
    2. Music Move Me
    3. Anti Social
    4. We Are the Fire
    5. Up All Night
    6. That Spark
    7. Weather Man
    8. Take Me
    9. Zombies In America
    10. Nothing I Wouldn't Do
    11. Black Heart
    12. Stereo
    The Expendables
    $17.99
    Vinyl LP - Sealed Buy Now
  • Sometimes Just the Sky Sometimes Just the Sky Quick View

    $24.99
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    Sometimes Just the Sky


    Mary Chapin Carpenter's anticipated new album, Sometimes Just The Sky, is a celebration of her acclaimed 30-year recording career. The landmark record features new versions of some of Carpenter's most beloved songs as well as one newly written song, which became the title track. Produced by Ethan Johns (Ryan Adams, Paul McCartney, Ray LaMontagne), the 13-track album was recorded entirely live at Peter Gabriel's Real World Studios outside Bath, England. Over the course of her celebrated career, Carpenter has sold over 14 million records.
    1. Heroes and Heroines
    2. What Does It Mean To Travel
    3. I Have A Need For Solitude
    4. One Small Heart
    5. The Moon and St. Christopher
    6. Superman
    7. Naked To The Eye
    8. Rhythm Of The Blues
    9. This Is Love
    10. Jericho
    11. The Calling
    12. This Shirt
    13. Sometimes Just The Sky
    Mary Chapin Carpenter
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Sky (Or The Underground) (Discontinued) The Sky (Or The Underground) (Discontinued) Quick View

    $11.99
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    The Sky (Or The Underground) (Discontinued)

    Mean Creek's new release, The Sky (Or The Underground) is a valiant, dynamic effort to resurrect Boston's relevance back to a time when bands like the Pixies, the Lemonheads and Buffalo Tom reigned supreme. Recorded by Chris McLaughlin (Aberdeen City) at Chelsea Studios in Chelsea, Massachusetts, the album combines the gritty, blue collar-rock of bands like Echo & the Bunnymen and the Replacements with the boy/girl harmonies of Rilo Kiley and the New Pornographers.
    1. The Sky (Or The Underground)
    2. Face Of The Earth
    3. Beg & Plead
    4. Light Into Dark
    5. Strange Men
    6. Not To Dream
    7. Radio Drought
    8. It's Good To Be Back Again
    9. The Patient
    10. Wild Beasts
    Mean Creek
    $11.99
    Vinyl LP - Sealed Buy Now
  • A Blaze In The Northern Sky (Picture Disc) (Awaiting Repress) A Blaze In The Northern Sky (Picture Disc) (Awaiting Repress) Quick View

    $28.99
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    A Blaze In The Northern Sky (Picture Disc) (Awaiting Repress)

    Limited Edition Picture Disc


    A 2017 limited edition picture disc vinyl of Darkthrone's classic A Blaze in the Northern Sky' released to coincide with the 30th anniversary of both the band and the Peaceville label.


    A Blaze In The Northern Sky, Darkthrone's second album, was originally released in 1992 and was without question a significant blueprint for the Black Metal scene, spearheading the evolution of the early second wave movement in Norway and beyond. It was hailed on release as an album of true scene-shifting greatness, following the band's more Death Metal orientated debut, Soulside Journey.


    The iconic cover image is set in a special cut-out sleeve.

    1. Kathaarian Life Code
    2. In The Shadow Of The Horns
    3. Paragon Belial

    4. Where Cold Winds Blow

    5. A Blaze In The Northern Sky

    6. The Pagan Winter
    Darkthrone
    $28.99
    Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
  • Ring Ring Quick View

    $15.99
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    Ring

    Delicate Cutters return in 2012 with Ring, their third album overall and second for Skybucket Records.



    Not a revivalist outfit, not a gimmick band peddling an image as identity, Delicate Cutters are a band from the American South. Theirs is a music about the remarkable and mundane moments comprising a human existence. About the connective tissue found between them.



    For the follow-up to their heralded 2011 release Some Creatures, Delicate Cutters opted to forgo the home studio for the first time. Recording at Ol Elegante Studio under the guidance of Lester Nuby III (Verbena, Vulture Whale, Maria Taylor, Wooden Wand) Delicate Cutters have delivered their most focused and dynamic recordings to date.



    From the deep country haunt of Where the Cottonmouths Hung, the manic turn of Tilt-A-Whirl, to the slow burn of New Life and strung out revelations of Resurrection Fern, Delicate Cutters emerge as a band in full command of its voice and fearless in using it.

    1. Where the Cottonmouths Hung

    2. Whenever U R Broken

    3. Tilt-A-Whirl

    4. Warm Day in April

    5. Precious Stone

    6. You Want Her

    7. Rattling from Our Cages

    8. New Life

    9. Backup Plan

    10. Resurrection Fern
    Delicate Cutters
    $15.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Avery County, I'm Bound To You Avery County, I'm Bound To You Quick View

    $14.99
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    Avery County, I'm Bound To You

    ...The music on "Avery County, I'm Bound To You" was played by a fantastic and diverse group of characters. The rhythm
    section is Matt Weiner (Blue4Trio, Hot Club Of Cowtown) on upright and electric bass and Dan Peters (Mudhoney,
    Screaming Trees, Nirvana .briefly) on drums.


    The horn and woodwind section were made up of Hans Teuber (Bill Frisell, Wayne Horvitz, Ani Difranco) and Steve
    Moore (Jim White, Earth, sunn0))), Laura Veirs). These two multi-instrumentalists covered a lot of sonic territory with
    flute, piccolo, alto flute, clarinet, trombone, Wurlitzer and Hammond Organ.

    And we did our best to keep our roots with a few local Folk and Old Time players: Charlie Beck on banjo, Nova Devonie
    on accordion, and Jakob Breitbach on fiddle.


    The production team was veteran producer Martin Feveyear (Mark Lanegan, Jesse Sykes, Hey Marseilles, Mudhoney,
    etc) and Matt Weiner who produced my 2010 release, Together You and I...


    - Barton Carroll, July 1, 2013

    1. The Straight Mile
    2. It Had To Be a Train
    3. Laveda
    4. The Beech Mountain Waltz
    5. Pauline
    6. What a Picture Is
    7. Mama's Making Something On the Loom
    8. Every Little Bit Hurts
    9. The Saviors of the World
    10. Avery County, I'm Bound To You
    Barton Carroll
    $14.99
    Vinyl LP - Sealed Buy Now
  • Silver Apples Silver Apples Quick View

    $27.99
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    Silver Apples


    New 24 Bit /96 kHz Transfer Taken From The Original Master Tapes


    Deluxe Silver Foil Jacket (Tip-On)


    Limited Blue Sky Colored Vinyl


    Formed in 1967 as a psychedelic electronic duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk), Silver Apples quickly gained a reputations New York's leading underground musical expression.


    Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would become "Krautrock."


    Silver Apples was released in 1968 and still remains an innovative and revolutionary album. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more.


    The first remarkable trait of Lazy Smoke's sound is the lead vocal's similarity to John Lennon. Upon digging just a little deeper below the surface, we instead find a darker tone and a patient, eerie feeling resonating through the songs.


    While bands like The Beatles and Love were singing about love, lament and hallucinated travel experiences, the songs on Corridor of Faces get sincerely dark right away.


    Even the seemingly-light teenage love-themed "Sarah Saturday" shares an undercurrent of on-the-edge uncertainty. It's this undercurrent that calls to mind comparisons to Forever Changes era Love. Originally privately pressed in MA in an edition of only 500 copies in 1968. Now repressed again in 2016 on Blue Sky Colored Vinyl.

    1. Oscillations
    2. Seagreen Serenades
    3. Lovefingers
    4. Program
    5. Velvet Cave
    6. Whirly-Bird
    7. Dust
    8. Dancing Gods
    9. Misty Mountain
    Silver Apples
    $27.99
    Colored Vinyl LP - Sealed Buy Now
  • Life Dollars Life Dollars Quick View

    $24.99
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    Life Dollars

    Big Search is the ever-present alter ego of Matt Popieluch as he continues to make his way through Californian life, channeling the cross-currents of romance, upheaval, and casual adventure.


    After over a decade of making music in various bands like Foreign Born and The Cave-Ins, and assisting in bands Papercuts, Fools Gold, Glasser, Cass McCombs, Taken By Trees and Sky Ferreira, Big Search has been steadily uncovering the music being revealed to him in flow-states. After two albums and a number of singles, Please Do Not Explain was included on the first compilation from Danger Mouse's new imprint 30th Century Records and the label will now be releasing the full album Life Dollars.


    *Life Dollars are accrued by attending matinees and barbecues, taking stoned naps, water sports, romantic escape and all the other things you think you haven't earned. In opposition to the monetizing of self worth, Life Dollars can not be measured by numbers, only vague piles.

    1. Please Do Not Explain
    2. Distant Shore
    3. Can't Understand The News
    4. Dream of Returning
    5. The Only One
    6. Don't Change My Eyes
    7. Anna, Don't Go
    8. I Feel Good
    9. Warm Machine
    10. Look My Way
    Big Search
    $24.99
    Vinyl LP - Sealed Buy Now
  • Inventions Inventions Quick View

    $19.99
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    Inventions

    Inventions is the new band formed by longtime friends,
    tourmates, and labelmates Matthew Cooper of Eluvium, and
    Mark T. Smith of Explosions In The Sky. There are plenty of
    talking points here: The fact that Cooper hasn't been in a
    "band" of any sort since he was a teenager; no member of
    Explosions In The Sky has released an album outside of the
    context of EITS since their inception in the late 90s; and, of
    course, this is a dream duo for anyone familiar with the
    unparalleled emotional resonance of Cooper and Smith's
    respective day jobs. However, thirty seconds into their
    eponymous debut album, you realize that the esteemed
    pedigree is irrelevant. Inventions exceeds all expectations by
    discarding them from the get-go. They have created their own
    tiny, wondrous corner of the world, one with ever-changing
    sounds and colors.


    Inventions began in earnest last year when Cooper invited
    Smith to collaborate on a song for Eluvium's otherworldly
    double-album, Nightmare Ending. The track, "Envenom Mettle",
    was a standout on an album full of them, and just like that a
    longstanding friendship blossomed into a full-fledged creative
    partnership. The following six months the duo continued to
    send audio files back and forth to each other from their
    respective homes in Portland, Oregon and Austin, Texas. The
    collaboration proved fruitful, inspiring, and truly enjoyable from
    the outset, and in less than a year they had amassed more than
    an album's worth of material. They traveled together to a
    secluded beach house on the Oregon coast to complete the
    album, an environment that proved not only highly productive
    but also clearly influential on the album's windswept beauty and
    warm vibrations. Across eight songs the duo explore the
    delicate and disturbing - and virtually everything in-between -
    with majestic abandon. It's the kind of beauty and brilliance that
    only masters of their craft can accomplish when all egos and
    expectations are cast aside in pursuit of the splendor of sound.

    1. Echo Tropism
    2. Flood Poems
    3. Entity
    4. Luminous Insects
    5. Peaceable Child
    6. Sun Locations / Sun Coda
    7. Recipient
    8. Psychic Automation
    Inventions
    $19.99
    Vinyl LP - Sealed Buy Now
  • Imaginary Cities Imaginary Cities Quick View

    $25.99
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    Imaginary Cities


    Chris Potter: tenor and soprano saxophones, bass clarinet

    Adam Rogers: guitars

    Craig Taborn: piano

    Steve Nelson: vibraphone, marimba

    Fima Ephron: bass guitar

    Scott Colley: double bass

    Nate Smith: drums

    Mark Feldman: violin

    Joyce Hammann: violin

    Lois Martin: viola

    Dave Eggar: cello


    Imaginary Cities is the recording premiere of saxophonist Chris Potter s new Underground Orchestra. At the core of this larger ensemble is the personnel of his long-established Underground quartet with Adam Rogers, Craig Taborn and Nate Smith now joined by two bassists, a string quartet, and Potter s old comrade from Dave Holland Quintet days, vibes and marimba man Steve Nelson. The title composition is a suite, panoramic in its reach, with movements subtitled Compassion , Dualities , Disintegration and Rebuilding . The scope of the work, and its contrasting moods and thematic development, inspire some of Potter s finest playing. His saxes fly high above his idealized cityscapes or launch into dialogues or group improvising with its gifted inhabitants. Four further pieces Lament , Firefly , Sky and Shadow Self extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of the orchestra. References are multi-idiomatic and multicultural, and Potter, who counts Charlie Parker with Strings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well as contemporary composition, when shaping this material. Imaginary Cities was recorded in December 2013 in New York s Avatar Studio and produced by Manfred Eicher. Release of the album is followed by US performances with the Underground Orchestra in New York and San Francisco.

    1. Lament
    2. Imaginary Cities (Pt. 1, Compassion)
    3. Imaginary Cities (Pt. 2, Dualities)
    4. Imaginary Cities (Pt. 3, (Disintegration)
    5. Imaginary Cities (Pt. 4, Rebuilding)
    6. Firefly
    7. Shadow Self
    8. Sky
    Chris Potter, Underground Orchestra
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Ten Ten Quick View

    $34.99
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    Ten

    Ranked 207/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Ten, the debut album that sold 12 million copies and introduced the world to Pearl Jam in 1991, is now being reissued in four new and expanded editions. The reissue of Ten serves as the launch of a planned two-year catalog re-release campaign leading up to the bands 20th anniversary in 2011.


    This edition of Ten is packaged on two vinyl LPs and includes two versions of the album: the remastered version of the original album plus an accompanying remixed version done by the bands long-time producer, Brendan OBrien (Bruce Springsteen, AC/DC, Audioslave).


    The band loved the original mix of Ten, but were also interested in what it would sound like if I were to deconstruct and remix it, says producer Brendan OBrien. The original Ten sound is what millions of people bought, dug and loved, so I was initially hesitant to mess around with that. After years of persistent nudging from the band, I was able to wrap my head around the idea of offering it as a companion piece to the original, giving a fresh take on it, a more direct sound.


    Pearl Jam bassist Jeff Ament, who served as the art director for the original Ten packaging, reprised his role for the reissues collaborating with designer, Andy Fischer, of Cameron Crowes Vinyl Films (Into the Wild soundtrack LP, Vanilla Sky soundtrack LP, Harold and Maude anniversary edition soundtrack LP). The goal was to assemble the ultimate fan-piece, explains Fischer. Something Pearl Jam lovers could pore over as they experience an indelible record all over again, in an entirely new way.


    Pearl Jam originally released Ten on August 27, 1991. The album reached #2 on the Billboard 200 chart, sold over 12 million copies and became one of the cultural touchstones of the '90s. Songs such as Alive, Black, Even Flow and Jeremy became staples of rock radio, and still make frequent appearances on the bands ever-changing concert setlists. The album was produced by Rick Parasher. Pearl Jams 1991 lineup was Jeff Ament (bass), Stone Gossard (guitar), Dave Krusen (drums), Mike McCready (guitar) and Eddie Vedder (vocals).

    LP 1: Original Ten Tracklisting Remastered for Vinyl


    1. Once
    2. Even Flow
    3. Alive
    4. Why Go
    5. Black
    6. Jeremy
    7. Oceans
    8. Porch
    9. Garden
    10. Deep
    11. Release


    LP 2: Original Ten Tracklisting Remastered for Vinyl and Remixed by Brendan OBrien


    1. Once
    2. Even Flow
    3. Alive
    4. Why Go
    5. Black
    6. Jeremy
    7. Oceans
    8. Porch
    9. Garden
    10. Deep
    11. Release

    Pearl Jam
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress) Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress) Quick View

    $28.99
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    Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress)

    Pressed On Clear Pink & Clear Blue Vinyl


    With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.


    Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.


    Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.


    Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.


    "In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."


    Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."


    Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.


    Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."


    Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.


    Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."


    Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."


    Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.


    "I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."

    LP 1
    1. Intro
    2. Midnight City
    3. Reunion
    4. Where The Boats Go
    5. Wait
    6. Raconte moi une histoire
    7. A Train To Pluton
    8. Claudia Lewis
    9. This Bright Flash
    10. When Will You Come Home?
    11. Soon, My Friend


    LP 2
    1. My Tears Are Becoming A Sea
    2. New Map
    3. OK Pal
    4. Another Wave From You
    5. Splendor
    6. Year One, One UFO
    7. Fountains
    8. Steve McQueen
    9. Echoes Of Mine
    10. Klaus I love You
    11. Outro

    M83
    $28.99
    Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Titan: It's All Pop! Titan: It's All Pop! Quick View

    $61.99
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    Titan: It's All Pop!

    From 1978-1981 the Titan label issued only eight records, but over the years their tiny catalog has crawled to the top of power-pop want lists worldwide and appeared on scads of bootleg cassettes, building a legacy to rival L.A.s Bomp or New Yorks Ork. Located in fly-over country, Titan was forced to start their own scene, import their own skinny ties, and scour Missouri for their own talent.


    Their midwest AM bubblegum roots are apparent in the likes of Gary Charlson, the Secrets*, Arlis!, Gems, Millionaire At Midnight, the Boys, J.P. McClain & the Intruders, Bobby Sky, and Scott McCarl, but Titan was clearly influenced by the glam-punk spit being hocked from the 100 Club stage.


    30 years since they meekly flopped out their first 7 single, Kansas Citys Titan Records finally returns to record bins everywhere with the 4-LP retrospective, Titan: It's All Pop!

    1. It's Your Heart Tonight - The Secrets

    2. Please Change Your Mind - The Boys
    3. Real Life Saver - Gary Charlson
    4. No Way Baby - Arlis!
    5. Coit Tower - Millionaire At Midnight
    6. We're Too Young - The Boys
    7. I Hope - Scott McCarl
    8. Save Your Money - The Gems
    9. Not The Way It Seems - Gary Charlson
    10. On A Night Like This - The Boys
    11. Just Another Pop Song - J.P. McClain & the Intruders
    12. Brown Eyes - Gary Charlson
    13. Daddy's Girl - The Secrets
    14. The Water - Bobby Sky
    15. Tell Me It's You - The Boys
    16. I Can't Take It - Arlis!
    17. Cry - The Gems
    18. Get Your Radio - The Secrets
    19. Bad Little Girl - The Boys
    20. Close Enough - Gary Charlson
    21. Good Friends - Arlis!
    22. Shark - Gary Charlson
    23. We're Dancing Again - The Boys
    24. Baby Don't Laugh - J.P. McClain & the Intruders
    25. I Wanna Be - Arlis!
    26. Radio Heart - The Secrets
    27. (Baby) It's You - The Boys
    28. Drink A Toast - Millionaire At Midnight
    29. Rock N' Roll Song - Bobby Sky
    30. Uniform - The Secrets
    31. Hold Me - The Boys
    32. Burning In You - Gary Charlson
    33. Some - The Gems
    34. Yesterdays Circles - The Boys
    35. Night School Girls - The Secrets
    36. Didn't Like It Anyway - The Gems
    37. I'll Get You Back - Arlis!
    38. I Think About You - Scott McCarl
    39. Radio City - Bobby Sky
    40. You're Bad Too - The Boys
    41. The Last Song (Dry Your Eyes) - J.P. McClain & the Intruders
    42. Goodbye Goodtimes - Gary Charlson
    43. Various Artists - It's All Pop
    Various Artists
    $61.99
    Vinyl LP - 4 LPs Sealed Buy Now
  • Homesick Homesick Quick View

    $20.99
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    Homesick

    Before digging into the steely, handcrafted technoisms of Homesick, you need to
    know a few things about Charles Du , the Bay Area artist behind Matrixxman.
    Perhaps most importantly, he is a dedicated futurist-quick to name Google's
    director of engineering, Ray Kurzweil, as a major personal inspiration, and prone to
    contemplating artificial intelligence and a true post-corporeal reality. He's also a
    voracious information junkie, soaking up government conspiracies and
    contemporary science-fiction like a proper X-Files fanatic. These cultural reference
    points are as integral to the background of Homesick as Detroit, Chicago, and
    Berlin's musical legacies. Across the record's versatile tracklist, Matrixxman uses
    the language of machines and dancefloors like a hungry pulp novelist, weaving
    together his divergent narratives and characters under one sprawling dystopian
    sky.


    If you listened to house and techno in 2014, you've undoubtedly heard the name
    Matrixxman. The guy has been on a prolific tear since debuting his project in 2013,
    having issued no fewer than 12 cold-ass futuristic releases and taken his
    genre-blurring DJ sets around the world in under two years. But his story reaches
    much further into the past: back to being a drum & bass-obsessed teenager in the
    late '90s, back to when Du 's best friend changed his life with a Juan Atkins mix
    CD in 2001, back to producing for hotly tipped MCs like Le1f, Ty Dolla Sign, and YG.
    Matrixxman is already a venerable pro with workmanlike constitution, to say the
    least, and yet his debut album has only just materialized.


    My obsession with the darker sides of humanity's exploits gone awry is secondary
    to the more important matter at heart: evolutionary transcendence, Matrixxman
    explains. And his focus on cybernetic themes shines through the music. Emergent
    AI, interplanetary travel, neuroenhancement drugs, incredible opulence
    juxtaposed with abject poverty, leaving physical form and existing as data-Homesick
    distills the concepts into thick acid lines, brawny 909 patterns, tonal contrasts,
    dynamic aesthetics, and viscous pads steeped in digital ephemera. It begins with
    Necronomicon, a massive black cloud of noxious ambience looming over our
    story, and ends on the astral mysticism of Earth Like Conditions. Yes, there is an
    arc built into Homesick, and the sci-fi epic it illustrates seizes your undivided
    attention.


    Even the tracklist speaks volumes to the record's music and narrative-from the
    enhanced motorik systems of Augmented and Network Failure's cognitive
    dissonance, to the dark hedonism in Opium Den and the drum machine violence
    that drives Switchblade. As Matrixxman says himself, The titles correlate to
    distinct, separate scenes. And those visuals just about come alive on tracks like
    Packard Plant-a whirring, windswept homage to the desolate Detroit
    landmark-or the album's haunted and distant centerpiece, Annika's Theme. Du
    is quick to share Annika's identity: She's an incredibly gifted neuroscientist,
    pursuing cutting-edge research in fields that will have a profound impact on
    humanity. But what exactly she accomplishes and where she goes is unexplained.
    Homesick outlines the cues needed to follow along, careful to leave room for us to
    fill in the details.


    Matrixxman uses his debut album to evoke visions of a not-too-distant-future with
    music made both for the dancefloor and the early morning zone-outs that follow.
    These are the real world applications of Homesick, though Du comes to it all from
    an entirely di erent mindset. We will have the technological capability to fully
    map out a human brain in its entirety within 30 years, he starts. The implications
    of such a possibility are deep and far reaching. We will be crossing a rubicon
    towards a new phase in human consciousness. I am one person that is prepared to
    take that step. Once you emerge on the other side of Homesick, it seems possible
    that Matrixxman already has.

    1. Necronomicon
    2. Augmented
    3. Red Light District
    4. Packard Plant
    5. Dejected
    6. Network Failure
    7. False Pattern Recognition
    8. Opium Den
    9. Annika's Theme
    10. HMU (Hit Me Up) feat. Vin Sol
    11. Switchblade
    12. Earth Like Conditions
    Matrixxman
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pithecanthropus Erectus (Speakers Corner) Pithecanthropus Erectus (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Pithecanthropus Erectus (Speakers Corner)

    It was a fairly ordinary quintet that entered the Audio-Video Studios in New York City on 30 January 1956: one tenor saxophone, one alto saxophone, a pianist, a drummer and ... you guessed: an extraordinary man on the double bass! Not just an instrumentalist, but also an imaginative composer, wayfarer between all kinds of jazz, arranger and enfant terrible.


    The Suite Pithecanthropus Erectus is - among other things - programme music. Having learned to walk upright, having achieved alleged superiority over animals, and having caused devastation, the destruction of mankind's natural resources follows. The composer Mingus gives his fellow mankind/musicians the widest possible freedom, which all exploit to the full both in interplay and in the solos. Bedded down in noise and sound collages, the piece is the result of an experimental workshop. The Gershwin classic A Foggy Day takes on the role of intermediary between the jazz styles of the 1930s and free jazz. And in Profile Of Jackie and Love Chant the arranger calls for his soloists to go to the very limits of their artistic improvisation.


    Charles Mingus was certainly not an easy person to deal with for his family, friends and fellow musicians. But that fades into the background when it comes to such outstanding music. Luckily, we outsiders can once again enjoy the music of this genius 60 years after the studio recording, in its original format.


    Musicians:


    • Jackie McLean (alto saxophone)
    • J.R. Monterose (tenor saxophone)
    • Mal Waldron (piano)
    • Charlie Mingus (bass)
    • Willie Jones (drums)


    Recording: January 1956 at Audio-Video Studios, New York City by Tom Dowd & Hal Lustig in mono

    Production: Nesuhi Ertegun


    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. Pithecanthropus Erectus
    2. A Foggy Day
    3. Profile Of Jackie
    4. Love Chant
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner) Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner)

    Dmitri Shostakovich: Cello Concerto No. 1 in E-flat major op. 107; Symphony No. 1 in F minor, op. 10


    That every beginning has its magic may almost have become forgotten these days, when true world premieres of musical works are almost non-existent. But this special magic still remains in the present recording of Shostakovich's Cello Concerto No. 1, which was first heard with these artists in 1959. Shostakovich dedicated the work to his friend Mstislav Rostropovich who committed the virtuoso solo part to memory in only four days, before the concert took place. The cellist tackles the work dauntlessly right from the beginning and swirls the burlesque staccatos through space. With a lovely sound and quite in accordance with the title of the movement, Espressivo, the soloist lets the melody breathe, supported by wonderfully sonorous orchestral writing, answered by calls on the solo horn.


    The Finale makes itself heard with a robust inflection, which the soloist counters with an imperturbable steadfastness of rhythm that not only demands refinement but also playing in the top regions and double-stopped harmonics.


    That this recording is indisputably a work of reference is underlined by its coupling with the First Symphony, which is well worth listening to. Shostakovich composed this work as his graduation piece at the Leningrad Conservatory more than 30 years earlier.


    Musicians:


    • Mstislav Rostropovich and the Philadelphia Orchestra conducted by Eugene Ormandy


    Recording: November 1959 at Broadwood Hotel, Philadelphia, USA, by Stan Tonkel

    Production: Thomas Frost


    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.


    Concerto For Cello In E Flat, Op. 107
    I - Allegretto
    II - Moderato / III - Andantino - Allegro / IV - Allegro Non Troppo


    Symphony No. 1 In F Major, Op. 10
    I - Allegretto
    II - Allegro
    III - Lento
    IV - Allegro Molto

    Dmitri Shostakovitch
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Obscurities Obscurities Quick View

    $18.99
    Buy Now
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    Obscurities


    Includes Five Previously Unreleased Tracks by Stephin Merritt


    Limited to 2000 Copies


    Obscurities is a collection of Stephin Merritts (The Magnetic Fields) hard-to-find recordings dating back to his time on Merge (19941999) and prior. The 14 tracks on Obscurities, including five previously unreleased songs, were recorded prior to the release of The Magnetic Fields seminal album 69 Love Songs, which established Merritt as one of this generations most talented songwriters. Three of the unreleased tracks hail from The Song from Venus, the unfinished science fiction musical written by Merritt and Daniel Handler, aka Lemony Snicket. Also included are four songs culled from various Merge-era 7 vinyl singles by The Magnetic Fields; two from The 6ths, Merritts guest vocalist-laden side project; one from an audio book; one from the Oh, Merge compilation CD; and a track from a rare K Records cassette-only release.


    Among the tracks on Obscurities is The Song from Venus Forever and a Day, a solo-acoustic ukulele-based love song reminiscent of 69 Love Songs The Book of Love. Also included on Obscurities is The Sun and the Sea and the Sky, a previously unreleased 69 Love Songs outtake. Merritt points out: This song didnt go on 69 Love Songs because it wasnt actually about romantic love. The album concludes with You Are Not My Mother and I Want to Go Home, which originally appeared in the audio book version of Neil Gaimans Coraline, for which Merritt composed the soundtrack.

    1. Forever and a Day (previously unreleased)

    2. Rats in the Garbage of the Western World (The Magnetic Fields)
    3. I Dont Believe You (The Magnetic Fields)
    4. Plant White Roses (Buffalo Rome)
    5. Rot in the Sun (The 6ths)
    6. The Sun and the Sea and the Sky (previously unreleased)
    7. Yet Another Girl (The 6ths)
    8. Scream (TillYou Make the Scene) (previously unreleased)
    9. The Song from Venus (previously unreleased)
    10. Beach-a-Boop-Boop (The Magnetic Fields)
    11. When Im Not Looking, Youre Not There (The Magnetic Fields)
    12. Take Ecstasy with Me (The Magnetic Fields)
    13. When Youre Young and In Love (previously unreleased)
    14. You Are Not My Mother and I Want to Go Home (The Gothic Archies)
    Stephin Merritt
    $18.99
    Vinyl LP - Sealed Buy Now
  • Ben Folds Five - Live Ben Folds Five - Live Quick View

    $29.99
    Buy Now
    x

    Ben Folds Five - Live

    ImAVeePee Records/Sony Music is proud to release Ben Folds Five Live, the
    rst live album from piano-pop trio Ben Folds Five. Recorded in 2012 on their
    rst tour in more than a decade, this new set - available on CD and doublevinyl - will be the perfect prelude to the band's spot on the Last Summer on
    Earth Tour, which will see Ben Folds Five lling amphitheaters across America
    alongside Barenaked Ladies and Guster.


    For longtime fans of Ben Folds' biting, piano-based power-pop songs, the
    past two years have been full of excitement. In 2011, Folds reunited with
    bassist Robert Sledge and drummer Darren Jessee to record the rst new
    Ben Folds Five songs since 1999 for the career-spanning compilation The
    Best Imitation Of Myself: A Retrospective. Inspired by the collaborative spark
    after so many years apart, the trio reconvened in Folds' Nashville studio to
    record their fourth studio album, The Sound Of The Life Of The Mind. The
    album was an immediate hit, peaking within Billboard's Top 10 - the band's
    highest-charting release.


    Ben Folds Five consistently thrills audiences with their high energy performances, and Ben Folds Five Live captures the band in top form across four
    continents through 2012 and 2013. The band deliver powerful renditions of
    their most beloved classics like "Jackson Cannery," "Brick" and "Song For The
    Dumped" as well as new hits from The Sound Of The Life Of The Mind, including "Do It Anyway," "Draw A Crowd" and "Sky High."

    Jackson Cannery (The Wareld, San Francisco CA, 1/31/13)
    Erase Me (The Wareld, San Francisco CA, 1/31/13)
    Seless, Cold and Composed (House of Blues, Boston MA, 10/13/12)
    Uncle Walter (Kool Haus, Toronto, Ontario, Canada, 10/5/12)
    Landed (The Wareld, San Francisco CA, 1/31/13)
    Sky High (Thebarton Theatre, Adelaide AU, 11/16/12)
    One Chord Blues/Billie's Bounce (The Wiltern, Los Angeles CA 1/26/13)
    Do It Anyway/Overture-Heaven on Their Minds (O2 Academy, Brixton UK, 12/4/12)
    Brick (The Wareld, San Francisco CA, 1/31/13)
    Draw A Crowd (Capitol, Port Chester NY, 10/9/12)
    Narcolepsy (Hitomi Kinen Hall, Tokyo JP, 2/16/13)
    Underground (Mielparque Hall, Osaka JP, 2/22/13)
    Tom and Mary (O2 Academy, Brixton UK, 12/4/12)
    One Angry Dwarf and 200 Solemn Faces (The Wareld, San Francisco CA, 1/31/13)
    Song for the Dumped (Thebarton Theatre, Adelaide AU, 11/16/12)
    Ben Folds Five
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Tall Tall Shadow Tall Tall Shadow Quick View

    $16.99
    Buy Now
    x

    Tall Tall Shadow

    Tall Tall Shadow, the third album by Toronto singer-songwriter Basia Bulat, is the bravest album she has made. Raw and spectral, heartbroken, yet jubilant, these ten songs tell the story of a very hard year in the artist's life and all the love that helped her through it.


    Whereas the singer's past two LPs, including 2008's Polaris-nominated Oh, My Darling, were made in Montreal's all-analogue Hotel 2 Stango studio, Tall Tall Shadow is a more modern thing. This is a record with echo and reverb, electronic flutters and electric autoharp, voices that charge and incandesce around buzzing guitars, lonely piano and rattling percussion.


    To get to this place, Bulat co-produced the album with, Tim Kingsbury and Mark Lawson. Kingsbury, a member of Arcade Fire, can play anything and everything, she says. Lawson, who has worked on records with Akron/Family and Colin Stetson, and who won a Grammy for his work on Arcade Fire's The Suburbs, is a studio alchemist, someone who hears things hidden in songs, who is always keen to transform them.


    They started recording in Toronto, at a reverberating 60-year-old dance hall. Once again, Bulat put together a band: her brother, the punk-inclined drummer Bobby Bulat; Holly Coish on keys and backing vocals; Kingsbury and Ben Whiteley on guitars and bass. One song features Whiteley's father, the folk legend Ken Whiteley, on gospel organ. But Tall Tall Shadow isn't acoustic folk music: like Beck's Sea Change or Buckingham Nicks, chord and strum are a launch-pad for wilder sounds.


    Bulat's goal was to keep challenging herself. Promise Not to Think About Love, with shimmying bass and dancing handclaps, is the poppiest track she has ever released. It Can't Be You, played on an Andean charango, is one of the simplest. Never Let Me Go is all crescendo, a woman in a storm, and the title track reaches soaring for the sky: has there ever been a better showcase for Bulat's powerhouse voice? For her steam-train heart?


    Two months before I was due to begin recording, I suffered a deep loss, Bulat says. I kind of started over. She started; and she didn't stop.


    - Sean Michaels

    1. Tall tall shadow
    2. Five, four
    3. Promise Not To Think About
    4. It Can't Be You
    5. Wires
    6. The City With No Rivers
    7. Someone
    8. Paris or Amsterdam
    9. Never Let Me Go
    10. From Now On
    Basia Bulat
    $16.99
    Vinyl LP - Sealed Buy Now
  • Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner)

    The performance history of Beethoven's Piano Concertos is, it appears, bound up with a paradoxical situation. On the one hand, every great pianist must almost feel destined to perform these works at least once in his lifetime. But on the other hand, so many heroes of the schellac era have left future generations their excellent recordings that these are filled with awe and respect, their otherwise nimble fingers become lame - and often only a mediocre recording is the result.



    The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Benedetti Michelangeli's performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven's famous compositions and in which the pianist's amazing sensitivity penetrates even the smallest detail.



    Musicians:



    • Arturo Benedetti Michelangeli (piano)
    • The Vienna Symphonic Orchestra

    • Carlo Maria Giulini (conductor)



    Recording: September 1979 at Musikverein, Grosser Saal, Vienna by Klaus Hiemann

    Production: Cord Garben



    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.


    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sibelius Song Recital (Speakers Corner) Sibelius Song Recital (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Sibelius Song Recital (Speakers Corner)

    Jean Sibelius (1885-1957) composed songs from the beginning almost to the end of his lifetime. Shortly before his death, he arranged the piece, which closes this album, Kom nu hit, Död, and so opened a stylistic gateway to Modernity. All the songs in this collection were composed around 1900 and are filled with Late Romantic harmony, a glorious sound and emotional feeling. The song Svatar Rosor is immersed in an alternating bath of major and minor to evoke a dramatic and tragic mood, while the wonderfully colourful Den Första Kyssen, op. 37 no. 1 depicts in music a girl's dialogue with the evening star. And with Flickan kom ... op. 37 no. 5 and Var det en dröm op. 37 no. 4, a powerful vocal drama is placed alongside a lyrical gem. Of the latter work Sibelius allegedly said: »Here you are, this is my most beautiful song!

    Without a doubt, Kirsten Flagstad is the ideal singer for this repertoire. Her highly dramatic soprano voice rises monumentally over the surging orchestral sound but dims down appropriately and effortlessly in the hushed passages. Wagnerians, Strauss lovers and fans of grand romantic gesture will thoroughly enjoy this LP.




    Musicians:



    • Kirsten Flagstad (vocal)

    • Øivin Fjeldstad (conductor)






    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. Sibelius Song Recital
    Jean Sibelius
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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