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  • Toto IV (Speakers Corner) Toto IV (Speakers Corner) Quick View

    $34.99
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    Toto IV (Speakers Corner)

    Anyone who gives the dull name "Four" to their rock album must either be very sure of success or already have resigned. The group Toto may well have experienced such extremes as there was an enormous cleft between their amazing financial success and the crushing negative opinions voiced by the critics. Billboard criticised the superficial lyrics as being void of any sort of emotional weight while the Los Angeles Times aimed their fire at the musicians themselves, slamming them as dubious artists with a commercialised mentality.



    To this Toto struck back with their fourth album, which was an unparalleled success and brought them six Grammy awards. For a whole ten months Africa reigned at Number 1 on the charts and together with the super-hit Rosanna the two smash hits were a constant presence, backed up by a collection of impressive rock classics. A trip to the record shop is all that is needed to prove that this is unlikely to change in the near future. The bright red cover with its depiction of a sword will catch your eye, as though saying: It's got to be the Fourth!



    Musicians:



    • Steve Porcaro, David Paich (keyboard, vocal)

    • Steve Lukather (guitar, vocal)

    • Bobby Kimball (vocal)

    • David Hungate (bass)

    • Jeff Porcaro (drums, percussion)





    Recording: 1982 at Sunset Sound, Los Angeles, by David Leonard, Peggy McCreary & Terry Christian and Record One, Los Angeles, by Jamie Ledner, Niko Bolas & Lon LeMaster

    Production: Toto




    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. Rosanna
    2. Make Believe
    3. I Won't Hold You Back
    4. Good For You
    5. It's a Feeling
    6. Afraid Of Love
    7. Lovers In The Night
    8. We Made It
    9. Waiting For Your Love
    10. Africa

    Toto
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis' Golden Records No. 1 (Speakers Corner) Elvis' Golden Records No. 1 (Speakers Corner) Quick View

    $34.99
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    Elvis' Golden Records No. 1 (Speakers Corner)

    Have we got the lot? The King of Rock'n'Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of Golden Records, rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles. This was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can't go wrong here.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: January 1956 - September 1957 in Hollywood, New York and Nashville in mono

    Production: Steve Sholes


    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. Hound Dog
    2. Loving You
    3. All Shook Up
    4. Heartbreak Hotel
    5. Jailhouse Rock
    6. Love Me
    7. Too Much
    8. Don't Be Cruel
    9. That's When Your Heartaches Begin
    10. (Let Me Be Your) Teddy Bear
    11. Love Me Tender
    12. Treat Me Nice
    13. Anyway You Want Me (That's How I Will Be)
    14. I Want You, I Need You, I Love You
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono - Sealed Buy Now
  • Johnny Cash At San Quentin (Speakers Corner) Johnny Cash At San Quentin (Speakers Corner) Quick View

    $34.99
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    Johnny Cash At San Quentin (Speakers Corner)

    Johnny Cash was a country legend even during his lifetime, although, or perhaps because, he was very different from the numerous country singers with chequered shirts. When performing he chose to wear black as a symbol of solidarity with the oppressed and those who had no rights. His chosen outlaw image was just as convincing as the train-like boom-tiddy-boom sound of his rhythm group who lent their typical sound to many of his 500 songs.



    At the very zenith of his career, Cash (who himself had committed a few minor offenses) had the idea of singing and playing for the bad guys behind the prison walls for nothing. Initially his suggestion to market the live recording was rejected, but finally his record company decided to release the album At Folsom Prison. Fired by the success of his jailhouse recording, Columbia Records released At San Quentin shortly afterwards. The recording, in which Cash and his combo were frenetically applauded more or less at the end of each verse, exceeded all expectations. Today it is still considered by Cash fans to be the best live recording by the 'man in black'.



    Musicians:



    • Johnny Cash (vocals, guitar)

    • June Carter Cash, Carter Family (voc)

    • Bob Wootton (electric guitar)

    • Marshall Grant (bass)

    • W.S. Holland (drums)




    Recording: 24 February 1969 live at San Quentin State Prison, USA, by Neil Wilburn and Bob Breault

    Production: Bob Johnston




    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. Wanted Man
    2. Wreck Of The Old 97
    3. I Walk The Line
    4. Darlin' Companion
    5. Starkville City Jail
    6. San Quentin
    7. San Quentin
    8. A Boy Named Sue
    9. Peace In The Valley
    10. Folsom Prison Blues

    Johnny Cash
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Graduate (Speakers Corner) The Graduate (Speakers Corner) Quick View

    $34.99
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    The Graduate (Speakers Corner)

    With his film The Graduate, which was crowned with an Oscar and five Golden Globes, director Mike Nichols created far more than just the story of the erotic initiation of the college graduate Benjamin. Not only the scenario but also the production modalities were revolutionary. For the very first time the crusted morals of the American upper class were attacked by means of film, an Alfa Romeo - a European car - was advertised most effectively, and a soundtrack was put together from already existent, successful pop numbers. No words are really necessary about the music, since numbers such as Sound Of Silence, Mrs. Robinson and Scarborough Fair have entered into the annals of musical culture ever since they were used in the film. It is astounding to note how seamlessly the various works fit snugly into the film's context, as though they had been specially written for the scenes.



    This soundtrack is a monument to Dustin Hoffman, who played his first big role in the film, and it catapulted Simon & Garfunkel right to the top of the list of ballad singers. But it also recalls to memory the peppy, instrumental insertion numbers by Dave Grusin, who virtually fell into oblivion after all the hype about this provocative movie.



    Musicians:



    • Paul Simon (guitar, vocal)

    • Art Garfunkel (vocal)

    • Dave Grusin




    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.The Sound Of Silence - Simon And Garfunkel
    2. The Singleman Party Foxtrot - David Grusin
    3. Mrs. Robinson - Simon And Garfunkel
    4. Sunporch Cha-Cha-Cha - David Grusin
    5. Scarborough Fair / Canticle (Inerlude) - Simon And Garfunkel
    6. On The Strip - David Grusin
    7. April Come She Will - Simon And Garfunkel
    8. The Folks - David Grusin
    9. Scarborough Fair / Canticle - Simon And Garfunkel
    10. A Great Effect - David Grusin
    11. The Big Bright Green Pleasure Machine - Simon And Garfunkel
    12. Whew - David Grusin
    13. Mrs. Robinson - Simon And Garfunkel
    14. The Sound Of Silence - Simon And Garfunkel
    Simon & Garfunkel
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • La Folia De La Spagna (Speakers Corner) La Folia De La Spagna (Speakers Corner) Quick View

    $34.99
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    La Folia De La Spagna (Speakers Corner)

    First mentioned around 1500 in Portugal, no forms or melodies have come down to us for the Folia. Described by historians as a noisy dance which was performed by masked and disguised figures who leapt about as though they had lost their reason, a tranquil, sarabande-like form asserted itself in Europe in the early 17th century.



    GrÉgorio Paniagua, director of the Atrium Musicae de Madrid, demonstrates once again his virtuosity in his treatment of historical material. His arrangements are not confined to medieval and baroque instruments but also employ a whole arsenal of percussion, such as various small drums, triangle, tambourine, castanets and xylophone. As the title of the LP suggests, the ensemble adds spice to the airy variety of timbres with a small touch of madness here and there. Unbelievably, a jazz solo is heard which recalls the Pink Panther Theme, and the Orient is conjured up by two Indian tunes (ragas) in which the sitar chirps passionately to the powerful plop-plop-plop of tabla rhythms.



    With its high resolution sound which places a high demand on hi-fi equipment in order to get the best reproduction, this record is both cult and legend.




    Musicians:



    • The Atrium Musicae de Madrid conducted by Dr. Don GrÉgorio Paniagua Rodriguez




    Recording: June 1980 by Jean-François Pontefract

    Production: Eva Coutaz




    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. Fons vitae/Dementia praecox angelorum Supra solmamirevt

    2. Extravagans/Laurea minima/In vitro
    3. Oratio pro-folia/Fama volat Citrus - Hesperides
    4. Principalis. Fermescens/Inica exacta Adverso flumine
    5. Parsimonia aristocraciae
    6. Subtilis/De profundis - Extra muros
    7. Vulgaris - Sine populi notione Vagula et blandula
    8. Nordica et desolata/Aurea mediocritas
    9. Nobilissima/Degradans et corruptae
    10. De pastoribus/Mathematica dies irae /Crepuscularis/Sine nomine/Tristis est anima mea/Equites fortis armaturae/Audaces fortuna juvat/Sine praeputium/Ecclesiastica
    11. Theatralis et hipocritae/Ruralis Alter indica perfecta
    12. De Tolerentia aetherea/Fuga ficta et carrus triumphalis
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner) Quick View

    $34.99
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    Rodrigo - Concierto Andaluz / Marriner - Academy of St. Martin in the Fields (Speakers Corner)

    The frenetic applause with which both the public and the experts greeted the Concierto de Aranjuez for guitar and orchestra, composed in 1940, is certainly astounding - one would have thought that 20th-century music was dominated chiefly by composers of twelve-tone music and the avantguardists. Rodrigo, however, remained faithful to the Classical three-movement form, employed a late-Romantic orchestral colouring, and followed in the tradition of Spanish composers who, perhaps more than any others, won their inspiration from the folkmusic of their native country.



    The whole work is full of the exotic magic of Spanish folkmusic, whereby the rhythmic drive of the first movement - reminiscent of clicking castanets - is particularly fascinating. Fortunately not only the composer but also the conductor and orchestra have taken care that the gentle tones produced by the world famous guitarist Pepe Romero are clearly to be heard.



    In addition, the listener is treated to a performance of the rarely recorded Concierto Andaluz for four guitars, composed in 1967. Once again the Romeros demonstrate that they are not only amazingly virtuosic musicians but are also worthy dedicatees of this unique work.



    Last but not least, PHILIPS balance engineers have produced a superb recording: Rodrigo himself was absolutely delighted with it - and this opinion one can well endorse.




    Recording: July / August 1978 by Wilhelm Hellweg

    Production: Wilhelm Hellweg




    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.



    Rodrigo: Concierto de Aranjuez, Concierto Andaluz - Pepe Romero and the Academy of St. Martin-in-the-Fields conducted by Sir Neville Marriner
    Neville Marriner with Rodrigo
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner)

    This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in the short space of around 15 minutes. In his Rhapsody In Blue Gershwin wanted to »paint a musical kaleidoscope of America - our enormous melting pot, our typical national traits, our blues, our seething city life«. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version with the Columbia Orchestra, from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and manoeuvres his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiselled solo playing. In Gershwin's freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word.
    Most fittingly, on the B side there is another freely composed work - the autobiographical sketch entitled An American In Paris. The superb New York musicians paint the impressions of a visitor to the hectic French capital city - that too is the sound of America.


    Musicians:



    • The Columbia Symphony Orchestra

    • New York Philharmonic Orchestra

    • George Gershwin (composer)

    • Leonard Bernstein (conductor)




    Recording: June 1959 and December 1958 at St George Hotel, Brooklyn, New York, by Fred Plaut and Frank Bruno

    Production: John McClure



    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. Rhapsody In Blue
    2. An American In Paris
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Respighi - Ancient Dances (Speakers Corner) Respighi - Ancient Dances (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Respighi - Ancient Dances (Speakers Corner)

    The common practice in concert houses today of performing early music on modern orchestral instruments is owed largely to the endeavors of Ottorino Respighi. His free transcription of Renaissance works for the lute (1932) opened the way to the rediscovery of forgotten rhythms and timbres. Although Respighi altered the structure of the music by dissecting phrases right down to their basic elements, re-ordering them and redefining their sonority by the use of heavy brass and timpani, the art of the ancient maestri remained unscathed. Cadences and harmonic idioms are given a modern coloring at the most, but are never destroyed. Antal Dorati and his famous Philharmonia Hungarica have all that is needed to bring the score to life. Even in opulent passages the individual instruments can be heard distinctly. This works particularly well in the first two suites in which each movement is treated to a process of refinement by means of differing orchestration. That the third suite, written purely for stringed instruments, soars away, just like the proverbial Aeolian harp is only to be expected from this orchestra.




    Recording: June 1958 at the large hall of the Konzerthaus, Vienna, Austria, by C.R. Fine

    Production: Wilma Cozart-Fine




    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.



    Suite 1 for Orchestra
    Suite 2 for Orchestra
    Suite 3 for Strings
    Antal Dorati with Hungary Philharmonic
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Captain And Me (Speakers Corner) The Captain And Me (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Captain And Me (Speakers Corner)

    The Doobie Brothers weren't brothers, nor were they called Doobie. The band started life as Pud in 1969 in Chateau LibertÉ, a club in the mountains of California. The group took on the slang name for marihuana cigarettes (doobie) one year later. The Doobies' music, however, never sounded like that of befuddled, half-stoned junkies. Heavy metal hard rock was their thing which made their record company Warner target the bikers of the rocker scene. The idea backfired, though, because the band had far more to offer than explosive hard rock.



    The album The Captain And Me is considered to be the group's most concentrated and versatile production since it contrasts aggressive, hard numbers with gentle ones full of melodiousness. The very first number, Natural Thing, shows how winsome vocal folk music and electric guitar riffs can be amalgamated into rock music. Amongst these titles, decidedly angry numbers such as Without You and Evil Woman became real trailblazers. Now and then, an extensive harp solo or nonchalant licks from the acoustic guitar remind one of the pungent bluegrass style emanating from the South. That even the sweet wailing of the steel guitar (South City Midnight Lady) finds room for expression seems quite logical in this well-thought-out musical concept.



    Musicians:



    • Tom Johnston (guitar, harmonica, synthesizer, vocals)

    • Patrick Simmons (guitar, synthesizer, vocals)

    • John Hartman (percussion, drums, vocals)

    • Tiran Porter (bass, vocals)

    • Michael Hossack (drums, conga, percussion)



    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. Natural Thing
    2. Long Train Runnin'
    3. China Grove
    4. Dark Eyed Cajun Woman
    5. Clear As The Driven Snow
    6. Without You
    7. South City Midnight Lady
    8. Evil Woman
    9. Ukiah
    10. The Captain And Me
    The Doobie Brothers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cheap Trick (Speakers Corner) Cheap Trick (Speakers Corner) Quick View

    $34.99
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    Cheap Trick (Speakers Corner)

    Cheap Trick proved to a thrilled audience that a band in the late seventies could stay in the limelight over many years without having to reinvent rock 'n' roll. Any band that wanted to survive as an opening act for such top bands as Queen, Kiss and Boston simply had to be either courageous, naive or give a really good show. That Cheap Trick brought their audience to boiling point in a suspiciously similar fashion to such groups as the Beatles, Hollies and Bee Gees, can now be relived by listening to their present debut album. The boys from Illinois realized that a special magic lay in their early numbers and perform here the very best titles from their earlier live acts, which are just as good in these days as in the past. They really get down to business with their »playful, perverse lyrics« (Crawdaddy), which deal with anything from delicate to precarious issues (Daddy Should Have Stayed In High School and He's A Whore). »Cheap Trick is not important for their great innovative qualities but for their considerable entertainment value«, wrote the critical music magazine Melody Maker. Old and new rock fans will revel in this album.



    Musicians:



    • Robin Zander, Rick Nielsen (vocal, guitar)

    • Tom Petersson (bass, vocal)

    • Bun E. Carlos (drums)




    Recording: 1976 by Jay Messina at The Record Plant, New York

    Production: Jack Douglas





    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. Hot Love
    2. Speak Now Or Forever Hold Your Peace
    3. He's A Whore
    4. Mandocello
    5. The Ballad Of T.V. Violence (I'm Not The Only Boy)
    6. Elo Kiddies
    7. Daddy Should Have Stayed In High School
    8. Taxman, Mr. Thief
    9. Cry, Cry
    10. Oh, Candy
    Cheap Trick
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms: Alto Rhapsody (Speakers Corner) Brahms: Alto Rhapsody (Speakers Corner) Quick View

    $34.99
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    Brahms: Alto Rhapsody (Speakers Corner)

    Johannes Brahms: Alto Rhapsody, Song Of Destiny / Gustav Mahler: Songs Of A Wayfarer


    The Alto Rhapsody, Song Of Destiny and Song Of A Wayfarer. Each of these three vocal compositions is unique in its expression and construction, yet the frayed emotional worlds of all three works are connected by a multitude of fine threads. The Alto Rhapsody, which Brahms wrote as a wedding gift for Clara Schumann's daughter Julie, in whom he was himself in love, demonstrates with almost Wagnerian weight the anger that the disappointed Brahms must have felt while composing. The Song Of Destiny too, with its sonorous E major waves of harmony, soon announces in C minor the finiteness of existence as Hölderin's poem demands. That finally a hopeful, conciliatory - though unsure - moment lingers is reflected in the musical means. Many emotions and vagaries are emulated in Mahler's song cycle. The journeyman sets off on his wanderings in order to forget his unhappy liaison and strides through the ups and downs of mixed emotions and painful heartache. Drumrolls and march rhythms reflect the real world and sounds of nature, dissonances and a change between major and minor keys show the way from dreams, reality and feelings. The recording with Mildred Miller and the Columbia Symphony Orchestra under Bruno Walter has achieved reference status and is sure of a place in the TAS Super LP List given out by The Absolute Sound.

    Musicians:


      Mildred Miller (vocals)
    • The Occidential College Concert Choir and the Columbia Symphony Orchestra
    • Bruno Walter (conductor)



    Recording: June 1960 and January 1961 at Columbia Studios, Hollywood

    Production: John McClure



    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.


    Brahms: Alto Rhapsody, Op. 53
    Brahms: Song Of Destiny, Op. 54
    Songs Of A Wayfarer (Leider Eines Fahrenden Gesellen)
    I. Wenn Mein Schatz Hochzeit
    II. Ging Heut' Morgen Über's Feld
    III. Ich Hab' Ein GlÜhend' Messer
    IV. Die Zwei Blauen Augen
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
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    x

    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    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. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Edgar Winter's White Trash (Speakers Corner) Edgar Winter's White Trash (Speakers Corner) Quick View

    $34.99
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    x

    Edgar Winter's White Trash (Speakers Corner)

    Question: What is whiter than white? There's only one answer: Winter - Edgar Winter. While his equally pale-faced brother Johnny turned towards black music with a country-blues touch (Columbia KCS 9949 and CS 9826), Edgar was inspired by the traditional big-band sound. The brotherly link paid off, for it freed the talented Edgar from having to make strenuous appearances at night in clubs and gave him the chance to join his older brother in the recording studio.


    After his successful debut release Entrance, Winter gathered an all-star band around him and entered the studio to record White Trash, which landed a smash hit on the US charts. And no wonder - for these soul rockers give everything in a unique mixture of funk, blues and rock 'n' roll. Right from the first number Give It Everything You Got, a broadly striding rock title with brass, the whole album is bursting with energy and a great atmosphere. Wiry blues with meaty vocals enough to make your hair curl (I've Got News For You) is followed by the demand - in meaty, snapped phrases - for cheerful rock 'n' roll (Keep Playin' That Rock And Roll). And let's not forget the sometimes madly intertwined solo parts, where the musicians really let off steam. A true celebration of rock 'n' roll.

    Musicians:



    • Edgar Winter (vocal, piano, organ, alto saxophone)

    • Jerry laCroix (vocal, tenor saxophone, harp)

    • Floyd Radford (guitar)

    • Johnny Winter (guitar)

    • Rick Derringer (guitar)

    • Jon Smith (vocal, tenor saxophone)

    • Mike McLellan (vocal, trumpet)

    • George Sheck (bass)

    • Bobby Ramirez(drums)




    Recording: 1971 by Pete Weiss - Production: Rick Derringer

    Production: Bob Thiele




    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. Give It Everything You Got
    2. Fly Away
    3. Where Would I Be
    4. Let's Get It On
    5. I've Got News For You
    6. Save The Planet
    7. Dying To Live
    8. Keep Playin' That Rock 'N' Roll
    9. You Were My Light
    10. Good Morning Music
    Edgar Winter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough And Ready (Speakers Corner) Rough And Ready (Speakers Corner) Quick View

    $34.99
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    Rough And Ready (Speakers Corner)

    Great talent and low morals well describes the groupie-loving and colleague-killing Jeff Beck - and no fear of denial! But this fast-paced life demanded its toll, which came in the form of a life-threatening car accident. The ace on the guitar was forced to retire for two years but returned to the scene full of vigour and with new musicians to launch the second Jeff Beck Group.
    Rough And Ready doesn't offer what might be expected from Brit Rock as far as a heavy sound or the boss's egomaniacal leaps on the guitar strings are concerned. Bob Tench opens the album with a surprisingly soulful sound and soaring falsetto in Get The Feeling. But then in the next number, Situation, we have crackling fire from the lead guitar and inventive solos - all easy-going and down-to-earth. Beck wouldn't tolerate routine rock: this is obvious from Max's Tune, in which developing melodies are hacked to pieces by the clash of cymbals. To round off the album, the band sings about Jody with constantly varying rhythms and fascinating harmonic twists, which genially and firmly find their way along the narrow path between sentiment and testosterone. So much roughness is a must!


    Musicians:



    • Jeff Beck (guitar)

    • Bob Tench (vocals)

    • Max Middelton (piano)

    • Clive Chaman (bass)

    • Cozy Powell (drums)



    Recording: April-July 1971 at Island Studios, London, by Jack Ashkinazy
    Production: Jeff Beck




    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. Got the Feeling
    2. Situation
    3. Short Business
    4. Max's Tune
    5. I've Been Used
    6. New Ways/Train Train
    7. Jody
    Jeff Beck Group
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

    $34.99
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    It's Monk's Time (Speakers Corner)

    With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.


    Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    Production: Teo Macero



    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. Lulu's Back In Town
    2. Memories Of You
    3. Stuffy Turkey
    4. Brake's Sake
    5. Nice Work If You Can Get It
    6. Shuffle Soil
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Johnny Winter (Speakers Corner) Johnny Winter (Speakers Corner) Quick View

    $34.99
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    x

    Johnny Winter (Speakers Corner)

    When an international weekly magazine calls a musician the »white pope of black art«, then it sounds suspiciously like charitableness towards a blues musician in his prime, whose good years are in the past. As if! In the case of Johnny Winter, the reviews of his 2011 tour were just as glowing as in his early years, when Rolling Stone magazine described the gaunt Mississippi bard as »a cross-eyed albino with long fleecy hair playing some of the gutsiest fluid blues guitar you have ever heard«. Intentional or not: Winter was able to win for himself some of the 'rocker' laurels that were reserved for the young Eric Clapton and Jimi Hendrix. But Winter let everyone know that he was only interested in the blues, gutsy, evoking Howlin' Wolf's and Muddy Waters' growling groove, yet nimble-fingered enough on the strings to conjure up astoundingly sleek garlands of sound that fit precisely into each bar of music.



    Winter remains pretty cool when people attempt to identify personal afflictions in his music: When I play blues, I feel good he stated recently to a journalist. That the same goes for over 40 years ago is substantiated by both sides of this debut album.



    Musicians:



    • Johnny Winter (guitar, harmonica, vocal)

    • Edgar Winter (piano, alto saxophone)

    • Albert Wynn Butler (tenor saxophone)

    • Karl Garin (trumpet)

    • Norman Ray (bassoon)

    • Walter 'Shakey' Horton (harmonica)

    • Willie Dixon (bass)

    • Tommy Shannon (bass)

    • 'Uncle' John Turner (drums, percussion)



    Recording: 1969

    Production: Johnny Winter





    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'm Yours & I'm Hers
    2. Be Careful With a Fool
    3. Dallas
    4. Mean Mistreater
    5. Leland Mississippi Blues
    6. Good Morning Little School Girl
    7. When You Got A Good Friend
    8. I'll Drown In My Tears
    9. Back Door Friend
    Johnny Winter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • But Not Really (Speakers Corner) But Not Really (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    But Not Really (Speakers Corner)

    One man comes to mind when the words 'funk' and 'fun' are connected with a jazz musician: Les McCann. The man from Kentucky, self-taught and a true heavyweight on the delicate piano stool, dedicated his whole life on the road to performing funk. He was highly successful - whether playing with his trio or with Eddie Harris, as a pianist or as a singer, in a club or on a big stage - and he always succeeded in captivating his audience.
    On But Not Really, the first of seven LPs on the Limelight label, he plays in a trio with Victor Gaskin on the bass and Paul Humphrey on drums. The three musicians were carefully guided by their producer, Jack Tracy and the liner notes describes their close collaboration. A Little Three-Four is highly recommended listening, as is Yours Is My Heart Alone which fans of Lehar's operettas will enjoy singing along to while others will appreciate the fantastic improvisations in this popular piece which Les McCann performs less showily than Oscar Peterson in his version but with more humour and emotion.



    This Limelight album offers piano trio jazz that is free from intellectual encumbrance - it is jazz for the soul. Recorded in December 1964, the LP is now available once again after almost 60 years with the original outstanding and lavish cover artwork!



    Musicians:



    • Les McCann (piano)

    • Victor Gaskin (bass)

    • Paul Humphrey (drums)



    Recording: December 1964 at Radio Recorders, Hollywood

    Production: Jack Tracy



    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. But Not Really
    2. A Little Three-Four
    3. Our Delight
    4. Sweetie
    5. We're On The Move Now
    6. Jack V. Schwartz
    7. Little Freak
    8. Yours Is My Heart Alone
    Les McCann
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Follow The Rainbow (Speakers Corner) Follow The Rainbow (Speakers Corner) Quick View

    $34.99
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    x

    Follow The Rainbow (Speakers Corner)

    The fusion movement has a lot in common with a tropical storm: it rages fiercely in its early phases but becomes less wild later on, yet still blows a gale. In the eye of the storm that tore its path through the various musical styles and genres as from 1960 is George Duke, who entered into creative and stormy partnerships with such artists as Frank Zappa, Miles Davis and Jean-Luc Ponty. The rainbow colours with which Duke chose to tint this album are taken less from the paintpots of fusion jazz and rock, and rather more from the black, natural colours of rhythm and blues. Next to a relaxed love groove (Say That You Will) we find a polyphonic vocal number with solos (Sunrise), which conjures up the nostalgic atmosphere of Motown, now on the decline. Then there is snappy funk in all manner of variations, such as Party Down, which swings trendily along but then comes over unfiltered and dry as a bone.
    In Follow The Rainbow, genial musicianship, expert arrangements and a special feeling for resonance amalgamate to create a tightly-knit sound which is ever fresh and easy-going.



    Musicians:



    • George Duke (vocal, keyboard)

    • Larry Williams (tenor saxophone, flute)

    • Eric Culver (trombone)

    • Charles Icarus Johnson (guitar)

    • Byron Miller (bass)

    • Leon 'Ndugu' Chandler (drums)

    • Sheila Escovedo (percussion, vocal)

    • Napoleon Murphy Brock (vocal)




    Recording: 1979 at Westlake Recording, Los Angeles, by Kerry McNabb and Electric Lady Studios, New York, by Dave Palmer

    Production: George Duke





    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. Party Down
    2. Say That You Will
    3. Funkin' For The Thrill
    4. Sunrise
    5. Festival
    6. I Am For Real (May The Funk Be With You)
    7. Straight From The Heart
    8. Corine
    9. Pluck
    10. Follow The Rainbow
    George Duke
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schubert - Symphony 9 (Speakers Corner) Schubert - Symphony 9 (Speakers Corner) Quick View

    $34.99
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    x

    Schubert - Symphony 9 (Speakers Corner)

    This is Schubert's longest symphony, and its music has been described as heavenly. The symphony is typically and specifically Schubertian in its form, occupying a position in the history of music between Beethoven, Bruckner and Mahler - right on the threshold which separates classicism from romanticism.



    It is hard to say if Josef Krips ever succeeded in making a finer recording. The presentation has a direct, unforced spontaneity, confirming that Krips had an intuitive understanding of Schubert's compositions. The orchestra plays with dynamic vivacity without ever sounding aggressive. The interpretation of the two final movements is delightful in its airy exhilaration: swaying in a dance-like rhythm, tripping lightly through virtually every key there is, and in between, in the Scherzo, the gravity of the trio. The Finale, again, is merry in character with triplets rushing past, and the listener revels in every single repetition as the magnificence of this work reveals itself.



    The inspired orchestra does full justice to the music and renders an interpretation in the Viennese tradition at its very best. This recording simply cannot be surpassed in terms of performance or sound quality - it is a must not only for the lover of Schubert's music.





    Musicians:



    • London Symphony Orchestra

    • Josef Krips (conductor)




    Recording: May 1958 at Kingsway Hall in London by Kenneth E. Wilkinson

    Production: Erik Smith




    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. First Movement: Andante
    2. First Movement: Allegro Ma Non Troppo
    3. Second Movement: Andante Conmoto
    4. Third Movement: Scherzo
    5. Fourth Movement: Allegro Vivace
    Josef Krips with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Sinfonia Concertante (Speakers Corner) Mozart - Sinfonia Concertante (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Sinfonia Concertante (Speakers Corner)

    "Now I am going to compose a Sinfonia concertante", wrote Mozart to his father, quite unsuspecting that his contribution to this hybrid of concerto and symphony would not bring the immediate approval and success to which he was accustomed. But opinions have changed drastically since then, especially since the Sinfonia concertante K. 364 has far greater depth to it than its title suggests. The wealth of melodic ideas, subtly allotted alternately to the soloist and the orchestra, testifies to the fact that this is one of Mozart's mature orchestral masterpieces which he composed while in Vienna.



    The superb performers in this DECCA recording guarantee that the listener will not only enjoy the deceptive merriment of the outer movements but will be deeply moved by the sad Andante. What bad luck for rival performances! But when father and son take up their bows, this is the recording to beat all recordings!



    On the B side, the Duo for Violin and Viola, K. 423 is a welcome bonus since it offers a wonderful opportunity for a display of virtuosity and counterpoint. And of course the old question pops up once again as to who is the better master of his instrument: father or son? The answer is simple: neither the one nor the other! - Both, of course!



    Musicians:



    • David and Igor Oistrakh

    • The Moscow Philharmonic Orchestra

    • Kyrill Kondrashin (conductor)




    Recording: September 1963 at DECCA Studio No. 3 in West Hampstead, London by Kenneth Wilkinson

    Production: Erik Smith und Ray Minshull





    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • And His Mother Called Him Bill (Speakers Corner) And His Mother Called Him Bill (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    And His Mother Called Him Bill (Speakers Corner)

    When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger's own compositions.



    The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.



    Full of informality and soulful verve, these recordings feel like they are an afterthought, an unwillingness to completely let go, a eulogy whose final words are questions, elegantly stated and met with only the echo of their last vibrations ringing in an empty room, full of wondering, longing, and helplessness, but above all the point of the questions themselves: "Is this enough?" or "Can there ever be enough to pay an adequate tribute to this man?"
    They are interesting questions, because only five years later we would all be saying the same thing about Ellington. For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.






    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Clark Terry (fluegel horn)

    • Lawrence Brown, Chuck Connors (trombone)

    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, clarinet)

    • Jimmy Hamilton (tenor saxophone, clarinet)

    • Paul Gonsalves (tenor saxophone)

    • Aaron Bell (bass)

    • Steve Little (drums)




    Recording: August and September 1967 in RCA Victor's Studio A, New York City, by Ed Begley

    Production: Brad McCuen





    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.


    1. Boo-Dah
    2. U.M.M.G. (Upper Manhattan Medical Group)
    3. Blood Count 9

    4. Smada
    5. Rock Skippin' at the Blue Note

    6. Rain Check
    7. Midriff
    8. My Little Brown Book
    9. Lotus Blossom
    10. Snibor
    11. After All
    12. All Day Long
    13. Lotus Blossom
    14. Day Dream
    15. The Intimacy of the Blues
    16. Charpoy
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sound Of Wilson Pickett (Speakers Corner) The Sound Of Wilson Pickett (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Sound Of Wilson Pickett (Speakers Corner)

    Wilson Pickett's best years were those when he recorded for Atlantic Records, and he remained convinced of this even after changing to other labels in his later career. Atlantic boss Jerry Wexler took the promising young Gospel singer under his wing and launched him on his rapidly developing career as an unruly soul man. Pickett's aggressiveness, which in his mature years occasionally resulted in him having backstage fights with musicians and managers, are expressed here in strong words and are given further bite by his antagonistic band. Although he lashed out to the full in his emotional, crackling vocal attacks, he never lost control and even his strongest outbursts remained highly musical. His unique, breathless sound and his ferocious efforts to express himself succinctly do not make for easy listening on this superb hit record and for white people, who according to Pickett would never understand soul music anyway, could well present a real challenge. Is this such fascinating music that you become dumbstruck? Very possibly, as critic Joachim von Mengershausen writes: »His voice is hard, aggressive and strained; it hardly binds the tones together, chops up the phrases, blurts out the essentials - Pickett has eliminated all the Uncle-Tom warmth in soul and has virtually rocked it away.«

    Musicians:



    • Wilson Pickett (vocal)

    • Spooner Oldham (piano, organ)

    • Andrew Love (tenor saxophone)

    • Floyd Newman (bassoon)

    • Gene Miller, Wayne Jackson (trumpet)

    • Jimmy R. Johnson, Chips Moman (guitar)

    • Junior Lowe (bass)

    • Roger Hawkins (drums)





    Recording: 1967 at Fame Recording Studios, Muscle Shoals (Alabama, USA), by Rick Hall & Tom Dowd

    Production: Jerry Wexler





    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. Soul Dance Number Three

    2. Funky Broadway
    3. I Need A Lot Of Loving Every Day
    4. I Found A Love, Part 1
    5. I Found A Love, Part 2
    6. You Can't Stand Alone
    7. Mojo Mamma
    8. I Found The One
    9. Something Within Me
    10. I'm Sorry About That
    11. Love Is A Beautiful Thing
    Wilson Pickett
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Round About Midnight (Speakers Corner) Round About Midnight (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Round About Midnight (Speakers Corner)

    At long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.



    You can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis's vibrato-less sound is taken over seamlessly by John Coltrane - wonderfully demonstrated in the middle of Bye, Bye Blackbird, while Paul Chambers' showpiece is Ack VÄrmeland du sköna (aka Dear Old Stockholm). In the years 1955/56, bebop was the talk of the day, born witness to by the classics Tadd's Delight by Tadd Dameron and Ah-Leu-Cha by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.



    Although 'Round About Midnight as an album does not enjoy the reputation of Kind Of Blue, this Columbia recording contains many gems which are well worth hearing.



    Musicians:



    • Miles Davis

    • John Coltrane (tenor saxophone)

    • Red Garland (piano)

    • Paul Chambers (bass)

    • Philly Joe Jones (drums)




    Recording: October 1955, June and September 1956 at Columbia's 30th Street Studio, New York

    Production: George Avakian




    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. Round Midnight
    2. Ah-Leu-Cha
    3. All Of You
    4. Bye Bye Blackbird
    5. Tadds Delight

    6. Dear Old Stockholm
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis Is Back! (Speakers Corner) Elvis Is Back! (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis Is Back! (Speakers Corner)

    During the King's artistically unproductive period of military service, no costs or efforts were spared (e.g. A Date With Elvis, RCA LPM-2011), and no consolatory promises of things to come were left unsaid by the management in order to keep Elvis alive and well in the minds of his vast circle of fans. At last the great coup was landed: Elvis Is Back was what everyone was waiting to hear and American radio and television broadcasting stations made a gigantic medial feast of it.



    With the ink scarcely dry on his demobilization papers, Elvis entered the studio in March 1960 and recorded a whole series of numbers which later became worldwide hits, such as Are You Lonesome Tonight and It's Now Or Never. Released as singles, these tender ballads created a sensation, while the LP with numbers such as Dirty, Dirty Feeling, Like A Baby and The Thrill Of Your Love underlined Elvis's enhanced qualities as a rock, blues and gospel singer. That his voice - despite everyone's fears - had lost nothing of its erotic thrill is more than amply demonstrated in his rendering of Fever alone, which is accompanied merely by bass and percussion.



    With its amazing array of varying styles, this must surely be one of Elvis's most genial albums and was unrivaled right up until his great comeback in 1968 (From Elvis In Memphis, RCA LSP-4155).





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Floyd Cramer(piano)

    • Scotty Moore (guitar)

    • Boots Randolph (saxophone)

    • Hank Garland (bass, guitar)

    • Charlie Hodge (harmony)

    • Bob Moore (bass)

    • D.J. Fontana (drums)

    • Hoyt Hawkins, Neal Matthews, Gordon Stoker, Ray C. Walker (vocal)




    March 1960 at RCA Studios, Hollywood, CA. and April 1960 in Nashville, TS., USA,
    by Bill Porter

    Production: Chet Atkins





    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. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby

    12. Reconsider Baby
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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