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  • The Last Waltz (Box Set) The Last Waltz (Box Set) Quick View

    $119.99
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    The Last Waltz (Box Set)

    Complete audio from the concert, including rehearsals and outtakes, pressed on 180-gram vinyl for the first time and presented in an ornate lift-top box.
    LP 1
    1. Theme From The Last Waltz (Concert Version)
    2. Up On Cripple Creek (Concert Version)
    3. The Shape I'm In (Concert Version)
    4. It Makes No Difference (Concert Version)
    5. Who Do You Love (Concert Version) [Feat. Ronnie Hawkins]
    6. Life Is A Carnival (Concert Version)
    7. Such A Night (Concert Version) [Feat. Dr. John]
    8. The Weight (Concert Version)
    9. Down South In New Orleans (Concert Version) [Feat. Bobby Charles]


    LP 2
    1. This Wheels On Fire (Concert Version)
    2. Mystery Train (Concert Version) [Feat. Paul Butterfield]
    3. Caldonia (Concert Version)
    4. Mannish Boy (Concert Version) [Feat. Muddy Waters]
    5. Stagefright (Concert Version)
    6. Rag Mama Rag (Concert Version)
    7. All Our Past Times (Concert Version)
    8. Further On Up The Road (Concert Version) [Feat. Eric Clapton]


    LP 3
    1. Ophelia (Concert Version)
    2. Helpless (Concert Version) [Feat. Neil Young]
    3. Four Strong Winds (Concert Version)
    4. Coyote (Concert Version) [Feat. Joni Mitchell]
    5. Shadows And Light (Concert Version)
    6. Furry Sings The Blues (Concert Version)
    7. Acadian Driftwood (Concert Version)
    8. Dry Your Eyes (Concert Version) [Feat. Neil Diamond]


    LP 4
    1. The W.S. Walcott Medicine Show (Concert Version)
    2. Tura Lura Lural (That's An Irish Lullaby) [Concert Version] {Feat. Van Morrison}
    3. Caravan (Concert Version) [Feat. Van Morrison]
    4. The Night They Drove Old Dixie Down (Concert Version)
    5. The Genetic Method/Chest Fever (Soundtrack Version)
    6. Baby Let Me Follow You Down (Concert Version) [Feat. Bob Dylan]
    7. Hazel (Concert Version)
    8. I Don't Believe You (She Acts Like We Never Have Met) [Concert Version] {Feat. Bob Dylan}
    9. Forever Young (Concert Version) [Feat. Bob Dylan]
    10. Baby Let Me Follow You Down (Reprise) [Concert Version] {Feat. Bob Dylan}
    11. I Shall Be Released (Finale) [Concert Version] {Ensemble}


    LP 5
    1. Jam #1 (Concert Version)
    2. Jam #2 (Concert Version)
    3. Don't Do It (Concert Version)
    4. Greensleeves (Soundtrack Version)
    5. The Last Waltz Suite: The Well
    6. The Last Waltz Suite: Evangeline [Feat. Emmylou Harris]
    7. The Last Waltz Suite: Out Of The Blue
    8. The Last Waltz Suite: The Weight (Feat. The Staples)
    9. The Last Waltz Suite: The Last Waltz Refrain
    10. The Last Waltz Suite: Theme From The Last Waltz (Feat. Orchestra)


    LP 6
    1. King Harvest (Rehearsal Version)
    2. Tura Lura Lural (Concert Rehearsal Version)
    3. Caravan (Concert Rehearsal Version)
    4. Such A Night (Concert Rehearsal Version)
    5. Rag Mama Rag (Rehearsal Version)
    6. Mad Waltz (Sketch track for 'The Well') (Studio Version)
    7. The Last Waltz Refrain (Instrumental)
    8. The Last Waltz Theme (Sketch)

    The Band
    $119.99
    180 Gram Audiophile Virgin Vinyl Box Set - 6 LPs Sealed Buy Now
  • The Last Waltz The Last Waltz Quick View

    $36.99
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    The Last Waltz

    Mastered By Chris Bellman At Bernie Grundman Studios From The Original Analog Tapes And Pressed At RTI


    On Thanksgiving Day 1976, The Band took the stage for the very last time at the Winterland Theatre in San Francisco for THE LAST WALTZ, which has gone on to become one of the most heralded performances of all time. Joining The Band on stage throughout the evening was an unprecedented group of pioneers in music including Eric Clapton, Neil Diamond, Bob Dylan, Dr. John, Joni Mitchell, Van Morrison, Muddy Waters, and Neil Young, among others.


    The Band, more than any other group, put rock and roll back in touch with its roots. With their ageless songs and solid grasp of musical idioms, the Band reached across the decades, making connections for a generation that was, as an era of violent cultural schisms wound down, in desperate search of them. They projected a sense of community in the turbulent late Sixties and early Seventies - a time when the fabric of community in the United States was fraying.


    Guitarist Robbie Robertson drew from history in his evocative, cinematic story-songs, and the vocal triumvirate of bassist Rick Danko, drummer Levon Helm and keyboardist Richard Manuel joined in rustic harmony and traded lines in rich, conversational exchanges. Multi-instrumentalist Garth Hudson provided musical coloration in period styles that evoked everything from rural carnivals of the early 20th century to rock and roll revues of the Fifties. (via RockHall.com)

    LP1
    1. Theme From The Last Waltz

    2. Up On Cripple Creek
    3. Who Do You Love
    4. Helpless
    5. Stagefright
    6. Coyote
    7. Dry Your Eyes
    8. It Makes No Difference
    9. Such A Night


    LP2
    1. The Night They Drove Old Dixie Down
    2. Mystery Train
    3. Mannish Boy
    4. Further On Up The Road
    5. Shape I'm In
    6. Down South In New Orleans
    7. Ophelia
    8. Tura Tura Lural (That's An Irish Lullaby)

    9. Caravan


    LP3
    1. Life Is A Carnival
    2. Baby Let Me Follow You Down
    3. I Don't Believe You (She Acts Like We Never Have Met)
    4. Forever Young
    5. Baby Let Me Follow You Down (Reprise)
    6. I Shall Be Released
    The Last Waltz Suite:
    7. The Well
    8. Evangeline
    9. Out Of The Blue
    10. The Weight
    11. The Last Waltz Refrain
    12. Theme From The Last Waltz (with Orchestra)

    The Band
    $36.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Rock of Ages Rock of Ages Quick View

    $49.99
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    Rock of Ages

    The Band's Ultimate Live Album Recorded at Its Career Peak!


    Legendary Live Set Features Horn Arrangements by Allen Toussaint


    Incredible Sound and Virtuosic Performances


    The Last Waltz gets bigger billing, but The Band's 1972 live album Rock of Ages is actually the better representation of a live Band album. Recorded at the tail end of the group's Cahoots tour and over the course of four nights at New York's Academy of Music at the end of December 1971, the incendiary concert set bookmarks the close of the first phase of the collective's career.


    Rather than follow the lead of most other live records made at the time (and many since), The Band resists any temptation to improvise or extend its material. Instead, the group plays with an intensity, chemistry, and spirit that's nearly unrivaled by any other live album. The quintet also draws on a secret weapon: One Allen Toussaint, who tailors expert horn arrangements for multiple songs, a move that spices renditions of classics such as "Don't Do It" and "Chest Fever." To top it all off, the horn charts are performed by the Rock of Ages Horn Section-a five-piece ensemble that includes legendary trumpeter Snooky Young (Count Basie, Lionel Hampton) and saxophonist Joe Farrell (Charles Mingus, Elvin Jones).


    "I felt very much at home with The Band. You could tell in their music they know where they're coming from and they know where they're going. Each one had an extremely special interest in what they were doing." -Toussaint, as told to Rob Bowman


    Do they ever. Unencumbered by the myriad guests and grandiose sense that define The Last Waltz, and energized by Toussaint's invaluable work, Rock of Ages is the sound of a great band pulling out all the stops. Robbie Robertson's guitar solos take "Unfaithful Servant" to a higher ground; "The W.S. Walcott Medicine Show" kicks with raunchy R&B abandon; Garth Hudson delivers a show-stealing performance on "The Genetic Method," a thrilling organ piece that incorporates elements of Anglican church music, folk, classical, and pop-as well as "Auld Lang Syne," due to its being recorded on New Year's Eve.


    After various inferior editions and reissues, Rock of Ages is finally presented on an immaculate-sounding 180g 2LP set from Mobile Fidelity that lets Toussaint's contributions, horn section's energy, and the Band's feverish interplay shine like never before. Mastered from the original tapes, the open, airy, natural, and balanced sound will have you returning to Rock of Ages again and again.


    This title is not eligible for discount.

    1. Introduction / Don't Do It
    2. King Harvest (Has Surely Come)
    3. Caledonia Mission
    4. Get Up Jake
    5. The W.S. Walcott Medicine Show
    6. Stage Fright
    7. The Night They Drove Old Dixie Down
    8. Across The Great Divide
    9. This Wheel's On Fire
    10. Rag Mama Rag
    11. The Weight
    12. The Shape I'm In
    13. Unfaithful Servant
    14. Life Is A Carnival
    15. The Genetic Method
    16. Chest Fever
    17. (I Don't Want To) Hang Up My Rock And Roll Shoes
    The Band
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Bill Evans Album (Speakers Corner) The Bill Evans Album (Speakers Corner) Quick View

    $34.99
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    The Bill Evans Album (Speakers Corner)

    The global corporation Columbia recorded and released only two LPs with pianist Bill Evans. A meagre result when one considers the numerous concerts that the new trio undertook between 1969 and 1974. Together with Eddie Gomez, a phenomenon on the bass, and drummer Marty Mortell, the three established a firm - and ever better - trio. Evans became interested in the possibilities offered by the Fender Rhodes piano and used it for the first time in The Bill Evans Album.


    The LP is remarkable in that only Evans's own compositions were recorded - three previously recorded pieces and four brand-new works. Of particular note is the melancholy Two Lonely People, Evans's musical interpretation of a poem by Carol Hall. Sugar Plum and T.T.T. were to remain in his repertoire right up until his very last recordings. Unusual but very commendable because it begins with an ad hoc introductory improvisation is the electric piano version of Evans's most well-known composition - Waltz For Debby.


    The excellent technical facilities at the Columbia Studio were used to the full by Bill Evans, even though they were only recording a small ensemble. And that is why the seven numbers sound far better than most of the trio's live recordings. And as Bill Evans once said, it was with this trio that he could fulfill his musical ambitions.

    Musicians:



    • Bill Evans (piano, electric piano

    • Eddie Gomez (bass)

    • Marty Morrell (drums)




    Recording: May and June 1971 at CBS 30th Street Studio, New York, by Pete Weiss

    Production: Helen Keane




    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. Funkallero
    2. The Two Lonely People
    3. Sugar Plum
    4. Waltz For Debby
    5. T.T.T. (Twelve Tone Tune)
    6. Re: Person I Knew
    7. Comrade Conrad
    Bill Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Waltz For Debby Waltz For Debby Quick View

    $21.99
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    Waltz For Debby

    Recorded live at The Village Vanguard in New York on June 25, 1961, this was the fourth album by the Bill Evans Trio, composed of pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian. Scott LaFaro was one of the supreme jazz bassists, a virtuoso player whose playing changed the very conception of his instrument. This album unfortunately also represents one of LaFaro's last performances, recorded just days before his tragic death at the age of 25 by automobile accident. Interestingly the album also contains tracks that Evans had recorded prior to working with LaFaro, so that this recording provides a very accurate index of the bassist's great contribution to the trio.
    My Foolish Heart
    Waltz For Debby
    Detour Ahead
    My Romance
    Some Other Time
    Milestones
    Bill Evans Trio
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Waltz For Debby Waltz For Debby Quick View

    $27.99
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    Waltz For Debby

    Import


    Recorded live at The Village Vanguard in New York on June 25, 1961, this was the fourth album by the Bill Evans Trio, composed of pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian. Scott LaFaro was one of the supreme jazz bassists, a virtuoso player whose playing changed the very conception of his instrument. This album unfortunately also represents one of LaFaro's last performances, recorded just days before his tragic death at the age of 25 by automobile accident. Interestingly the album also contains tracks that Evans had recorded prior to working with LaFaro, so that this recording provides a very accurate index of the bassist's great contribution to the trio.

    1. My Foolish Heart
    2. Waltz For Debby
    3. Detour Ahead
    4. My Romance
    5. Some Other Time
    6. Milestones
    7. I Loves You Porgy*


    *Bonus Track

    Bill Evans Trio
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beautiful Noise Beautiful Noise Quick View

    $24.99
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    Beautiful Noise

    Beautiful Noise is the third album by Neil Diamond on Columbia Records (tenth studio album overall), originally released in 1976. Dry Your Eyes was performed with The Band at their farewell show and is featured in Martin Scorsese's The Last Waltz.


    Beautiful Noise marked a radical departure in production, style, arrangements and compositional diversity for Diamond. It was billed at the time of its release as something of a comeback album for the artist and did mark a new and highly productive phase of his recording and touring career.

    1. Beautiful Noise
    2. Stargazer
    3. Lady-Oh
    4. Don't Think... Feel
    5. Surviving The Life
    6. If You Know What I Mean
    7. Street Life
    8. Home Is A Wounded Heart
    9. Jungletime
    10. Signs
    11. Dry Your Eyes
    Neil Diamond
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live at the Music Hall Live at the Music Hall Quick View

    $34.99
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    Live at the Music Hall

    Those who were fortunate to catch Phosphorescent at any of the their shows in 2013 can attest to the fact
    that this is no ordinary touring band. Built around the core of founding member/songwriter Matthew
    Houck, Phosphorescent has expanded from a loop-station based solo act into a fully fledged classic rock
    band to be held in the same regard as the likes of Crazy Horse. They spent most of 2013 touring behind
    their hugely acclaimed album Muchacho, and by the end of the year the band were at the peak of their
    powers. This 3xLP live album was recorded over the course of four jam-packed, sweltering holiday
    nights in mid-December.


    The shows featured the full line up of Matthew Houck (Voice, Guitar, Piano), Rustine Bragaw (Bass,
    Voice), Christopher Marine (Drums), David Torch (Percussion), Jo Schornikow (Organ, Voice), Scott
    Stapleton (Piano, Voice), Ricky Ray Jackson (Pedal Steel, Guitar, Voice). The songs are culled from across
    the catalogue of Phosphorescent albums stretching back to early live favorite 'Wolves', which is featured
    here in both solo form and in full band guise, through to current classics such as 'Song for Zula' & Ride
    On/Right On'.


    After the shows, Houck spent hours going through the recordings, piecing together this definitive live
    collection. This is far from a quick cash-in live album - in fact, it should should perhaps be seen as the
    ultimate Phosphorescent record, taking the recordings that make the studio album to a whole new level.
    Once Houck had pieced together the tracks, he and album mixer John Agnello worked through the
    tracks, mixing them to truly represent that amazing Phosphorescent sound - one part cowboy bravado,
    one part wounded master.


    You can hear how Houck's voice cracks over over the tender 'Tell Me Baby ' and how it soars in the
    perhaps definitive Phosphorecent live song 'Los Angeles'. The musicianship on display here is supreme,
    particularly Ricky Ray's sublime pedal steel and the dual keyboard work of Schornikow and Stapleton,
    playing opposite each other and playing off each other. This album should be considered an addition to
    the pantheon of classic live records - The Who's Live at Leeds, Frampton Comes Alive, Neil Young's Rust
    Never Sleeps, The Band's The Last Waltz, Bob Marley's Live, Cheap Trick's Live at the Budokan - like those,
    it is a defining moment in the catalogue of Phosphorescent.

    1. Sun Arise! (An Invocation/An Introduction) (Live)
    2. A New Anhedonia (Live)
    3. Terror In The Canyons (The Wounded Master) (Live)
    4. The Quotidian Beasts (Live)
    5. Tell Me Baby (Have You Had Enough) (Live)
    6. Nothing Was Stolen (Love Me Foolishly)(Live)
    7. Dead Heart (Live)
    8. Down To Go (Live)
    9. Song For Zula (Live)
    10. Ride On/Right On (Live)
    11. A Picture Of Our Torn Up Praise (Solo, Live)
    12. Muchacho's Tune (Solo, Live)
    13. Wolves (Solo, Live)
    14. Joe Tex, These Taming Blues (Live)
    15. Los Angeles (Live)
    16. A Picture Of Our Torn Up Praise (Live)
    17. South (Of America) (Live)
    18. Wolves (Live)
    19. At Death, A Proclamation (Live)
    Phosphorescent
    $34.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Love Now Love Now Quick View

    $16.99
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    Love Now

    Mean Lady is the duo of Katie Dill and Sam Nobles. They are from Delaware and they're both really nice. Really, really nice. For their new debut LP the duo have written a collection of songs about lust, innocence and vulnerability.


    Pitchfork have premiered first single "Far Away," writing, "'Far Away' wouldn't feel out of place on the last Youth Lagoon record, an out-of-time waltz flanked by aqueous sound effects. It's a prelude to something far more vigorous, though, as squishy beats, sprightly piano plinks, and an approximation of a sitar server as the backdrop for Katie Dill's transcontinental love letter."


    Through bubbly synths and rhythmic production, Dill and Nobles managed to cobble together a timeless, concise pop record. It's a finished product that could only exist when kids from Delaware grew up, trashed all their soul records and then got high some time after DJ Shadow started to suck but probably before J Dilla died.


    Love Now is deep and rich. The sound is Sam's wonderfully abrupt sampling and skipping drum beats underneath the band's live instruments. All of this is anchored by Katie's songwriting and sharp, but sweet vocals. Take heed: this is an important debut for a young band.

    1. One Big Family
    2. Far Away
    3. Mother Earth
    4. Bop Bop
    5. Why'd'ya Haftabee Sucha?
    6. Daisies
    7. Lonely
    8. Pony Ony O
    9. I Will Marry You
    Mean Lady
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Embers Of Time The Embers Of Time Quick View

    $19.99
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    The Embers Of Time

    A talent to outrank Ryan Adams or Conor Oberst - Uncut


    He's found a way to encapsulate all the dichotomies of life and make them work within the confines of a three-minute pop song. - Popmatters


    "It's my surreal expat therapy record," observes Josh Rouse about his new LP, The Embers of Time. A career peak, The Embers of Time takes inspiration from his self-admitted crisis of confidence and bouts with existential psychotherapy in his adopted home of Valencia, Spain.


    The 10-song collection of originals contains some of Rouse's most beautiful arrangements and complex songwriting to date. First song and lead single "Some Days I'm Golden All Night" channels Glen Campbell-style Countrypolitan pop mastery through 'Self Portrait'-era Dylan confessional lyrics.


    Rouse has been called "one of contemporary music's most engaging singer-songwriters" (NPR) as well as "a talent to outrank Ryan Adams or Conor Oberst" (Uncut), and with The Embers of Time he opens a new chapter in his lauded career. He split time recording the album between Valencia and Nashville, and enlisted Brad Jones (Justin Townes Earle) as producer. The record moves from the hushed twang of "Time," where Josh recalls a stepfather who died too young and muses about his own mortality, to the deceptively sunny album closer "Crystal Falls," which recounts a rare period of solace from his itinerant childhood. "In Crystal Falls I made a few good friends," he sings. "It was just another stop. I never saw them again."


    Originally hailing from rural Nebraska, Rouse has carved out a distinguished career as a top-tier musician. His last record, 'The Happiness Waltz' earned unanimous praise, with AllMusic calling it "absolutely beautiful, like 10cc producing Al Green."

    1. Some Days I'm Golden All Night
    2. Too Many Things On My Mind
    3. New Young
    4. You Walked Through The Door
    5. Time
    6. Pheasant Feather
    7. Coat For A Pillow
    8. Worried Blues
    9. Expat Blues
    10. Crystal Falls
    Josh Rouse
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wet Leather (Awaiting Repress) Wet Leather (Awaiting Repress) Quick View

    $17.99
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    Wet Leather (Awaiting Repress)

    Originally issued as a limited cassette on Mirror Universe Tapes, Wet Leather is fully realized with 6 bonus tracks and expanded artwork. The Slasher Film Festival Strategy has recorded countless releases over the last 17 years. Think of Wet Leather as the score to an unrealized film that channels b-movies, slasher films, horror, and of course John Carpenter. Aquarius Records speaks highly of SFFS. This guy does it way better than most. The synth sounds are thick and gristly, the melodies sinister and ominous, the tracks laced with skeletal drum machines, and sweeping epic backdrops, as far as Carpenter / Goblin worship goes, it doesn't get much better than this. For fans of Brad Fidel, John Carpenter, Death Waltz Recording Company, Boards of Canada, Sinking Body.
    1. Lost Time
    2. Forced Entry
    3. The Other Self
    4. The Stalker
    5. Shadow Lurker
    6. Reflection of the Blade
    7. Master/Prisoner
    8. Call of the Night
    9. Wet Leather
    10. The Hunt
    11. Blackest Black
    12. The Chase
    13. Lovelust
    14. Plastic Bags
    15. Heart of Darkness
    16. No One Will Ever Love You
    The Slasher Film Festival Strategy
    $17.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • At The Five Spot, Vol. 1 At The Five Spot, Vol. 1 Quick View

    $34.99
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    At The Five Spot, Vol. 1

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    One night during a one-time, two-week engagement at the Five Spot produced enough music of lasting merit for three albums. When Rudy Van Gelder took his portable equipment down to the fabled Cooper Square jazz club on July 16, 1961, he captured the interaction of an extraordinary quintet.


    Eric Dolphy, Booker Little, Mal Waldron, Richard Davis and Ed Blackwell had formed a cooperative group and, if LIttle had not died in October 1961, there is no doubt that it would have been a potent force in the music of the 1960s and beyond. Dolphy himself died in June 1964, after establishing himself as one of the important contemporary reedmen. Here his alto saxophone and bass clarinet and Little's trumpet explore three originals: The Prophet by Dolphy, Bee Vamp by Little, and Fire Waltz by Waldron. It's time caught in a bottle - music for the ages.


    This title is not eligible for discount.

    1. Fire Waltz
    2. Bee Vamp
    3. The Prophet
    4. Bee Vamp (alternate take)
    Eric Dolphy
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beyond Ugly Beyond Ugly Quick View

    $19.99
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    Beyond Ugly

    Domino is proud to present the third album, Beyond Ugly, from the Bristol, UK duo of Malachai.


    Beyond Ugly is the last panel in the band's Ugly triptych and that it was completed at all came as a
    shock to all concerned, least of all the group. After the conclusion of the campaign for their sophomore
    album, Return To The Ugly Side, members Gee Ealey and Scott Hendy drifted apart with no definitive
    plans to take up arms together. It was a chance meeting in Bristol that drew the two back into one
    another's orbit and to the realization that there was some unfinished monkey business. The duo reengaged slowly, simply working up a track at a time, more for the cathartic act of creating good music
    rather than the artificial construct of "delivering an album." Lo and behold, the creative process built
    an inertia of its own and Beyond Ugly began to take shape.


    And what a fine shape it is... Beyond Ugly recaptures the sonic stew of debut album, The Ugly Side
    Of Love, a potent of brew of post-summer of love and some good ol' Bristol-fashion psychedelic
    comedown. However, there's a healthy dose of renewed restlessness and anger emanating from Ealey
    that permeates the album thanks to some spirited vocal performances, from the anthemic and vengeful
    soliloquy of "Sweet Flower" to the civilly disobedient "I Deserve To No."


    Of course, Malachai isn't a one-man show. As Rakim had Eric B... Hendy, the duo's musical director, has
    truly outdone his past efforts and provides a sturdy musical platform from which Rev. Ealey delivers his
    sermons, whether the occasion calls for an exotic sturm-und-clang ("I Deserve To No") or a genteel softshoe waltz ("Hear It Comes").


    Malachai have always enjoyed // suffered the curse of being a "musician's band." Geoff Barrow of
    Portishead originally released The Ugly Side Of Love on his Invada imprint before Domino swooped
    in and there was no bigger proselytizer of Malachai's prowess than Sergio Pizzorno of Kasabian and
    both take their support a step further with guest appearances on "Dragons Ball" and "The Love"
    respectively. Additionally, "Segs" Jennings, bassist from punk legends The Ruts joins the fray on
    "Sweet Flower."


    The album concludes with a montage of hallucinations from across the band's discography before what
    can be best described as the ominous twilight tranquility of "End." Is this really where the Malachai
    story ends? As shown by the creative triumph of Beyond Ugly, sometimes it's best not to plan at all and
    just let it happen. We'll do our best to let you know when it does.

    1. Sweet Flower
    2. Don't Try This At Home
    3. Dragons Ball
    4. Holes
    5. Hear It Comes
    6. I Deserve To No
    7. White Nuthin' Sky
    8. The Love
    9. Army
    10. Dark Before The Dawn
    11. End
    12. Down To Earth
    Malachai
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Never Were The Way She Was Never Were The Way She Was Quick View

    $25.99
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    Never Were The Way She Was


    180g LP In Gatefold Jacket Includes Art Print Poster


    "Stetson demolishes clichÉsto unleash fresh, unexpected energies...at once
    exhilarating and frightening." - Pitchfork


    "Calmly ravishing and emotionally centered...Ms. Neufeld has a warmly
    expressive sound palette,." - The New York Times


    Two of Constellation's acclaimed solo instrumental artists join forces on this
    tremendous new album of original compositions for horn and violin.


    Colin Stetson has developed a unique and renowned voice as a performer and
    composer, chiefly on bass and tenor saxophones, where he rallies an array of
    technical strengths and innovations (circular breathing, contact micing of his own
    body and the body of his instrument, vocalizations through the reed) to make some
    of the most captivatingly organic, darkly soulful and otherworldly solo instrumental
    work of recent years. His brilliant trilogy of New History Warfare records (2007-
    2013) has been resoundingly celebrated by critics, fans and fellow musicians
    across many genres: avant/jazz, modern classical/Miminalism, electronic/noise,
    industrial/dark ambient, black metal and indie rock.


    The solo violin work of Sarah Neufeld has emerged more recently, and especially
    through 2011-2014, in the period between her primary band Arcade Fire's last two
    albums. While no stranger to modern/minimalist composition with her Bell Orchestre
    ensemble dating back to the early 2000s, Neufeld has lately forged a newly distinctive,
    deliberate and evocative solo violin practice combining rock, folk, ambient and
    modernist sensibilities, culminating with her debut solo album Hero Brother in 2013.


    Stetson and Neufeld first began playing in duo formation while on tour together as
    soloists in 2012, joining each other on stage for one or two of their respective
    pieces. Stetson had also collaborated in the past with Bell Orchestre and Arcade
    Fire, and with Neufeld and Shahzad Ismaily in an improv trio dating back to 2010
    (including the Blue Caprice soundtrack). Duo compositions for their debut album
    emerged throughout 2014, and were road-tested that spring with performances at
    the Festival de Musique Actuelle de Victoriaville (Canada) and Moers Festival
    (Germany). The album was recorded without overdubbing, looping, sampling,
    cutting or pasting at their farmhouse attic studio in rural Vermont by Hans Bernhard
    and mixed in Montreal by Mark Lawson (Arcade Fire).


    Never were the way she was is guided by the metaphorical narrative of the life of
    a girl who ages slow as mountains; excited, exalted, and ultimately exiled in her
    search for a world that resembles her experience. The album's expansive sonic
    trajectory and multiplicity of structures and voicings belies the fundamental
    economy of two acoustic instruments combining in real time. The result is a musical
    chronicle that powerfully establishes its own spatial and temporal horizon, a
    soundtrack that requires no images but profoundly compels the imaginative. From
    the filigreed ostinato polyrhythms of "The sun roars into view" and "In the vespers"
    to the stately long tones of "And they still move", the dark drone-inflected sea-saw
    waltz of "With the dark hug of time" to the growling, pulsing thrust of the album's
    epic centerpiece "The rest of us", Stetson and Neufeld offer up an incredible (and
    impressively diverse) integration of composition, performance, timbre and texture
    while holding their respective instruments in sparkling juxtaposition. Never were
    the way she was is a sum quite definitively and thrillingly greater than its parts.

    1. The sun roars into view
    2. Won't be a thing to become
    3. In the vespers
    4. And still they move
    5. With the dark hug of time
    6. The rest of us
    7. Never were the way she was
    8. Flight
    Colin Stetson and Sarah Neufeld
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Late Night Tales: Django Django Late Night Tales: Django Django Quick View

    $35.99
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    Late Night Tales: Django Django

    Django Django is the latest band invited to curate a prestigious Late Night Tales collection, set for release on 5th May. Like many of the best British groups, the Djangos met at art school, specifically Edinburgh College Of Art, before reconnecting in London. Django Django released their self-titled debut album on quirky French indie Because in early 2012 to some acclaim, winding up in many critics' end of year lists (Top Ten in the NME and Top 30 in Rolling Stone, among them).


    Their oddball approach to music, which sounds like the rich harmonies of the Mamas & Papas beamed through a refracting prism pointing towards Bo Diddley, Chicago house and outer-space (it's no surprise to learn that Django producer/drummer Dave Maclean's brother John was in the Beta Band, who also shared the same cinemascopic view of the pop landscape).


    "Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs," is how Django Django describe themselves. Which is another way of saying they're pop adventurists, as at home with Mad Mike's Underground Resistance as they are the blues rumble of Canned Heat. A bit like this delightful mix, then, which darts about like a gurgle of guppies after two too many espressos.


    Check out mixes that rock between two-step delights like Roy Davis Jr's 'Gabrielle' to Nilsson's lyrically winsome 'Coconut'. At one end of the Django spectrum there's James Last, the terminally unhip Teuton, whose 'Inner City Blues' shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman ('Bass Drums') and Hudson Mohawke and Lunice collaboration TNGHT's 'Bugg'n'. You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless 'Surf's Up' makes a welcome appearance halfway through, while Seals & Crofts' "Sweet Green Fields" show what sun-drenched pop can sound like when it's done well. And because it's Late Night Tales there's a sparkling cover version of 'Porpoise Song', the theme from The Monkees daffily brilliant 'Head', an admirably lysergic termination to this waltz through pop's nooks and cranberries. "You should never be afraid to make a fool of yourself for art," Dave Maclean once said. Let's raise a dram to Scotland's favourite fools on the hill.


    "We wanted to produce a mix that represented the band. It's what we're all into, so everyone put forward suggestions. It's what we are as a band; and we're kids that have grown up with an obsession about our mum and dad's record collections, like '50s and 60s stuff and then got into hip hop and dance music as we grew up. At the heart of it all is our parents' collections, with our tastes mixed in. Our Late Night Tales pays homage to that."

    Dave Maclean (Django Django)

    LP1
    1. Leo Kottke - The Tennessee Toad
    2. Gulp - Game Love
    3. Bob James - Nautilus
    4. James Last - Inner City Blues
    5. Philip Glass - Floe
    6. Map Of Africa - Bone
    7. Seals & Crofts - Sweet Green Fields
    8. The Millennium - To Claudia On Thursday
    9. The Beach Boys - Surf's Up
    10. Primal Scream - Carry Me Home


    LP2
    1. Massive Attack - Man Next Door
    2. TNGHT - Bugg'n
    3. Outkast - Slum Beautiful
    4. Timmy Thomas - Why Can't We Live Together
    5. Harry Nilsson - Coconut
    6. Canned Heat - Poor Moon
    7. Rick Miller - Future Directions
    8. Django Django - Porpoise Song
    9. Benedict Cumberbatch - Flat Of Angles pt.4

    Django Django
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Hard Times Are Relative Hard Times Are Relative Quick View

    $18.99
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    Hard Times Are Relative

    Our favorite songs are like one-night stands: passionate or sad, capable of recalling moments with Proustian power. Our favorite artists are lifelong companions: fixtures we turn to for comfort and highs.


    Over the last two decades, Jason Boland and the Stragglers have delivered and become both.


    "We've always just wanted to entertain ourselves and put out music that would be a part of people's lives, not just something passing to them," says Boland. "We want to be something more monolithic." He pauses and grins as he adds, "We're just a social experiment at this point."


    Boland is talking about the deep body of work he's created with his band of jangly honky-tonk aces, the Stragglers--Grant Tracy on bass; drummer and background vocalist Brad Rice; Nick Worley on fiddle, mandolin, and harmonies; and Cody Angel on guitar and pedal steel. Fronted and co-founded by Boland with Tracy and Rice, the band has featured only a handful of other members over the last 20 years, all of whom--whether they're currently Stragglers or not--are like brothers. As they've independently sold more than half a million albums, the outfit has packed iconic dancehalls, theaters, and other big rooms across the country.


    With their new record Hard Times are Relative, Boland and the Stragglers stack the smart, road-ready outlaw country longtime fans have come to expect alongside creative risks that flirt with punk and psychedelic sounds. The 10-song collection is a rare blend of instantly gratifying and rewarding of closer listens--a definitively Stragglers accomplishment. "It's an upbeat album--a lot of fast songs, but it doesn't try to be fast," Boland says with characteristic insight. "It just sits in the pocket."


    No one has combined Woody Guthrie's conscience with Waylon Jenning's panache quite like Boland and the Stragglers. Since debuting in 1999 with the Lloyd Maines-produced Pearl Snaps, the band has matured without taming their refreshing irreverence. "We always joke that we try to take as much as we can from Lloyd and apply it to producing our own records," Boland says. "We've worked with him so many times. The most obvious thing he taught us is: just be musical. Don't hammer through the songs like a garage band all the time."


    That mix of subtle musical sophistication and unruly Oklahoma junkyard pedigree has resulted in some of the best independent honky tonk in recent memory. "You just have to be where you are--keep plugging away and doing the best you can at any moment," Boland says, reflecting on their career thus far. "For a bunch of slackers [like us], that's not too terribly tough."


    Co-produced by the Stragglers, David Percefull, and Adam Odor, Hard Times are Relative is the band's ninth studio record. All songs were recorded live to tape and without the use of any computers--now a Stragglers' hallmark. Upbeat steel guitar kicks off album opener "I Don't Deserve You" before Boland's signature baritone thunders in, smooth and stronger than ever. When fellow sly honky-tonk champ Sunny Sweeney joins him in out-front harmonies, the two become the rootsy dream team you never knew you always wanted.


    The album's title track is a masterpiece: an epic story song about a young orphaned brother and sister depending on the land and one another. Rich details layered over strings paint a scene that's compelling and lush. The song has become one of Boland's favorites. "Folk music is hard to write. Country music is hard to write," he says, reflecting on the difficulty of spinning a long tale while keeping it simple and engaging. "When you hit your own little tuning fork in your head, that one is a hard sell, even to me. But I enjoy that song."


    "Right Where I Began" sounds like vintage Stragglers: clever wordplay and muscly guitars ready for two-steppers. Fiddle and vocal showcase "Searching for You" shows off Rice's and Worley's harmonies that are downright divine. Crunchy guitars drive "Dee Dee OD'd" as Boland offers another round of wry observations. Easy gem "Going Going Gone" makes a solid argument for fiddle in rock-and-roll as Boland deftly turns a baseball metaphor into a classic leaving song.


    Gorgeous waltz "Do You Remember When" bemoans some of modern life's emphasis on disposability and the dismissal of heritage. Rollicking "Tattoo of a Bruise" picks up the same idea, and is tongue-in-cheek country doo-wop, fueled by fiddle, steel, and drums. "I'm not judging anybody," Boland clarifies. "Our music has always called it like we see it, right or wrong, smarter or dumber."


    Praise for the past but acknowledgement of nostalgia's limitations is a career-long theme for Boland, and one that this record continues to carry. "We don't want to lose the chili recipes and the Schroeder Halls because people are moving on to faster, louder, and newer," he says. "But instead of just hemming and hawing, remembering what's old and gone, we want to have new experiences within those frameworks--make memories with what's left of the good stuff."


    With lines like "Empty pockets don't mean you need money / It's just another place to put your hands / And focus on that rock you've been kicking / One day it's going to be a grain of sand," "Predestined" challenges listeners as it soothes. The song is a lyrical victory for Boland, who's long-since become a master of distilling heady ideas into digestible nuggets.


    Penned by Oklahoma music godfather Randy Crouch, "Grandfather's Theme" serves as the album's climactic closer. Attacked with psychedelic ferocity by the band, the song picks up the record's recurring concepts of the ground's insistence on shifting, inevitability, and our complex relationship with the past. Stripped down as Boland sings, the song soars off into a trippy, robust jam-band send-off--a serious triumph especially considering it's a defiantly analog recording. "We're fighting the digital world because they can make it so huge," Boland says, discussing the balancing act of filling out songs while letting them breathe. "I'm really proud if what we did."


    As he mulls over where the Stragglers have been and where they're headed, Boland comes back to one idea over and over again: he and his band are who they are, and with that genuineness comes grit, beauty, and staying power. "We're fortunate that we're not trying to fool anybody," he says. "That's what it comes down to. We're all loners but somehow a team. Now that I can look at it all, I can see: it's been fun."


    Here's to the next 20 years.

    1. I Don't Deserve You
    2. Hard Times Are Relative
    3. Right Where I Began
    4. Searching For You
    5. Do You Remember When
    6. Dee Dee OD'd
    7. Going Going Gone
    8. Tattoo of a Bruise
    9. Predestined
    10. Grandfather's Theme
    Jason Boland & The Stragglers
    $18.99
    Vinyl LP - Sealed Buy Now
  • Duskland Duskland Quick View

    $16.99
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    Duskland

    "He dwells in the same darkness as Cass McCombs, punctuating the cobwebbed stillness with lowing organ and severe, almost pagan imagery. The Crimson moon, the city of refuge: Thesewould be hapless signi ers in
    another singer's mouth. Cale's drawl molds them back into tremendous fra gments, oating in a skyline somewhere just beyond the dusk. All of Duskland possesses that same fantastic self-assurance." -Stereogum


    Zachary Cale has been releasing records under his own name for just shy of a decade. Duskland,
    the title of his latest record, is a work of craftsmanship full of elegant lyricism and mysterious
    imagery; a collection of songs that look directly into the face of darkness yet drive beyond it,
    forging new paths.


    Allegorical in nature, Cale's songs move away from the inward reveries of his last album, Blue Rider,
    and divide outward into the voices of others. The album projects images of wide-open spaces and
    landscapes constructed from half remembered dreams. There isn't always a clear resolution, characters
    remain in a state of twilight, wandering from place to place in search of an undefined illumination. The
    lyric: So many lifetimes I lived in one / I've got to bury them now / No surprises this time around /
    Not beneath this crown, taken from I Left The Old Cell, aptly captures the human complexities found
    throughout the songs.


    Taking cues from artists like Oh Mercy/Time Out of Mind era Dylan and Nick Cave's work with the
    Bad Seeds, Duskland evokes a restless spirit, one that is informed by American myths and tall tales.
    There's a Western flair to many of the album's songs with nods to soundtrack composers such as
    Morricone and the dream-laden noir of Badalamenti. Many of the album's highlights maintain a
    ceremonial grace. Sundowner opens the album with a lush organ progression played over a
    plaintive march. As the tension builds, Cale muses Branded as a fugitive / Dressed in the clothes
    of an innocent / Sirens ricochet / From bloodless lips I hear them call my name. From there the
    album moves forward like one long processional; Cale leads his band through up-tempo folk rock
    and charming country waltzes to minor key dirges and atmospheric instrumentals until ending with a
    horn section dragging over a funeral beat in the long form ballad Low Light Serenade.

    1. Sundowner
    2. Blue Moth
    3. I Left The Old Cell
    4. Evensong
    5. Basilica
    6. Dark Wings
    7. I Forged The Bullet
    8. Changing Horses
    9. Low Light Serenade
    Zachary Cale
    $16.99
    Vinyl LP - Sealed Buy Now
  • Ask The Night Ask The Night Quick View

    $14.99
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    Ask The Night

    Orenda Fink has sculpted a diverse & heralded career since Azure Ray released their last album in 2003. Through solo debut Invisible Ones & bands Art in Manila & O+S, she has remained a consistently creative force & returns with Ask the Night, her second solo album & second project of 2009.Ask the Night is a reflection of the Southern cultural & familial roots that helped shape her aesthetic. Songs defy simple categorization & move between old-time waltz, country, folk and haunting bluegrass; instrumentation includes acoustic guitar, mandolin, banjo, accordion, upright bass & pump organ.

    1. Why Is the Night Sad

    2. High Ground

    3. Sister

    4. That Certain-Something Spring

    5. The Garden

    6. Wind

    7. Alabama

    8. The Mural

    9. Half-Light

    10. The Moon Knows

    Orenda Fink
    $14.99
    Vinyl LP - Sealed Buy Now
  • Take Pride In Your Long Odds Take Pride In Your Long Odds Quick View

    $18.99
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    Take Pride In Your Long Odds

    Based in Denton, Texas, Centro-matic began in 1995 as a home recording
    project for singer/songwriter and guitarist Will Johnson. Seventeen years and
    10 albums later the band is getting ready to release their 11th studio album in 2014. Johnson and his compatriots-Scott Danbom (keyboards, violin, harmonies) Matt Pence (drummer, producer), Mark Hedman (bass, guitar)
    have made yet another incredible album. Always approaching recording with
    new ideas the band has done it again with Take Pride In Your Long Odds. Two
    years since their last album Candidate Waltz, Take Pride In Your Long Odds
    finds the band refreshed and excited to play again with their infectious exuberance and vigor.
    1. Take Pride In Your Long Odds
    2. Every Mission
    3. Salty Disciple
    4. Cross Path
    5. Anything Torn Out
    6. Academy Of Lunkers
    7. Calling You Glad
    8. Cynthia Glass
    9. Hey There, Straps
    10. Relative Unto The Aces
    11. On The Ride Back
    12. Through The Fog, Then Down
    Centro-matic
    $18.99
    Vinyl LP - Sealed Buy Now
  • Ravel - Bolero (Speakers Corner) Ravel - Bolero (Speakers Corner) Quick View

    $34.99
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    Ravel - Bolero (Speakers Corner)

    Among the innumerable recordings of Maurice Ravel's BolÉro, the present one made by DECCA with the Orchestre de la Suisse Romande under Ernest Ansermet is of particular note. The impressive mounting crescendo over an ostinato bass, leading through the work from the very first bar right up to the last note, goes hand in hand with ever increasing intensity and excitement and hardly permits the listener to draw a breath. As in the BolÉro, Ravel's La Valse, a choreographed poem for orchestra composed in 1920, is based on a single rhythmic idea, the Viennese waltz, which lends the work increasing impetus throughout the course of the music.



    Although Arthur Honegger's Pacific 231, composed in 1923 and dedicated to Ernest Ansermet, is more modern and has a more complex structure, here too a great arc of tension determines the progress of the music until shortly before the end. The orchestra accelerates in tempo and then decelerates - due to the motivic writing - towards the end thus evoking the sound of a locomotive: the Pacific 231 namely.



    The great success of the first performance of Paul Dukas's L'Apprenti sorcier (The Sorcerer's Apprentice) in 1897, a scherzo composed in 1895 and based on a ballad by Goethe, certainly comes as no surprise when one listens to this recording by the OSR under Ansermet. The composition is filled with a wealth of surprising moments which are presented here with exactitude and subtlety in even the tiniest detail.



    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: February 1963 at Victoria Hall, Geneva by Roy Wallace

    Production: Michael Brenner





    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. Bolero (Ravel)
    2. Pacific 231 (Honegger)
    3. The Sorcerer's Apprentice (Dukas)

    4. La Valse (Ravel)
    Ernest Ansermet with Orchestre de la Suisse Romande
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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