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  • Is This It Is This It Quick View

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    Is This It

    Ranked 367/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Is This It is the debut studio album by American indie rock band The Strokes, recorded at Transporterraum in New York City with producer Gordon Raphael.


    For the album, The Strokes strived to capture a simple rock sound that was not significantly enhanced in the studio. Building on the work of their 2001 debut EP, The Modern Age, the band members molded compositions largely through live takes during the recording sessions, while songwriter Julian Casablancas continued to detail the lives and relationships of urban youth. Following the completion of Is This It, The Strokes embarked on a promotional world tour before its release. The album's cover photograph courted controversy for being too sexually explicit and was replaced for the U.S. market. The American track listing was also amended in light of the September 11 terrorist attacks.


    Promoted by the music press for a melodic pop-influenced sound, The Strokes garnered critical acclaim and commercial attention. Is This It was praised for its charisma and rhythm, which often referenced the works of 1970s garage rock bands. The record is considered crucial in the development of other alternative bands and of the post-millennial music industry. It has featured in several publications' lists of the best albums of the 2000s and of all time.

    1. Is This It
    2. The Modern Age
    3. Soma
    4. Barely Legal
    5. Someday
    6. Alone, Together
    7. Last Nite
    8. Hard to Explain
    9. New York City Cops
    10. Trying Your Luck
    11. Take It or Leave It
    Strokes, The
    $19.99
    Vinyl LP - Sealed Buy Now
  • Is This It Is This It Quick View

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    Is This It

    Ranked 367/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Import

    Remastered


    Is This It, the debut from the Strokes, kickstarted a garage-rock revolution that defined American music from 2001 through 2005. Featuring taut rhythms, frentic tempos, scruffy grooves, melodic hooks, cool-toned vocals, choppy riffs, backstreet attitude, and twitchy arrangements that equally reference Motown, American punk, new wave, and funk, the album is a watershed document that takes off on the influences of James Brown, Television, and the Yardbirds and creates something entirely fresh, new, and irresistible.

    1. Is This It
    2. The Modern Age
    3. Soma
    4. Barely Legal
    5. Someday
    6. Alone, Together
    7. Last Nite
    8. Hard to Explain
    9. New York City Cops
    10. Trying Your Luck
    11. Take It or Leave It
    Strokes, The
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Angles Angles Quick View

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    Angles

    Angles is The Strokes' first new release since 2006's First Impressions of Earth and the album combines the ambition of its predecessor with the immediacy of the band's earlier full lengths Is This It (2001) and Room On Fire (2003).


    In 2010, the band returned to the road, playing and headlining major festivals in the United States and UK, including the Isle of Wight Festival, Lollapalooza, Hurricane Festival, Splendour In The Grass, Rockness, Outside Lands, and Austin City Limits.


    Time Out Chicago hailed The Strokes Lollapalooza performance as the best set they've seen since covering Lollapalooza. Better than Radiohead in 2008. The crowd was euphoric.

    1. Machu Picchu
    2. Under Cover of Darkness
    3. Two Kinds of Happiness
    4. You're So Right
    5. Taken For A Fool
    6. Games
    7. Call Me Back
    8. Gratisfaction
    9. Metabolism
    10. Life Is Simple In The Moonlight
    The Strokes
    $19.99
    Vinyl LP - Sealed Buy Now
  • Comedown Machine Comedown Machine Quick View

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    Comedown Machine

    Comedown Machine, The Strokes' highly anticipated fth studio album, is preceded by the rst single, "All The Time. The band has released four previous studio albums, Is This it, Room on Fire, First Impressions of Earth and Angles which have sold over 5 million albums worldwide. They have headlined major festivals in the United States and UK, including the Isle of Wight Festival, Lollapalooza, Hurricane Festival, Splendour In The Grass, Rockness, Outside Lands, and Austin City Limits as well as sold out New York City's Madison Square Garden.
    1. Tap Out
    2. All The Time
    3. One Way Trigger
    4. Welcome To Japan
    5. 80's Comedown Machine
    6. 50/50
    7. Slow Animals
    8. Partners In Crime
    9. Chances
    10. Happy Ending
    11. Call It Fate, Call It Karma
    The Strokes
    $19.99
    Vinyl LP - Sealed Buy Now
  • Green And Yellow Green And Yellow Quick View

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    Green And Yellow

    First Ever Reissue


    Green and Yellow is the collected recordings of
    legendary lost 1970s Deep South freaksters, THE
    STROKE BAND. Seen and heard, until now, by only a
    few South Georgia pot heads, rednecks, sheriffs,
    strippers, and intoxicated U.S. Marines. Fronted by
    Bruce Joyner - a swamp rat synthesis of Buddy Holly,
    Bryan Ferry and Jerry Lee Lewis - The Stroke Band were
    an art-punk aberration to anything else happening in
    South Georgia in 1978 - 79. This Anthology Recordings
    re-release of the Green and Yellow album is the first in
    any form since the private press LP came out in 1978.

    1. Don't Get Angry
    2. Fiction Non-Fiction
    3. Green and Yellow
    4. Gun Fighting Man
    5. Janie's Living in a Cell
    6. Latin Melody
    7. Rat Race
    8. Son of Sam
    9. Spaced
    10. The Waves Rush In
    The Stroke Band
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Panic Sequence EP The Panic Sequence EP Quick View

    $9.99
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    The Panic Sequence EP

    Mixed by Grammy-Award winning engineer Gus Oberg (The Strokes, The Virgins, Drowners, Albert Hammond Jr.) and produced by Nightbox themselves,
    with co-production from Al-P of MSTRKRFT and co-writing from Sebastien Grainger of DFA 1979 on the lead single "Burning," The Panic Sequence EP is
    the next progression for a rising band rooted in charmingly humble beginnings.


    With their self-titled debut EP on Last Gang Records, Nightbox caught the ears of the BBC, which ranked their performance in the top-10 of that year's
    Electric Picnic Festival. Over the next couple years, support slots on both sides of the Atlantic for Ellie Goulding, Cults and DFA 1979 followed, along with
    international tours with LIGHTS, Dragonette, and most recently Strokes guitarist Albert Hammond Jr. As did critical praise from UK press NME, Dazed &
    Confused, BBC Radio 1, Canadian media and a slew of top blogs like Neon Gold and Kick Kick Snare.


    Now with The Panic Sequence, Nightbox are ready to step out from the shadow of their influences and leave their own musical imprint on Toronto and the
    wider world. The EP will be released April 22 via Toronto-based label Rare Beef.

    1. Burning
    2. The Panic Sequence
    3. In The Rural
    4. Wonderworlds
    5. Wash

    Nightbox
    $9.99
    Vinyl EP - Sealed Buy Now
  • New Skin New Skin Quick View

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    New Skin

    New Skin is the debut album of CRX a new project for STROKES lead guitarist Nick Valensi. The urge to begin a new project came from a primal place for Valensi, he just wanted to play. I was at a place where I got really hungry to perform in front of audiences, and do things a little more simply, Valensi says. The Strokes don't play that often anymore, and when we do it's awesome, but it got to the point where I needed to balance that out with a project I could take on tour whenever I wanted to. And the idea of playing clubs again was really exciting to me. But Valensi couldn't start playing until he'd written some songs, and he realized he'd have to finally embrace an aspect of performing he'd resisted up until that point -- singing. Last summer, he just dug in, grabbing whatever spare time he had to record demos on his laptop at home. It was a learning process, says Valensi. It took me some time to figure out how my voice sounds most natural, and to think about what I wanted to say.


    As the songs progressed, Valensi invited a few trusted musician friends to join him and to contribute as songwriters. In addition to Valensi on guitar and vocals, CRX includes bassist Jon Safley, keyboardist/vocalist Richie Follin, drummer Ralph Alexander, and guitarist Darian Zahedi. Once we were all in a room together, it got collaborative pretty quickly, Valensi says, noting that about half of New Skin s ten tracks are co-writes with the band.


    After demoing several songs, Valensi reached out to Queens of the Stone-Age's Josh Homme, for feedback on the tracks and advice regarding producers who might be right for the band. It quickly became apparent that there was no better person for the job than Homme himself. He was really enthusiastic about the demos, says Valensi. There were even specific things he loved from the demos so much that we ended up including them on the album, which was very much a Josh decision.


    New Skin was recorded at Homme's Pink Duck Studios in Burbank, with work wrapping up in early 2016. And even as this year marks the fifteenth anniversary of The Strokes first LP, it represents the beginning of a promising new chapter for Valensi. One of the coolest things for me is that I began making this record as a vehicle to get onstage, he says, but along the way, it started to feel like we were working on something more special than that. I'm excited to be singing and having a lot of fun with it, and I'm really enjoying the feeling of having to work hard to win people over. It's like being a kid again - like everything is new and kind of scary but irresistibly fun, too.

    1. Ways to Fake It
    2. Broken Bones
    3. Give It Up
    4. Anything
    5. Walls
    6. Slow Down
    7. On Edge
    8. Unnatural
    9. One Track Mind
    10. Monkey Machine
    CRX
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Division Street (Discontinued) Division Street (Discontinued) Quick View

    $24.99
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    Division Street (Discontinued)

    Division Street is Harper Simon's follow-up to his critically acclaimed debut album. It is a departure for Simon: it features a sound that's much more driven by electric guitars than his alt country-flavored debut. The mission was to make the kind of Rock 'n' Roll record I would want to listen to myself, he says. Which sounds simple but is, in fact, incredibly difficult.


    Simon co-produced Division Street with Tom Rothrock, who produced three albums for Elliot Smith (Either/Or, XO and Figure 8) and Beck's first album Mellow Gold, among others. As the team worked, the album's sound grew rougher around the edges. I felt challenged and inspired by the idea of making a modern psychedelic folk-rock album, a Tom Rothrock production like XO, but then the Velvet Underground and the Stones kept entering in, says Simon. Elliot Smith was very influenced by the Beatles but my guitar playing is more influenced by Keith Richards. And I kept wanting to emphasize more lo-fi elements.


    Division Street was recorded with a small coterie of guest musicians, including Pete Thomas from Elvis Costello's Attractions on drums, Nikolai Fraiture from the Strokes on bass, vocals by Inara George, Feist's musical director Brian LeBarton playing synths, as well as Nate Walcott from Bright Eyes and Wilco's Mikael Jorgensen. I'm very lucky, says Simon. Everybody that we asked to come and guest on the record showed up.

    1. Veteran's Parade
    2. Bonnie Brae
    3. Division Street
    4. Dixie Cleopatra
    5. Nothing Gets Through
    6. Eternal Questions
    7. Chinese Jade
    8. Just Like St. Teresa
    9. 99
    10. Breathe Out Love
    11. Leaves of Golden Brown
    Harper Simon
    $24.99
    Vinyl LP - Sealed Buy Now
  • Maraqopa Maraqopa Quick View

    $16.99
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    Maraqopa

    Damien Jurados newest collaboration with producer Richard Swift drops us into a brutal and benevolent landscape. The bold strokes and new turns the pair made with 2010s Saint Bartlett are taken even further. He throws open the gate on his oft insular dirges and allows them to do some real wilding out in the canyon. In Maraqopa, the vistas are miles-wide; the action is more dynamic; the close-ups sweaty and snarling.


    The strummed desert blues that begins Nothing is the News quickly bursts open into an Eddie Hazel-worthy supernova shred session, all of it swirling in tinny-psych and Echoplexd howls. Weve never heard anything like this from Jurado. Fifteen years into his remarkable career, and he continues to blossom. Jurado and Swift establish themselves not only as inventive, trusting collaborators, but as one anothers spirit animals in American outsider songcraft, lone wolves in black sheeps clothing. Swift is the Ennio Morricone to Jurados Sergio Leone.


    At Swifts National Freedom studios, the live-to-tape ethos allowed these songs to expand and retract like a great beasts breath. Every in-the-moment bell and whistle here is hung with a natural, casual care. And from this, each song offers up its own unique gift: the enchanting childrens choir that echoes each line of Jurados lament for innocence lost on Life Away from the Garden; the breezy bossa nova that begins This Time Next Year and rises as effortless as a smoke cloud into high-noon showdown pop; Reel to Reel's wobbly, Spector-symphony and its meta themes; and the wonderful falsetto vocal work Jurado pulls from himself on Museum of Flight.

    1. Nothing Is The News
    2. Life Away From The Garden
    3. Maraqopa
    4. This Time Next Year
    5. Reel To Reel
    6. Working Titles
    7. Everyone A Star
    8. So On, Nevada
    9. Museum Of Flight
    10. Mountains Still Asleep
    Damien Jurado
    $16.99
    Vinyl LP - Sealed Buy Now
  • James Bond: Goldfinger Soundtrack James Bond: Goldfinger Soundtrack Quick View

    $24.99
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    James Bond: Goldfinger Soundtrack

    Music Composed by John Barry and Vocals by Shirley Bassey!


    This is the first of three James Bond films with a theme song sung by Shirley Bassey, whose forceful, dramatic style became a series trademark (she would go on to sing Diamonds Are Forever and Moonraker). Goldfinger was composed by John Barry, with lyrics by Anthony Newley and Leslie Bricusse, and is widely acknowledged as a classic of its genre. Famously, co-producer Harry Saltzman hated the song and only agreed to use it when persuaded by Albert Broccoli.


    Originally, Newley recorded a version of the theme song, but it was later re-recorded with Bassey's voice for the film and soundtrack album. In 1992, Newley's version was released for the 30th Anniversary of James Bond on film, in the compilation collectors edition The Best of Bond...James Bond.


    The score was composed by Barry, making this his second, credited Bond score. The score makes regular use of instrumental arrangements of the title theme, as well as the Bond theme from Dr. No used in the gun barrel sequence . The score makes heavy use of brass. The distinctive music for Goldfinger's henchman, Oddjob, makes use of repeated strokes on a metallic anvil. Metallic chimes are also heard in many scenes associated with Oddjob or gold, notably that in which the dead golden girl is discovered. The very effective use of music and various sound effects in the film won it an Academy Award for Best Sound Editing. The album reached No. 1 on the Billboard 200, and spent 70 total weeks on the chart.

    1. Main Title - Into Miami - Goldfinger
    2. Alpine Drive - Auric's Factory
    3. Oddjob's Pressing Engagement
    4. Bond Back In Action Again
    5. Teasing the Korean
    6. Gassing the Gangsters
    7. Goldfinger (instrumental)
    8. Dawn Raid on Fort Knox
    9. The Arrival of the Bomb and Count Down
    John Barry
    $24.99
    Vinyl LP - Sealed Buy Now
  • Horns & Halos Horns & Halos Quick View

    $19.99
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    Horns & Halos

    Horns And Halos' - mixed by Petri Majuri at Seawolf Studios, Finland - is the follow-up to 2011's critically-acclaimed 'Sensory Overdrive', winner of Classic Rock Magazine's 'Album Of The Year' and a No. 1 record in MM's Finnish homeland.


    It's been a while since that brilliant piece of work that was Sensory Overdrive, just enough time for a job well done. No need to rush, especially when you have to re-adjust to song writing minus Ginger Wildheart.


    So it happens that the irresistible poptastic element loses out a little bit to darker shades here and there, like on the rather unexpected 'Ritual' or 'Stained Glass Heart'; yet our blonde energy powerhouse doesn't fail to throw in unforgettable hooks - see 'Child Of The Revolution' or rock party anthem 'Saturday Night Special' - sure to get the crowd going on the next round of live shows.


    The opening 'TNT Diet' breaks in raw and unmerciful, followed by the memories of an unforgotten NY past in single 'Ballad of the Lower East Side'. There's a touch of classic/bluesy, even a hint of prog in 'Eighteen Angels', then it's strokes of bright colours and grey shades on the familiar coarse canvas that is Michael's voice. The unmistakeable soundscape courtesy of Sami Yaffa, Steve Conte, Dregen and Karl Rosqvist ensures continuity despite sparks of unusual - let 'Soul Surrender' surprise you - leaving fans happy yet never bored.


    It's not 'Sensory Overdrive', but 'Horns and Halos' was definitely worth the wait. No album, doesn't matter how good, should ever be written twice as long as you have any music left in you; Michael Monroe, luckily, still has a lot left to offer.


    - Cristina Massei (Sonic Shocks)

    1. TNT Diet
    2. Ballad Of The Lower East Side
    3. Eighteen Angels
    4. Saturday Night Special
    5. Stained Glass Heart
    6. Horns And Halos
    7. Child Of The Revolution
    8. Soul Surrender
    9. Half The Way
    10. Ritual
    11. Hands Are Tied
    Michael Monroe
    $19.99
    Vinyl LP - Sealed Buy Now
  • Ease My Mind Ease My Mind Quick View

    $19.99
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    Ease My Mind

    Ease My Mind, the fifth full-length by Shout Out Louds, is a welcome return from these Swedish pop masters.

    In their 15 years as a band, Shout Out Louds have toured the world many times. The band played a show in the Brazilian rainforest with a freezer box for a dressing room. They once performed in Yokohama,Japan, for an audience of two Austrians. They played in a Sicilian rainstorm so heavy they had to shake out their instruments afterwards,with the soaked backdrop left hung to dry on a hotel façade. Themusic sites will remind you that the band have performed for DavidLetterman and Jay Leno and toured with The Strokes during their heyday, but most importantly, they have released four albums of brilliant pop music.

    Ease My Mind was recorded with Fredrik Swahn (from the band The Amazing) who filled the band with such new energy that they were willing to commute to the 'burbs during the darkest months of the year. He was joined by Måns Lundberg who produced the song Souvenirs and Axel Algmark who produced No Logic andAngel. The band recruited Lars Skoglund for drums, known for his work with Lykke Li.

    Adam and Bebban in the band write: The world is a different place now than it was in the beginning of the 2000s. We didn't grow up very aware of political messages in music and probably didn't feel much of an urgent need to understand the world around us, in that sense. However, that has changed over the years. The world has seemed extremely dystopic and frail for quite a while now, and having children and getting older forces you to open your eyes to issues more devastating than heartbreak and feeling lost. But in our music, we still allow ourselves to address things the way we always have: through emotions rather than analysis. Music as a means of escape, a need to take a break from feeling petrified with fear. Ease My Mind is a lot about that for us.

    1. Jumbo Jet
    2. Paola
    3. Porcelain
    4. White Suzuki
    5. No Logic
    6. Ease My Mind
    7. Oh Oh
    8. Throw Some Light
    9. Crying Game
    10. Souvenirs
    Shout Out Louds
    $19.99
    Vinyl LP - Sealed Buy Now
  • Dvorak: String Quintet In G Major (Speakers Corner) Dvorak: String Quintet In G Major (Speakers Corner) Quick View

    $34.99
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    Dvorak: String Quintet In G Major (Speakers Corner)

    A perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvoák's Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions.


    Here, the insistent, broad theme is presented in snappy cascades of sound. The cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvoák's distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.


    The Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvoák won an important prize for his Quintet.

    Recording: June 1971 at Boston Symphony Hall by GÜnter Hermanns
    Production: Thomas Mowrey



    Musicians:



    • Joseph Silverstein (violin)

    • Max Hobart (violin)

    • Burton Fine (viola)

    • Jules Eskin (cello)

    • Henry Portnoi (bass)



    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. Allegro Con Fuoco
    2. Intermezzo. Andante Religioso. Molto Adagio
    3. Scherzo. Allegro Vivace - Trio. L'Istesso Tempo, Quasi Allegretto
    4. Poco Andante

    5. Finale. Allegro Assai
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Inside HiFi (Pure Pleasure) Inside HiFi (Pure Pleasure) Quick View

    $34.99
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    Inside HiFi (Pure Pleasure)

    This excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are Everything Happens to Me, All Of Me, and Star Eyes, but all eight performances are well played and swinging.
    Scott Yannow


    The introduction of Konitz's tenor during this period is emblematic of this. His premiere tenor recordings on '56's Inside Hi-Fi document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barnburners as "Indiana" (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor's capacity for broader, bolder strokes to such fine alto performances as the bluesy "Cork 'N' Bib". The contrasts between Konitz's alto and tenor are well-represented on "Kary's Trance", which includes choruses on both horns; the track is also one of guitarist Billy Bauer's finest.


    - Bill Shoemaker



    Musicians:



    • Lee Konitz (alto saxophone, tenor saxophone)

    • Billy Bauer (guitar)

    • Sal Mosca (piano)

    • Arnold Fishkind, Peter Ind (bass)

    • Dick Scott (drums)



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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

    1. Kary's Trance
    2. Everything Happens To Me
    3. Sweet And Lovely
    4. Cork 'n' Bib
    5. All Of Me
    6. Star Eyes
    7. Nesuhi's Instant
    8. Indiana
    Lee Konitz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Profile: Best Of Emmylou Harris Profile: Best Of Emmylou Harris Quick View

    $21.99
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    Profile: Best Of Emmylou Harris

    Already celebrated as a discoverer and interpreter of other artists' songs, 12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. On Hard Bargain, her third Nonesuch disc, she offers 11 original songs-three of them co-written with Grammy- and Oscar-winning composer Will Jennings-that touch on the autobiographical while reaching for the universal. She recalls the storied time she spent with her mentor Gram Parsons ("The Road") and composes a sweet remembrance of the late singer-songwriter Kate McGarrigle ("Darlin' Kate") and the time they spent together, right up to the end. Harris locates poignancy and fresh meaning in events both historical and personal. On "My Name Is Emmett Till" she recounts a violent, headline-making story from the civil rights era in a heartbreakingly plain-spoken narrative, told from the murdered victim's perspective; on "Goodnight Old World," she fashions a bittersweet lullaby to her newly born grandchild, contrasting a grown-up's world-weariness with a baby's wide-eyed wonder. "Big Black Dog," with its loping canine-like rhythms, is also a true tale, about a black lab mix named Bella. Harris, who runs a dog shelter called Bonaparte's Retreat on her property, rescued Bella from the Nashville Metro pound and provided an especially happy ending to her story: "She goes on the tour bus with me now, along with another one of my rescues. I think of all the years on the road I wasted without a dog. They make it so much more pleasant. I'm making up for lost time now, that's for sure."Few in pop or country music have achieved such honesty or revealed such maturity in their writing.

    Forty years into her career, Harris shares the hard-earned wisdom that-hopefully if not inevitably-comes with getting older, though she's never stopped looking ahead. The candor of Harris's words is matched by a simple, elegantly rendered production from Jay Joyce (Patty Griffin, Jack Ingram, Cage the Elephant), with whom she'd previously recorded a theme for the romantic drama, Nights in Rodanthe. While Harris's acclaimed 2008 All I Intended to Be was recorded intermittently over a span of three years and featured an all-star cast of musician friends, including Dolly Parton, Vince Gill, and the McGarrigles, Hard Bargain was cut in a mere four weeks last summer at a Nashville studio, with only Harris, Joyce, and multi-instrumentalist Giles Reaves. Joyce gets big results from this strikingly small combo: Harris played acoustic guitars and overdubbed all the harmonies; Joyce layered shimmering electric guitar parts; Reaves-employing piano, pump organ, and synths as well as playing percussion-conjured gorgeous atmospherics, often giving these tracks, as Harris puts it, "a floaty, dreamy quality.""It's such a beautifully realized sound," says Harris. "We didn't have the need for anyone else given how versatile Giles and Jay are. We became our own little family in the studio. We cut very simply, with just maybe a click and whatever they wanted to play and me on an acoustic guitar, going for that vocal and that feel, right to the heart of the matter. After we got a track, there were all those lovely brush strokes they were able to add to it later on. I particularly love the guitar part Jay put on 'My Name Is Emmett Till.' It's a simple part but it just breaks my heart whenever I hear it. It's like a cry from heaven or something. Jay works really fast but he puts so much thought into what he does. I've been very lucky to work with so many great producers over the years and now I guess it was time to increase the stable."On "The Road,"

    1. One Of These Days
    2. Sweet Dreams
    3. To Daddy
    4. (You Never Can Tell) C'est La Vie
    5. Making Believe
    6. East From Now On
    7. Together Again
    8. If I Could Only Win Your Love
    9. Too Far Gone
    10. Two More Bottles Of Wine
    11. Boulder To Birminham
    12. Hello Stranger
    Emmylou Harris
    $21.99
    Vinyl LP - Sealed Buy Now
  • Too Tough To Live Too Tough To Live Quick View

    $16.99
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    Too Tough To Live

    Dan Sartain returns with the new album Too Tough To Live, 13-tracks delivered in under 19 minutes! That's an average strike rate of a new tune every 1 minute and 30 seconds. Recorded at Lucky Cat, San Francisco, Too Tough To Live finds Sartain running fresh out of patience with a whole itinerary of hassles: department stores, death, the unseeing eye, the all-seeing eye, heaven, hell, Vietnam, Fridays, Saturdays, Sundays and you.


    Too Tough To Live also boasts a guest appearance by singer/guitarist Jane Wiedlin of The Go-Go's on Now Now Now. The two met at a brain trust of sorts in San Francisco known as a Star Track convention. After some begging and name dropping, Wieldlin was convinced to join Sartain here, achieving one of the album's highlights in the process.


    The new set finds Sartain operating at the opposite end of his range to that of 2009's Dan Sartain Lives. With adequate production values and some musical chops, the down stroke ridden Too Tough To Live is a tribute to when punk was the real deal!

    1. Nam Vet
    2. Now Now Now (with Jane Wiedlin)
    3. I Wanna Join The Army
    4. I'm Aware
    5. Rona
    6. Swap Meet
    7. Boo Hoo Hoo
    8. Indian Massacre
    9. Fuck Friday
    10. I Got Insurance
    11. I Can't Go Home Now
    12. Even At My Worst I'm Better Than You
    13. In Death
    Dan Sartain
    $16.99
    Vinyl LP - Sealed Buy Now
  • Reanimation (Awaiting Repress) Reanimation (Awaiting Repress) Quick View

    $24.99
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    Reanimation (Awaiting Repress)

    One word: Epic. That's the most succinct way to describe the stunning instrumental debut by cinematic post-rock powerhouse LIGHTS & MOTION. The band's braintrust, 24 year old self-taught multi-instrumentalist, songwriter, producer, engineer, mixer and all around musical savant Christoffer Franzen, created and composed every song in real-time during late night insomnia sessions through pure accident, improvisation and inspiration. And the result? More than you could have ever hoped for. Reanimation is pure, sweeping, musically-animated emotion: modern yet classic, bold yet restrained, grandiose yet humble, storming yet tranquil, swerving yet linear...and you are completely surrounded in the sincerity, the ecstasy, the illumination of it all. Every song is so deeply intimate yet so massively majestic, culminating in a timeless album that is seemingly created from the same stuff dreams are made of. Reanimation will be acknowledged as one of the most important post-rock albums ever to be made...and if this was the last album we ever released on Deep Elm Records, I would consider our 18 year mission an overwhelming success says label founder John Szuch.


    Melodies and harmonies, movies and images, loneliness and melancholy are my influences says Franzen. There is just this urge, this need to create and it takes on different shapes. Sometimes it's rough and loud and sometimes it's very quiet. I consider myself to be more and more of a painter of sound. It always starts out with something easy and timid, like a simple brush stroke. Depending on the mood, I change the color and intensity of my next stroke and suddenly the whole impression of what that piece was drastically changes. I compose with layers and depth, and it's often the slightest thing that makes the whole song turn into a new direction, often one I didn't see coming myself. That is part of the journey, at least for the way I write music. I never know what I wiIl end up with, and it's often very different from what I started out with. Sometimes I tell people that this album consists of my dreams...only I wasn't sleeping with they came to me, I just did my best to get them down on tape.


    Franzen continues, At the beginning, I really had nothing except for a vision of something vast, heartbreaking and beautiful at the same time. I didn't think in terms of music, but in terms of other things that inspired me, things that painted a picture in my head that I could see so clearly. This was in the Fall of 2011. Without any education in sound engineering or music production, I spent countless nights learning how to get the sounds that I could hear in my head to come out through the speakers. I did this by trial and error, reading endless forums about music production, watching tutorials and experimenting. By doing this I learned the capabilities and limitations of the studio and the gear that I could use, as well as my own as a producer. In order to achieve the sound that I had in mind, I had to pick up all these different instruments and learn how to play them. If somebody had told me one year ago that I would record an entire album by myself, I wouldn't have believed them. I am very proud of it and I can't believe it's done. This album was about gathering the courage to launch an endeavor that was purely my own. It was a reawakening, a rebirth, a resurrection of sorts, and a passageway into a dreamlike world that I created myself...a world to get lost in...a world that gives us hope.


    An album for which my immediate feeling is astonishment. I am in awe. Thank you Christoffer. - Troublezine


    Amazingly beautiful, intimate, relaxed melodies and soundscapes. Very impressive...a success. - 520 Music


    Cinematic soundtrack-mash-ups that bring a fresh breeze into a otherwise linear and narrow genre. - Melodic

    1. Requiem
    2. Home
    3. Aerials
    4. Drift
    5. The March
    6. Victory Rose
    7. Epilogue
    8 . Fractured
    9. Texas
    10. Faded Fluorescence
    11. Departure
    12. Reanimation
    13. Dream Away
    Lights And Motion
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Salutations Salutations Quick View

    $26.99
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    Salutations

    Conor Oberst will release a new album, Salutations, on Nonesuch Records.


    The album is a companion piece to 2016's lauded Ruminations. When Oberst wrote and recorded the songs on Ruminations, entirely solo-with just voice, piano, guitar and harmonica-he intended to ultimately record them with a full band. In the midst of putting together that band-upstate New York's The Felice Brothers plus the legendary drummer Jim Keltner (Neil Young, Jackson Browne, George Harrison, Bob Dylan, John Lennon, and many more)-the passionate responses Oberst was getting to those first solo recordings, from friends and colleagues, encouraged him to release the songs as-is, in their original sparse form, as his seventh solo album: Ruminations, which was released in October 2016. The Sunday Times of London called it the rawest album yet from the forever troubled one-time voice of a generation and political and very, very personal, saying Oberst is one of the best songwriters around.


    Meanwhile, Oberst simultaneously moved ahead with his plans to record with the band, heading to the famed Shangri-la Studios in Malibu to record Salutations-co-produced with Keltner and engineered by long-time musical compadre Andy LeMaster. Guest contributions come courtesy of Jim James, Blake Mills, Maria Taylor, M Ward, Gillian Welch, Gus Seyffert, Pearl Charles, Nathaniel Walcott, and Jonathan Wilson.


    Salutations includes full-band versions of the ten songs from Ruminations, plus seven additional songs, some from an additional session at Five Star Studios in Echo Park in fall 2016.


    Oberst says of the Salutations sessions: Jim was really the captain of the ship and the spiritual leader of the project. We leaned heavy on his fifty-plus years of musical insight to get us to where we needed to be. He brought such depth and dignity to the proceedings that made everyone else involved rise to the occasion. It was a true stroke of luck that he got involved when he did.

    LP 1
    1. Too Late to Fixate
    2. Gossamer Thin
    3. Overdue
    4. Afterthought
    5. Next Of Kin
    6. Napalm
    7. Mamah Borthwick (A Sketch)
    8. Till St. Dymphna Kicks Us Out


    LP 2
    1. Barbary Coast (Later)
    2. Tachycardia
    3. Empty Hotel by the Sea
    4. Anytime Soon
    5. Counting Sheep
    6. Rain Follows the Plow
    7. You All Loved Him Once
    8. A Little Uncanny
    9. Salutations

    Conor Oberst
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Southern Roots Southern Roots Quick View

    $47.99
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    Southern Roots

    Import


    At long last here are the original session tapes that produced Jerry Lee Lewis' 1974 Southern Roots LP. Produced by Huey Meaux, a fellow Louisiana wildman, the final results reveal what happens when two fiery, free-spirited forces lock horns in the studio.
    Meaux had just gotten out of prison and had a reputation you wouldn't want in your family tree. Separately, Meaux and Lewis each spelled trouble in a big way and could be impossible to work with. Together? God knows what would happen. The results could be an utter disaster or a stroke of genius. As Meaux later observed, ''I knew Jerry and I would fight, but in the end we'd come out with the record. We fought, but we delivered.''


    For three days in September, 1973 Jerry Lee Lewis and Huey Meaux went at it, and each other. Listen as Jerry Lee is turned loose in the studio by a producer who didn't try to rein in Jerry's ego. In fact, Meaux did everything he could to feed it. That ego is nowhere more evident than on Jerry's version of the Percy Sledge 1966 hit, When A Man Loves A Woman, which Jerry turns into a sermon on war between the sexes.

    Jerry and Huey cut mostly southern music - soul, country, R&B and a touch of swamp pop. They even included a surprisingly impassioned version of Johnny Ray's 1952 hit record, Cry.

    Little did we know that there was supposed to be a second Southern Roots album. Only ten tracks ever appeared on the LP - a scant 34 minutes of music - but we've got it all here, including the music that was scheduled to appear on the second 'lost album,' all neatly overdubbed and ready for release. We've also got the stuff you were never meant to hear, and there's plenty of it.

    LP 1
    1. Meat Man
    2. When A Man Loves A Woman
    3. Hold On I'm Coming
    4. Just A Little Bit
    5. Born To Be A Loser
    6. Haunted House
    7. Blueberry Hill
    8. The Revolutionary Man
    9. Big Blue Diamonds
    10. That Old Bourbon Street Church


    LP 2
    1. Silver Threads Among The Gold
    2. Hold On I'm Coming (fast version)
    3. Take Your Time
    4. All Over Hell And Half Of Georgia
    5. I Sure Miss Those Good Old Times
    6. Raining In My Heart
    7 Honey Hush
    8. Cry
    9. Margie
    10. Studio Chatter #8 - Polk Salad Annie

    Jerry Lee Lewis
    $47.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Deviant Chord The Deviant Chord Quick View

    $19.99
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    The Deviant Chord

    Colored Vinyl: Transparent Turquoise With Black Swirls

    FOR JAG PANZER, TEAM SPIRIT IS MORE IMPORTANT THAN ANYTHING ELSE. WITHOUT TEAM SPIRIT, GUITARIST MARK BRIODY WOULD NO LONGER SEE ANY REASON FOR CONTINUING THE BAND.

    We're like a family, we've all known each other for many years, he says and looks back at the years between 2011 and 2013 when Jag Panzer were on the brink of calling it a day. Two band members quit and there was little interest in hiring new people and starting over. Introducing new musicians would have been tough, so we decided to disband. But then the American power metal act's strong fan base made itself heard, causing the spark to be rekindled. Briody: We had a lot of interest in our early albums, so my band mates soon noticed that people were still listening to Jag Panzer, that the audience was still there. We started talking on the phone more and more. Some excellent gig offers arrived so we decided we should get back together. What a stroke of good fortune, after all now the public can look forward to an accomplished comeback album. The Deviant Chord is a veritable metal manifesto and consists of ten awesome songs featuring all those typical Jag Panzer strengths that the band's fans have come to appreciate.

    Together with band members John Tetley (bass), Harry 'The Tyrant' Conklin (vocals), Rikard Stjernquist (drums) and Joey Tafolla (lead guitar), who has returned to the fold, Briody has recorded an album that impresses in every respect and that benefits from the outstanding qualities of all five band members. John does our 'quality control', meaning that he makes sure every song wedo is the best it can be. Harry is a musical genius. He's been singing since we were kids, he's very skilled in vocal arrangements and vocal recording techniques. This skill makes him a very big contributor in the songwriting. Rikard is all about drumming. He's been drumming since he was a small child and has never stopped. He grew up living all around the world and he has always been in a band. Joey is the classic lead player in every sense of the world. He has amazing skill on the guitar plus an outstanding stage presence. His playing makes every song better.

    LP 1
    1. Born of the Flame
    2. Far Beyond All Fear
    3. The Deviant Chord
    4. Blacklist
    5. Foggy Dew


    LP 2
    1. Divine Intervention
    2. Long Awaited Kiss
    3. Salacious Behavior
    4. Fire Of Our Spirit
    5. Dare

    Jag Panzer
    $19.99
    180 Gram Audiophile Virgin Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Death Peak Death Peak Quick View

    $27.99
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    Death Peak

    Clark returns this spring with Death Peak. The album deftly weaves together the various threads of his extensive work, intertwining euphoric melodies and visceral rhythms of warehouse rave with newer vocal and choral elements.


    Death Peak exposes the tension in Clark's musical vocabulary I love finding the fulcrum between opposites - I want my tracks to have sharp teeth, but you want to stroke them too. They sound ancient, but beamed in from the future, soft, corrosive. Album track 'Peak Magnetic' is a club-ready 4 am affair - vigorous, singular, hard to define. As Clark explains I wanted the kick to sound like some massive natural event, barely controlled, a boulder bouncing down a hill with birds tweeting around it. A complete mudball of a pulse that anchors everything to it through sheer mass. It makes me think of outdoor springtime raving. 'Catastrophe Anthem' features the voices of a children's choir eerily chanting the mantra, We are your ancestors. Clark has rarely used vocals before, but here every song has an element of human voice. Nearly all the tracks have some form of vocal recording on them. I only realized this late in the recording process. I get hypnotized by the human voice - the most perfect synth. Vocals can be a bit of an awkward hat, that producers wear to try and get attention. Death Peak voices are the opposite of that. The vocal elements are just another instrument in the mix. It's taken me awhile to get to this level of confidence with it.


    Recently he released a split 12-inch with label mates Mark Pritchard & Bibio and worked remixes with the likes of Nils Frahm and Max Richter. Significantly, Clark has turned his hand to scoring. He released the foreboding cinematic soundtrack to the 2016 BAFTA nominated Sky Atlantic series 'The Last Panthers' and composed a score for Macbeth at the Young Vic theatre. Late in 2016 he composed 'Enter The Void' for especially The Echo Society orchestra, conducted by Joe Trapanese (M83 & Daft Punk collaborator) and performed at the historic Ace Theatre, LA. Clark signed to Warp in his late-teens. His studio sound has evolved and matured over two decades; although he would say he's only just starting. His amorphous industrial noise has ever-grown and influenced producers, dancefloors and festivals around the world.

    LP 1
    1. Spring But Dark

    2. Butterfly Prowler
    3. Peak Magnetic
    4. Hoova
    5. Slap Drones
    6. Aftermath


    LP 2
    1. Catastrophe Anthem
    2. Living Fantasy
    3. Un U.K

    Clark
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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

    1. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Berlioz: Symphonie Fantastique (Speakers Corner) Berlioz: Symphonie Fantastique (Speakers Corner) Quick View

    $34.99
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    Berlioz: Symphonie Fantastique (Speakers Corner)

    Beethoven had just finished writing his symphonies when - in 1830 - a young Frenchman created a sensation with his completely novel and exuberant orchestral music. Based on classical music form, Berlioz composed his »massive instrumental composition« as a five-movement musical drama. Such a stroke of genius, in which the ego and grief thereof are described, had never been heard before in the French Romantic period.


    Berlioz employs a very large orchestra with a big timpani section, four bassoons and military brass to present the young artist - an autobiographically motivated character - who dreams his way through the various episodes, hallucinating and frenzied. Here it is clear that it is Berlioz' declared intention to express the artist's visions radically and unmistakably in music - beginning with the ever-recurring delusional 'idÉe fixe' via a terrifying opium intoxication and ending up with the nightmare of his own burial.


    Of the many high-quality, often highly impassioned performances, this particular one by Dimitri Mitropoulos is certainly a benchmark recording. The great conductor makes the rhythms pulsate; he skilfully mixes the wealth of sound colouring, and blends the orchestral instruments so subtly that one notices previously unheard details with every listening.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:



    • Hector Berlioz (composer)
    • The New York Philharmonic Orchestra conducted by Dimitri Mitropoulos



    Recording: February 1957 in New York




    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 - Reveries; Passions
    2. II - Un Bal
    3. III - ScÉne Aux Champs
    4. IV - Marche Au Supplice
    5. V Songe D'Une Nuit Du Sabbat
    Hector Berlioz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Burgers (Speakers Corner) Burgers (Speakers Corner) Quick View

    $34.99
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    Burgers (Speakers Corner)

    The exploration of psychedelic depths did not appear to suffice the founders of Jefferson Airplane - Jorma Kaukonen and Jack Casady - when searching for their musical salvation. So why not amalgamate their hippy-like simple lifestyle and folksy music with the formation of a second band called Hot Tuna, emotional yet not so synthetically hotted-up? Even in the very first number, True Religion, whose airy, bubbling folksy finger-picking soars up into powerful waves of rock, the message of this first studio album comes over loud and clear. Growling bass melodies and the representation of a life on the road (Keep On Truckin') conjure up a down-to-earth country feeling, with an off-key fiddle tune (Let Us Get Together Right Down Here) accentuating the rough yet cordial get-together. The purely instrumental Water Song is a stroke of genius - this humming, buzzing guitar mix doesn't only demonstrate the players' instrumental dexterity but also their keen sense of melody and ear for sound colouring. No matter whether gruff Hillbilly, cool blues rocker, or square and nostalgic former hippy - they'll all love this album. Just think: for whom else does Hot Tuna still go on tour ...?

    Musicians:



    • Jorma Kaukonen (guitar, vocal)

    • Jack Casady (bass, vocal)

    • Papa John Creach (violin, vocal)

    • Sammy Piazza (drums, percussion, vocal)

    • Nikki Buck (organ, piano)

    • Richmond Talbott (vocal, guitar)

    • David Crosby (vocal)




    Recording: 1972 by 'The Unknown Engineer' at Wally Heider Studios, San Francisco

    Production: Fisohobay Production



    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. True Religion
    2. Highway Song
    3. 99 Year blues
    4. Sea Child
    5. Keep on Truckin'
    6. Water Song
    7. Ode for Billy Dean
    8. Let Us Get Together Right Down Here
    9. Sunny Day Strut
    Hot Tuna
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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