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  • Regulate...G Funk Era (20th Anniversary) Regulate...G Funk Era (20th Anniversary) Quick View

    $29.99
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    Regulate...G Funk Era (20th Anniversary)

    Grammy®-nominated hip-hop pioneer Warren G is a Long Beach rapper who formed the legendary group 213 (named after the city's area code) with Nate Dogg and Snoop Dogg, who went on to collaborate with step-brother Dr. Dre on The Chronic (providing the samples for "Nuthin' But a G-Thang")
    and contribute the track "Indo Smoke" with Mista Grimm and Nate Dogg on the Poetic Justice soundtrack. After a lively bidding war, Warren signed to Def Jam, which released his debut album, Regulate G Funk Era in 1994, with the title track climbing to No. 2 on the Billboard Hot 100. In celebration of Def Jam's 30th Anniversary UMe will be releasing a "20th Anniversary Extended Edition" - The double-vinyl version features the album along with a bonus 12" (with the Destructo/Wax Motif and Photek remixes).
    LP1
    1. Regulate (featuring Nate Dogg)
    2. Do You See
    3. Gangsta Sermon (featuring B-Tip and Ricky Harris)
    4. Recognize (featuring The Twinz)
    5. Super Soul Sis (featuring Jah Skills)
    6. 94 Ho Draft (featuring B-Tip and Ricky Harris)
    7. So Many Ways (featuring Wayniac and Lady Levi)
    8. This D.J. (featuring O.G.L.B.)
    9. This is the Shack (featuring The Dove Shack)
    10. What's Next (featuring Mr. Malik)
    11. And Ya Don't Stop
    12. Runnin' wit No Breaks (featuring Jah Skills, Bo Roc, G Child and The Twinz)


    LP2- 12
    1. Regulate (Destructo & Wax Motif Remix)
    2. Regulate (Photek Remix)

    Warren G
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Murder Was The Case Soundtrack (Explicit) Murder Was The Case Soundtrack (Explicit) Quick View

    $19.99
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    Murder Was The Case Soundtrack (Explicit)

    he soundtrack to an 18-minute film inspired by Snoop Doggy Dogg's Murder Was the Case provides more thrills than the average hip-hop release. Again, Dre relies on his standard production tricks and crew, introducing a couple of new members to the mix. But the result sounds anything but stale -- it ranks alongside The Chronic, Doggystyle and Above the Rim in terms of quality. In fact, various-artist compilations like Murder Was the Case are the ideal vehicle for Dr. Dre -- they show his versatility. Murder has the harrowing title track from Snoop Dogg, as well as the smooth funk of Warren G and the chilling hardcore of Natural Born Killaz, the first track from Dre's collaboration with Ice Cube. At some point, Dre will need to find some new tricks, but Murder Was the Case finds him at the top of his game.


    - Stephen Thomas Erlewine (All Music Guide)

    1. Murder Was The Case (Remix) - Snoop Doggy Dogg
    2. Natural Born Killaz - Dr. Dre & Ice Cube
    3. What Would You Do? - The Dogg Pound
    4. 21 Jumpstreet - Snoop Doggy Dogg & Tray Deee
    5. One More Day - Nate Dogg
    6. Harvest For The World - Jewell
    7. Who Got Some Gangsta Shit? - Snoop Doggy Dogg Featuring Tha Dogg Pound, Lil' Style & Young Swoop
    8. Come When I Call - Danny Boy
    9. You Better Recognize - Sam Sneed
    10. Come Up To My Room - Jodeci
    11. Woman To Woman - Jewell
    12. Dollars & Sense - DJ Quik
    13. The Eulogy - Slip Capone & CPO
    14. Horny - B-Rezell
    15. Eastside-Westside - Young Soldierz
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • G Funk Classics Volumes 1 & 2 G Funk Classics Volumes 1 & 2 Quick View

    $34.99
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    G Funk Classics Volumes 1 & 2

    Nate Dogg is one of the greatest singers in hip-hop's history; his ultra-smooth, church-honed voice was the key ingredient in dozens of classic singles throughout the '90s and '00s.


    He apparently never got paid for many of his early Death Row hits, and he finally left the label to release this, his long-awaited debut solo album. Upon dropping independently in 1998, it never got much exposure. Yet years later, it still impresses with 31 tracks absolutely overflowing with Nate's inimitable vocals and top-notch G-funk production from the likes of Daz Dillinger, QD3, and Warren G, among others.


    The lyrics mostly concern ladies, homies, and the streets, with his uncanny ability to bounce between bravado and a sensitive lover-man style showcased throughout. Nate Dogg remains the soul of hip-hop, and his amazing music should live on forever. Highlights here include Because I Got a Girl, She's Strange, Friends, These Days, and Nobody Does It Better.

    LP 1 - Vol. 1: Ghetto Preacher
    1. Hardest Man in Town
    2. Intro to G-Funk (Comm. 1)
    3. G-Funk
    4. First We Pray (featuring Kurupt Tha Kingpin)
    5. My World
    6. Dangerous Crazy
    7. These Days (featuring Daz Dillinger)
    8. Bag O'Weed (featuring Tray Deee)
    9. Dirty Hoe's Draws (featuring Big Chuck)
    10. Scared of Love (featuring Danny 'Butch' Means)
    11. Me & My Homies (featuring Tupac Shakur)
    12. Because I Got a Girl
    13. My Money
    14. Never Leave Me Alone (featuring Snoop Dogg)
    15. Last Prayer (Comm. 2)
    16. Where Are You Going? (featuring Pamela Hale)


    LP 2 - Vol. 2: The Prodigal Son

    1. Dedication
    2. Who's Playin' Games?
    3. I Don't Wanna Hurt No More (featuring Danny 'Butch' Means)
    4. Just Another Day
    5. She's Strange (featuring Barbara Wilson)
    6. Almost in Love
    7. No Matter Where I Go
    8. Stone Cold
    9. Friends - (featuring Warren G and Snoop Dogg)
    10. Puppy Love (featuring Snoop Dogg, Kurupt Tha Kingpin and Daz Dillinger)
    11. It's Goin' Down Tonight (featuring Danny 'Butch' Means/Isaac Reese)
    12. Nobody Does It Better (featuring Warren G)
    13. Sexy Girl (featuring Big Skye)
    14. Dogg Pound Gangstaville (featuring Snoop Dogg/Kurupt Tha Kingpin)
    15. Never Too Late

    Nate Dogg
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

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

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


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



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    Production: Teo Macero



    About Speakers Corner



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



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



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



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



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



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



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

    $34.99
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    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

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




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

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

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

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

    • Bruce Ditmas (drums)



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




    About Speakers Corner



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



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



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



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



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



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


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

    $34.99
    Buy Now
    x

    Big Band And Quartet In Concert (Speakers Corner)

    Thelonious Monk could walk from his flat to New York's famous Philharmonic Hall on the corner of 64th Street and Broadway when he made his very first appearance there with his Big Band in December 1963. And the other musicians could get there on the underground: Phil Woods, Steve Lacy, Thad Jones - all of them were members of Monk's closest circle of collaborators. It is no wonder then that the well-known themes were highly agreeable and harmonious. I Mean You, Four In One and Epistrophy resounded through the auditorium, the audience was thrilled, Thelonious laughed and danced and a short while later fans could listen to parts of the concert on a recording released by Columbia Records. In a break for a smoke, Monk sat himself down at the piano and played Darkness On The Delta - nocturnal atmosphere pure.


    Does it bear the patina of times long past? Absolutely not! Thelonious Monk is as red-hot as he ever was.



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Steve Lacy (soprano saxophone)

    • Phil Woods (alto saxophone, clarinet)

    • Gene Allen (bassoon, clarinet)

    • Eddie Bert (trombone)

    • Thad Jones (cornet)

    • Nick Travis (trumpet)

    • Butch Warren (bass)

    • Frank Dunlop (drums)


    Recording: December 1963 at Lincoln Center, Philharmonic Hall, New York

    Production: Teo Macero



    About Speakers Corner



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



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



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



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



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



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

    1. I Mean You
    2. Evidence
    3. (When It's) Darkness On The Delta
    4. Oska T.
    5. Played Twice
    6. Four In One
    7. Epistrophy
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Capra Black (Pure Pleasure) Capra Black (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Capra Black (Pure Pleasure)

    Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.



    Musicians:



    • Billy Harper (saxophone)

    • Dick Griffin, Julian Priester (trombone)

    • Jimmy Owens (trumpet)

    • George Cables (piano)

    • Reggie Workman (bass)

    • Billy Cobham, Elvin Jones, Warren Smith (drums)

    • Barbara Grant, Gene McDaniels, Laveda Johnson, Pat Robinson (vocals)



    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. Capra Black
    2. Sir Galahad
    3. New Breed
    4. Soulfully, I Love You/Black Spiritual Of Love
    5. Cry Of Hunger
    Billy Harper
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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