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  • Wish You Were Here Wish You Were Here Quick View

    $30.99
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    Wish You Were Here

    Ranked 209/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    On its release in 1975 Wish You Were here topped the album charts in both the UK and the US. Reflecting the band's thoughts of the time on the music business, and exploring themes of absence, Wish You Were Here contains the classic cut Shine On You Crazy Diamond, a tribute to founder member Syd Barrett.


    Since 1967 Pink Floyd have produced one of the most outstanding and enduring catalogues in the history of recorded music. The albums have been painstakingly remastered by James Guthrie (co-producer of The Wall). Artwork designed by long-time artwork collaborator Storm Thorgerson. As a part of their Why Pink Floyd? campaign, EMI has chosen to release three titles on collector's vinyl LP (throughout the year 2011 and into early 2012) including The Dark Side of the Moon, Wish You Were Here, and The Wall. Look for more details to come!



    1. Shine On You Crazy Diamond (Part One)
    2. Welcome To The Machine
    3. Have A Cigar
    4. Wish You Were Here
    5. Shine On You Crazy Diamond (Part Two)
    Pink Floyd
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • More Soundtrack More Soundtrack Quick View

    $29.99
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    More Soundtrack

    Concocted for director Barbet Schroeder's dystopian hippie road flick, this album marks Floyd's first venture into film scoring, a task they undertake with a verve that overshadows their lack of formal training in the field. With just a handful of cuts echoing the trippy, atmospheric space-rock that was so much a part of their early career, there's a surprisingly familiar dedication to songcraft evident here, especially for a soundtrack.


    Roger Waters's acoustic ballads (Cirrus Minor, Crying Song, Green is the Color), dark and dirge-like, are familiar predecessors to music that would highlight Wish You Were Here and The Wall, while Dave Gilmour's slashing riffs on The Nile Song also foreshadow greatness to come. Moody and surprisingly eclectic, More has rightly earned its place as a Floyd cult fave. --Jerry McCulley

    1. Cirrus Minor
    2. The Nile Song
    3. Crying Song
    4. Up The Khyber
    5. Green Is The Colour
    6. Cymbaline
    7. Party Sequence
    8. Main Theme
    9. Ibiza Bar
    10. More Blues
    11. Quicksilver
    12. A Spanish Piece
    13. Dramatic Theme
    Pink Floyd
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pink Floyd's Wish You Were Here Symphonic Pink Floyd's Wish You Were Here Symphonic Quick View

    $35.99
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    Pink Floyd's Wish You Were Here Symphonic


    Limited Edition PINK Vinyl


    For the first time ever, WISH YOU WERE HERE is issued in spectacular symphonic sound, newly recorded at Abbey Road Studios where Pink Floyd recorded the original Wish You Were Here. Featuring performances by Alice Cooper, Dave Fowler & Stephen McElroy of the Australian Pink Floyd Show, the London Orion Orchestra and Rick Wakeman, the show will tour Europe, the US, Japan and Australia.

    1.Wish You Were Here
    2.Shine On You Crazy Diamond, Pt. I-V
    3.Welcome To The Machine
    4.Have A Cigar
    5.Wish You Were Here
    6.Shine On You Crazy Diamond, Pt. VI-IX
    7.Eclipse
    The London Orion Orchestra
    $35.99
    Colored Vinyl LP - Sealed Buy Now
  • The Endless River The Endless River Quick View

    $36.99
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    The Endless River


    The 15th Studio Album By The Famed British Band


    180 Gram Vinyl Mastered By Doug Sax At The Mastering Lab, Ojai, California.


    Packaging: Gatefold Sleeve, Full Colour Inner Bags


    Full Size, 11''x11'' 16-page Photo/Credit Booklet Including Previously Unseen Photographs From 1993 Sessions


    Creative Director: Aubrey Powell, Hipgnosis / Sleeve Design By Stylorouge / Front Cover Concept By Ahmed Emad Eldin


    Album Produced By David Gilmour, Phil Manzanera, Youth, Andy Jackson


    The Endless River has as its starting point the music that came from the 1993 Division Bell sessions, when David Gilmour, Rick Wright and Nick Mason played freely together at Britannia Row and Astoria studios. This was the first time they had done so since the 'Wish You Were Here' sessions in the seventies. Those sessions resulted in The Division Bell, the band's last studio album.


    In 2013 David Gilmour and Nick Mason revisited the music from those sessions and decided that the tracks should be made available as part of the Pink Floyd repertoire. It would be the last time the three of them would be heard together. The band have spent the last year recording and upgrading the music,using the advantages of modern studio technology to create The Endless River.


    The Endless River is a tribute to Rick Wright, whose keyboards are at the heart of the Pink Floyd sound. It is a mainly instrumental album with one song, 'Louder Than Words', (with new lyrics by Polly Samson), arranged across four sides and produced by David Gilmour, Phil Manzanera, Youth and Andy Jackson.


    David Gilmour said:
    '''The Endless River' has as its starting point the music that came from the 1993 Division Bell sessions. We listened to over 20 hours of the three of us playing together and selected the music we wanted to work on for the new album. Over the last year we've added new parts, re-recorded others and generally harnessed studio technology to make a 21st century Pink Floyd album. With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire.''


    Nick Mason said:
    '''The Endless River' is a tribute to Rick. I think this record is a good way of recognizing a lot of what he does and how his playing was at the heart of the Pink Floyd sound. Listening back to the sessions, it really brought home to me what a special player he was.''

    LP 1
    1. Thing Left Unsaid
    2. It's What We Do
    3. Ebb and Flow
    4. Sum
    5. Skins
    6. Unsung
    7. Anisina


    LP 2
    1. The Lost Art of Conversation
    2. On Noodle Street
    3. Night Light
    4. Allons-y (1)
    5. Autumn '68
    6. Allons-y (2)
    7. Talkin' Hawkin'
    8. Calling
    9. Eyes to Pearls
    10. Surfacing
    11. Louder Than Words

    Pink Floyd
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Chicago VII Chicago VII Quick View

    $39.99
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    Chicago VII


    The Chicago/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Celebrate The 40th Anniversary Of The Legendary #1 Chicago VII - First Time Audiophile Vinyl!


    Mastered Impeccably By Joe Reagoso And Lee Loughnane From Chicago!


    Chicago VII was another huge multiplatinum plus #1 smash for Chicago and a stunning return to the double LP
    format for this brilliant band. Featuring the original award winning line-up of Robert Lamm (lead vocals/keyboards),
    Peter Cetera (lead vocals/bass), Terry Kath (lead vocals/guitars), the legendary horns of Lee Loughnane (trumpet),
    Walter Parazaider (saxophone/woodwinds), James Pankow (trombone) plus Danny Seraphine (drums), Chicago VII is
    undoubtedly one of their biggest selling albums and is also one of the most revered offerings in their huge catalog.


    Buoyed by the success of huge hit singles like (I've Been) Searchin' So Long and Call On Me, their seventh album
    was filled with more smashes like the power driver Robert Lamm smash Lifesaver, the funk rocker Woman Don't Want
    To Love Me and the Chicago/Beach Boys duet smash hit single Wishing You Were Here.


    The wonderful 2 LP release also features a fine array of long band workouts on instrumentals which feature each
    bandmate laying down some serious grooves on tunes like Hanky Panky, Aire and Prelude To Aire, which of course
    feature the horn work of the founders Lee Loughnane, Walter Parazaider and James Pankow.


    Several of the fine tunes on this well-crafted album also feature the sorely missed vocals and guitar of Terry
    Kath, where he truly shines on tracks like the progressive jazz rock infused Song Of The Evergreens and the stunning
    Byblos, both of which make this fine album even more of a treasure trove of classic rock enjoyment.


    Peter Cetera shines vocally throughout on the LP as well, especially on the hit acoustic ballad sounds of Happy
    Man. While being one of the more signature songs from this collection, the tune also was known for its false start
    making it one of Chicago's more collectable rarities if you were lucky to own the original vinyl version from 1974.
    It's been several decades since the rare original vinyl version of Chicago VII has been available that is until now!


    Friday Music is very honored to continue the CHICAGO 180 GRAM AUDIOPHILE VINYL SERIES with their masterpiece Chicago VII. Mastered impeccably from the original Chicago Records master tapes by Joe Reagoso at Friday
    Music Studios and Capitol Records in Hollywood, CA, with the supervision of Chicago's Lee Loughnane, this album is
    truly a thrilling first time audiophile vinyl release.


    For this special limited edition, we have also included the original full color album cover in gatefold style for the
    first time since it was released in 1974, complete with the great music you will always remember from this historic
    release.


    Chicago VII from Chicago on impeccable first time 180 Gram Audiophile Vinyl exclusively from your friends
    at Friday Music I've Been Searchin' So Long

    LP 1
    1. Prelude To Aire
    2. Aire
    3. Devil's Sweet
    4. Italian From New York
    5. Hanky Panky
    6. Life Saver
    7. Happy Man


    LP 2
    1. (I've Been) Searchin' So Long
    2. Mongonucleosis
    3. Song Of The Evergreens
    4. Byblos
    5. Wishing You Were Here
    6. Call On Me
    7. Woman Don't Want To Love Me
    8. Skinny Boy

    Chicago
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Battle Born Battle Born Quick View

    $34.99
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    Battle Born

    From out of the wreckage of the American Civil War, the great state of Nevada came into being on October 31st, 1864. Its creation immediately helped to secure the re-election of Abraham Lincoln, the passage of the Thirteenth Amendment and, ultimately, the future of the union. Today, that proud but painful history is enshrined in the two words emblazoned on the upper left-hand corner of the state flag: Battle Born.


    That phrase has always resonated with Brandon Flowers. It's what The Killers named their studio in Las Vegas, and when the band reconvened last May to start work on the follow-up to 2008's Day & Age, it became first a song title, then a thematic touchstone, and eventually the name of the album itself. But not all battles are blood and thunder: after a yearlong hiatus that saw three of the four Killers launch solo careers, they quickly discovered that timing and circumstance can be daunting adversaries in their own right.


    Safe to say, Battle Born's title was well-earned. "It's the hardest thing I've ever done, no question," says Brandon. "It's the longest we've ever taken to make a record, and the longest I've ever spent on the lyrics. We thought we had enough songs, but then we realized that we didn't, and so we had to pound away and grind it out until we were certain that we were ready."


    A small-town drama of epic-scale proportions, "Runaways" is everything you could wish for from a Killers comeback single; an unmistakably American expression of romance and optimism that heralds their return with cyclonic, Who-esque guitars and a chorus big enough to be bellowed from one end of the Mojave to the other.


    One of the album's oldest songs, the bare bones were written in 2009 on the Day & Age tour, but, says Brandon, "We never knew what to do with it. Day & Age was us trying to be more of a pop group, but Runaways was rootsy and American, and it threw me for a curve. I knew it was a powerful song. But when it came time to make the album, there was an understanding the four of us had that we were gonna do what we're good at. The Killers write a specific kind of song, and we're not gonna shy away from it. So 'Runaways' became a kind of launching pad."


    More songs followed: the title track, a musical 'brother' to its lead single; "Here With Me," the album's heartstring-tugging emotional gravity-centre; the stadia-quaking electro-rock of "Flesh & Bone." By the time the band had satisfactorily refined that body of songs, however, none of the producers on their shortlist could commit to making a whole album, necessitating a process whereby they recorded in fits and starts with a stellar roll-call of names that included Daniel Lanois, Steve Lillywhite, Damian Taylor, Stuart Price and Brendan O'Brien.


    And therein lies Battle Born's real triumph. Recorded almost entirely at the studio that shares its name, it incorporates elements from each of the records that came before it; Hot Fuss' storytelling eye for detail; the yearning, mythic Americana of Sam's Town; the gratuitous hooks and pop nous of Day & Age; without sounding overtly like any one in particular. It's the sound of a band recognizing, and celebrating, their own identity. To borrow Brandon's maxim, Battle Born is The Killers "Doing what we do best."

    1. Flesh And Bone
    2. Runaways
    3. The Way It Was
    4. Here With Me
    5. A Matter Of Time
    6. Deadlines And Commitments
    7. Miss Atomic Bomb
    8. The Rising Tide
    9. Heart Of A Girl
    10. From Here On Out
    11. Be Still
    12. Battle Born
    The Killers
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Lies & Wishes Lies & Wishes Quick View

    $16.99
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    Lies & Wishes

    Edward David Anderson is an artist as ancient as he is modern. In a time when the music business desperately flails about, grasping at any new trend that will save its sinking ship, he exists far beyond its confines. Best known for his work with the revered Midwestern rock band Backyard Tire Fire who released a string of acclaimed albums in the previous decade, Anderson returns to the national stage with his highly anticipated solo debut, Lies & Wishes. Produced by Los Lobos' Steve Berlin, it finds Anderson creating his own mythology through a collection of songs that embrace vulnerability, while remaining grounded in his working class roots. Anderson sings, I'm the son of a plumber, from a God fearing mother. The lyric says much about where his story begins as an artist. He was born and raised just west of Chicago and lives a simple life, spending winters in an RV alongside the Gulf of Mexico in lower Alabama. Anderson's an American songwriter on an existential quest who seeks and who searches through song.


    I feel like every experience, every mile, every interaction, every tune, sort of got me to where I am at this moment, Anderson recounts while shedding light on the over-arching theme that ties together the 10-track collection. The songs on the record are confessional by nature. They are songs about loss and love and living and hope. Halfway through my life, it's an honest look in the mirror.


    Anderson's journey over the last five years and his response to the challenges he faced is what sets the lifers apart from those that concede the artistic pursuit. The dissolution of Backyard Tire in 2011 was the first obstacle to overcome. The band had built a devout cult following around the U.S., counting Cracker, Reverend Horton Heat and Clutch among their fans, all of whom took BTF on the road exposing them to a wider audience. It was around this time that Steve Berlin of Los Lobos was first drawn to Anderson's songwriting.


    "Backyard Tire Fire opened a show for us and I remember being backstage and listening to their music and I was like, 'Wow, that song sounds really familiar. Whose cover is that? It's a classic tune,'" says Berlin. "It turns out that they were all Ed's originals. They just had that instantly memorable quality to them. So, I introduced myself at the show and we became buddies and then collaborators. Ed's music is so evocative, so well written. I honestly think he is as talented as anyone in the songwriting world and it is important that he be heard."


    Anderson adds: I was just starting to get back on the road again after Tire Fire split, touring with my friend Johnny Hickman and I got inspired to get back in the studio. I had these songs and had something pretty interesting to say based on the experiences I just went through. I knew if I could get Steve Berlin involved, who is an old friend that I've worked with in the past, it could be something special."


    It was just prior to this that Anderson's mother passed away, while the previous winter his wife lost her mother, both to extended illnesses. It was a defining moment for the 40-year old artist and culminated in a torrent of songwriting. Indeed, songs like Lies & Wishes Lost & Found and Chain Reaction delve deep into the human condition, asking difficult questions of both himself and his loved ones.


    "A lot of the subject matter on this record came from reflecting on these painful experiences" says Anderson. After losing my mom, I decided I've got to make a record and dedicate it to her and make a statement here on my own.


    Musically speaking, the core of Lies & Wishes is built around refined melodies, acoustic guitars and sparse arrangements, yet Berlin's production colors the tracks with squalls of electric guitar, affected vocals, drum loops and assorted analog keyboard flourishes. It should also be noted that fans of Anderson's vintage rock and roll songwriting from his Backyard Tire Fire days will find plenty to love on tunes like "Nothing Lasts Forever," "Taking It Out On You" and "The Next Melody," which deliver the big hooks and classic refrains on which he so effortlessly hangs his hat.


    This is where we find Edward David Anderson today. His heart's on his sleeve and it's that of an artist. Nobody ever said it was going to be easy, but as the songs on Lies & Wishes bare out, when the muse calls, he will be there to answer.


    I needed to make this album, he concludes. I feel like it's undoubtedly my finest work to date, the beginning of the next chapter for me.

    1. Lies & Wishes
    2. Lost & Found
    3. Son Of A Plumber
    4. Pins & Needles
    5. Taking It Out On You
    6. I Missed You
    7. Nothing Lasts Forever
    8. Chain Reaction
    9. Fires
    10. The Next Melody
    Edward David Anderson
    $16.99
    Vinyl LP - Sealed Buy Now
  • Hoodoo Hoodoo Quick View

    $23.99
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    Hoodoo

    1st Time Officially Released On LP In North America


    Hoodoo is the third studio album by British singer-songwriter Alison Moyet. It was originally released in 1991, reached No. 11 in the UK and features the singles It Won't Be Long, Wishing You Were Here, Hoodoo, and This House.


    Largely produced by Pete Glenister, the album includes contributions from Kirsty MacColl, Steve Lillywhite, Marius De Vries, and ex-Fine Young Cannibals Andy Cox and David Steele.

    1. Footsteps
    2. It Won't Be Long
    3. This House
    4. Rise
    5. Wishing You Were Here
    6. (Meeting With My) Main Man
    7. Hoodoo
    8. Back Where I Belong
    9. My Right A.R.M.
    10. Never Too Late
    11. Find Me
    Alison Moyet
    $23.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Spoonful Of Time A Spoonful Of Time Quick View

    $39.99
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    A Spoonful Of Time

    The first ever covers album from Prog Rock legends, Nektar, finds the band joined by an incredible gathering of musical heroes from a wide variety of genres!


    A psychedelic head trip through classic rock radio with artful twists on The Doors' "Riders On The Storm," Pink Floyd's "Wish You Were Here," Rush's "Sprit Of Radio," Roxy Music's "Out Of The Blue" and more!


    Features performances by members of Yes, King Crimson, Symphony X, Opeth, Marillion, Asia, The Moody Blues, Dream Theater, Tangerine Dream, and more!

    LP1
    1. Sirius
    2. Spirit Of The Radio
    3. Fly Like An Eagle
    4. Wish You Were Here
    5. For The Love Of Money
    6. Can't Find My Way Home
    7. 2000 Light Years From Home


    LP2
    1. Riders On The Storm
    2. Blinded By The Light
    3. Out Of The Blue
    4. Old Man
    5. Dream Weaver
    6. I'm Not In Love
    7. Africa

    Nektar
    $39.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Man & Myth Man & Myth Quick View

    $22.99
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    Man & Myth

    Man And Myth, Roy's first studio album in 13 years, isn't just proof
    that one of the leading, most erudite and passionate orators of the
    British folk rock renaissance hasn't lost an iota of his gifts, but also
    timely evidence for anyone who has wondered why so many musical
    luminaries have been lining up to praise this enigmatic and legendary singer-songwriter.


    In 2011, Harper performed a special show at the Royal Festival Hall
    in celebration of his 70th birthday, playing with guests including
    Joanna Newsom, Jonathan Wilson and Jimmy Page of Led
    Zeppelin-who once penned a tribute called Hats Off To (Roy)
    Harper. David Gilmour not only played on record and stage for
    Harper, but Pink Floyd engaged him to sing Have A Cigar on the
    band's landmark album Wish You Were Here. Fellow collaborator
    Kate Bush has called Harper one of the greatest English songwriters while the late John Peel demanded, on his death, that cricket
    obsessive Harper's When An Old Cricketer Leaves The Crease be
    played at his funeral. Johnny Marr, meanwhile, has stated that
    Harper's 1971 opus Stormcock was intense and beautiful and
    clever.


    Four of the seven tracks that constitute Man And Myth were
    recorded with Jonathan Wilson at his studio in Laurel Canyon.
    Wilson had been assembling a Harper tribute album and the two
    struck up a friendship after meeting backstage at London's Borderline in 2012. Heaven Is Here and The Exile, the album's epic
    closing tracks, and January Man were subsequently recorded
    back in County Cork.


    Man And Myth is incontrovertible proof to everyone of Roy Harper's
    persisting brilliance, with many hallmarks of what has singled him
    out since his first album 47 heady years ago.

    1. The Enemy
    2. Time Is Temporary
    3. January Man
    4. The Stranger
    5. Cloud Cuckooland
    6. Heaven Is Here
    7. The Exile
    Roy Harper
    $22.99
    Vinyl LP + CD - Sealed Buy Now
  • III: Tabula Rasa Or Death And The Seven Pillars III: Tabula Rasa Or Death And The Seven Pillars Quick View

    $29.99
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    III: Tabula Rasa Or Death And The Seven Pillars

    THE DEVIL'S BLOOD announced at the beginning of 2013 that they have returned to nothingness. At the same time, they announced that plans had already been put into motion to release new material.


    SL comments on the release: Prior to our disbanding on the 22nd of January 2013, we had been active with the pre-production of what was to be our third album. Seven songs, the complete outline of the album, had been, in humble form, recorded in my home recording studio and these demos were supposed to be the template for our studio recordings. Obviously, we would never make it that far and the initial shock of that fact saddened us greatly. After but a few days we listened to this material again and decided that even though the audio quality might not be what people have come to expect from a THE DEVIL'S BLOOD release, the song material was and is the best we have ever done. We came to the conclusion that these songs deserve to become a part of The Canon and that we would release them as is.


    I spent a few days gathering all the demo material together, made a very simple mix and gave the material to our friend and mentor Pieter G. Kloos to master in his studio. Here we present you with the titles of the material and the artwork which was done by Manuel Tinnemans.


    The song we have chosen to release now is 'White Storm Of Teeth'. More so than the other material, this song speaks to the completion and transubstantiation that always follows an Occult path. Not the end of a journey but the start of a completely new one. Built around thirteen stanzas in the first part and thirteen stanzas in the second part the process of inner enlightenment through confusion and entropy and the initiation through the Death of the lower self is illustrated. This theme is rampant throughout the record and its lyrics but here it culminates and completely devours itself. After this work no words are needed and, on the album, none are offered.


    THE DEVIL'S BLOOD has always been an entity that defied any fealty or thankfulness towards any earthly influence. But we as people need not hold to this paradigm any longer. We therefore wish to express our sincere thankfulness to all those who have supported this weird quest and have made the earthly woes to not work against us. You most definitely know who you are.

    1. I Was Promised A Hunt
    2. The Lullaby Of The Burning Boy
    3. If Not A Vessel
    4. In The Loving Arms Of Lunacy's Secret Demons
    5. Dance Of The Elements
    6. White Storm Of Teeth
    7. Tabula Rasa
    The Devil's Blood
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Family Style (45 RPM) Family Style (45 RPM) Quick View

    $54.99
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    Family Style (45 RPM)

    200-Gram Vinyl Pressed At Quality Record Pressings


    All-Analog Mastering By Ryan K. Smith At Sterling Sound From The Original Tapes


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Double 1990 Grammy Award Winner: Best Contemporary Blues Album, Best Rock Instrumental Performance - "D/FW"


    Stevie Ray had made music beyond the powers of most musicians but for this 1990 studio collaboration he returned to the things he loved: upbeat music and working with the brother he idolized his whole life. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play." With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on "White Boots"
    and "Good Texan" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustained twang, Jimmie moving into Albert King territory.


    As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings.


    There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.


    This title is not eligible for discount.

    LP 1
    1. Hard To Be
    2. White Boots
    3. D/FW
    4. Good Texan
    5. Hillbillies from Outerspace


    LP 2
    1. Long Way from Home
    2. Tick Tock
    3. Telephone Song
    4. Baboom / Mama Said
    5. Brothers

    Vaughan Brothers
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Sibelius -  Violin Concerto (Speakers Corner) Sibelius - Violin Concerto (Speakers Corner) Quick View

    $34.99
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    Sibelius - Violin Concerto (Speakers Corner)

    The violin had got me completely under its spell; for ten years it was my greatest wish to become a great violin virtuoso , confessed Finland's national composer Jean Sibelius in later years. Although he began a career as a violin virtuoso too late, as a composer he profited enormously from his intimate knowledge of the instrument and the possibilities it offered. This is particularly apparent in his Violin Concerto with its wonderful synthesis of virtuosic expression and technical bravura, its classical symphonic form, its outward effects and inner substance. This late-Romantic, brilliantly coloured work is certainly one of the most rewarding for every soloist. A specialist in the field of 19th-century bravura pieces and master of an effortless technique and suppleness, the great American violinist Ruggiero Ricci certainly possessed all the requirements for a brilliant performance of this concerto. And Øivin Fjeldstad is the perfect partner for Ricci in more ways than one in this wonderfully lively recording: thanks to his training as both a conductor and a violinist, he ensures a perfect balance between soloist and orchestra; and as a Norwegian he is, of course, completely au fait with Scandinavian repertoire, and guarantees - both here and in other recordings with the London Symphony Orchestra - a truly nordic touch.





    Musicians:



    • Ruggiero Ricci (violin)

    • London Symphony Orchestra

    • Øivin Fjeldstad (conductor)




    Recording: February 1958 at Kingsway Hall, London by Cyril Windebank

    Production: John Culshaw




    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.



    This title is not eligible for discount.

    1. Sibelius-Violin Concerto in D Minor, Op. 47
    2. Tchaikovsky-Serenade Melancolique Op. 26
    3. Scherzo from Souvenir d'm lieu cher, Op. 42
    Oivin Fjeldstad
    $34.99
    180 Gram Audiophile Virgin 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
    Buy Now
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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.


    This title is not eligible for discount.

    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
  • Mozart - Symphony 40 & 41 (Speakers Corner) Mozart - Symphony 40 & 41 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Symphony 40 & 41 (Speakers Corner)

    Like all the works he composed during his extremely productive years in Vienna, Mozart's last two symphonies are remarkable for their ambitious and demanding individuality, despite the fact that they were written in the amazingly short space of only six weeks. Any inference to the dire circumstances in which the composer was living at the time might possibly be detected in the grave character of Symphony No. 40 in G minor. The so-called Jupiter-Symphony, however, which owes its name to the Roman god, brims over with an endless joy of life. The powerful final movement with its combination of fugal technique, rondo and sonata form is quite rightly regarded as a unique compositional achievement in the classical era.
    The Mozart specialist Carlo Maria Giulini, who only enters the recording studio when he is quite totally sure of a thing, has set down a performance here which does without orchestral fireworks and concentrates on a seemingly endless flow of melody. The orchestral playing is light, airy and unpretentious, the strings as soft as silk - what more could Mozart have wished for.



    Musicians:



    • New Philharmonia Orchestra

    • Carlo Maria Giulini (conductor)




    Recording: October/ November 1965 at Kingsway Hall, London by Kenneth Wilkinson

    Production: Ray Minshull





    About Speakers Corner



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



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



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



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



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



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




    This title is not eligible for discount.

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sorceress (Black Vinyl) Sorceress (Black Vinyl) Quick View

    $29.99
    Buy Now
    x

    Sorceress (Black Vinyl)

    Pressed On Black Vinyl


    There are few bands that can or will match Sweden's Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, become one of the best bands on the planet; on album or on stage. Ask any Opeth fan. Enquire with any band that's shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They'll all tell you the same thing: Opeth are peerless. And they're only getting better.


    Opeth's new album, Sorceress, their first for Nuclear Blast via the band's imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album's opener "Persephone" to "The Wilde Flowers" and "Strange Brew" to the album's counterpart title tracks "Sorceress" and "Sorceress II", Opeth's twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colours mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt's impressive record collection-his one true vice-but, as always, there's more invention than appropriation at play.


    "This time around I didn't think about what I wanted to do," Åkerfeldt reveals. "I was forced to write. But once I started, it was easy. This record, like the last record, didn't take long to write. Like five or six months. The thoughts behind this record developed as I was writing. The only thing I was thinking about with this record was to write that songs didn't musically connect. I made sure if I had a song that was new sounding for this record, I'd make the next song completely different. I think the songs are very different from one another. It's very diverse."


    Certainly, every Opeth record has had diversity. In 1995, Orchid reset the rules of death metal. Six years later, Blackwater Park hit the high note for musicality in a genre generally devoid of it. Damnation, in 2003, was the work of a band determined to upend the norm. Five years after that, Watershed closed Opeth's chapter on death metal by visiting its darkest corners and holding its native brutality aloft. And in 2014, Pale Communion officially bridged the progressive music gap by twisting the intrepid sounds of '60s, '70s, and '80s into contemporary brilliance. So, really, what's so different about Sorceress?


    "My music taste got a little wider," grins Åkerfeldt. "I started listening to jazz. I bought a lot of Coltrane records. I never really thought Coltrane would be for me because I like 'dinner jazz.' I like comfortable, soft, nice, and lovely jazz. Like Miles Davis' '50s stuff. Porgy and Bess, for example. I guess Dave Brubeck fits in there, too. So, that's the only new influx of musical inspiration for me. Other than that, I've been buying the same type of records I always have. Prog, symphonic rock, singer/songwriter, metal, hard rock But there wasn't anything that set me off like The Zombies or Scott Walker. Nothing got me going this time."


    Actually, that's not entirely true. Åkerfeldt's always mining for progressive gold. Good, rare music is particularly good at getting his motor running. He found double-gold in one-off Italian outfit Il Paese dei Balocchi and Bobak, Jons, Malone's ultra-obscure Motherlight album. To wit, get Åkerfeldt talking about either and he's all too pleased to discuss the finer points of Il Paese dei Balocchi's string-based darkness or how he fan-boyed Malone via email to get the famed British orchestrator and one-time Iron Maiden producer to contribute to Sorceress.


    "I absolutely love Il Paese dei Balocchi," Åkerfeldt professes. "They did one album. It's insanely good. It has everything I love about progressive rock in it. This album is so orchestrated and epic. It's got lots of string sections. It's very moody, dark, and sad. It's a mystery they didn't do any more. As for Will Malone, he did the strings and stuff for the Sabbath records-Sabotage and Never Say Die! But now he does strings for pop artists like Joss Stone, The Verve, Depeche Mode. I looked him up, mostly because he was the house engineer for Morgan Studios in the '60s. He was also in a few bands. Like Orange Bicycle and played on the Motherlight album. He also had a solo record, which is also amazing and superbly rare. It's orchestral. The bulk of it is strings. It's kind of like Nick Drake."


    Åkerfeldt's quick to point out, however, his newfound progressive music loves didn't directly inspire him to write Sorceress. The majority of the album was penned in Opeth's rehearsal space, where, nestled comfortably in a corner, a computer, a keyboard, and a microphone sit ready for the next Opeth epic. It isn't plush, but it's exactly the type of environment the frontman needs to focus his creative self into song.


    "When I'm in a writing mode, I have tunnel vision," says Åkerfeldt. "I have a really good work ethic. I go down to the studio everyday early in the morning and I work. I absolutely love it. It's so much fun. It's much easier now, too. I write complete demos. I sequence the songs in the order I want them to be on the record. I do mixing. I do overdubs. Once I'm done, I give copies to the guys so they can listen to the album. They practice to it on their own. When it's time to go into the studio, everybody does their own thing. It obviously works."


    For Sorceress, Opeth returned to Rockfield Studios in Wales, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The experience was so positive and historical-the countryside studio was also home to pivotal Budgie, Queen, Rush, Judas Priest, and Mike Oldfield recordings-there really was no other option for Opeth and crew. Rockfield Studios or bust! The studio, with Dalgety yet again in tow, provided the necessary isolation, the right bucolic atmosphere, the best gear, and three square meals a day for Sorceress to come out the other end spitting fire. All in 12 bittersweet days, too.


    "There was a time when I came out of our recordings a wreck," Åkerfeldt bemoans. "But now I come out with a wish. I wish it wouldn't have gone so quickly. There's emptiness after I leave the studio. I love writing and recording in the studio. It's lovely at Rockfield. It's in the sticks. It's got horses and cows. There's lots of sheep in Wales. But the studio is just a studio. It's so beautiful there. So quiet. It's a residential studio as well, so we live there while we're recording. We have chefs for us, too. So, we can just be there, playing, recording, and hanging out."


    If life is like a Peter Max poster, the lyrics to Sorceress aren't. There's color, but they've been treated, corrupted, and befouled. That is to say, they're much darker. Some of bleak lyrical tones stem from Åkerfeldt's personal life-and are thusly contorted beyond recognition-while others touch grimly on topics like love and what happens to people on the other side of it. In fact, some of the lyrical ideas are similar to what was happening on Blackwater Park.


    "I made sure to write good lyrics," Åkerfeldt laughs. "This sounds very old-fashioned black metal to say, but the lyrics are misanthropic. It's not a concept record, so there's no theme running through the record. Most of the record deals with love. The negative aspects of love. The jealously, the bitterness, the paranoia, and the mind games of love. So, it's a love record. Love songs. Love can be like a disease or a spell."


    Luckily, for Åkerfeldt and crew-bassist Martín MÉndez, drummer Martin Axenrot, guitarist Fredrik Åkesson, and keyboardist Joakim Svalberg-the lineup doesn't have to deal with Sorceress' main theme. They've been together since Heritage was completed, and according to Åkerfeldt he's not been in a better band situation before. Not since Orchid. Not since Still Life. Not since Ghost Reveries.


    "It's the best band situation I've ever had. Fans will look at our eras and have their favorite lineup, but this is the best. Even the happiest days of the first and second lineups aren't comparable to what I have now. We never fight. It's like a good work team. We know each other professionally and personally. As much as we're a band, we're also friends. We hang out when we're not doing Opeth."


    A core team is a good thing, when Opeth's credibility is in full view of fans and critics. Åkerfeldt's very aware of what the masses have had to say about Opeth since Watershed. While some disliked the musical shift on Heritage, most have applauded it. They've come to expect something new from Opeth. True to form, Sorceress will give long-time fans and weary critics reason to re-think Opeth and what it takes to be musically fearless.


    "I hope they'll like the record," posits Åkerfeldt. "I can only talk from my perspective and taste here, but we offer diversity that's not really present in the scene today. Whatever genre. We've always been a special band. We've gotten a lot of shit for being different. We still do. Our time will come, I think. It comes down to perseverance. It comes down to not giving up or giving in to public opinion. Music is about doing your own thing or going your own way."

    1. Persephone
    2. Sorceress
    3. The Wilde Flowers
    4. Will O The Wisp
    5. Chrysalis
    6. Sorceress 2
    7. The Seventh Sojourn
    8. Strange Brew
    9. A Fleeting Glance
    10. Era
    11. Persephone (Slight Return)
    12. The Ward
    13. Spring MCMLXXIV
    Opeth
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
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