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Rolling Stone's Top 500 Albums
Transformer (Speakers Corner) (Awaiting Repress)Ranked 194/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
It is well known that comparisons seldom get to the root of the matter, but in the case of Lou Reed, for example, they certainly reveal the unassuredness of those people who made them. Is he or isnít he the Chuck Berry or Sergeant Pepper of the Seventies, or is he deliberately building up an image of himself as an ultra-sensitive Frankenstein, who lived out his neuroses and drug trips in horrific sound? "Some records are so unbelievably repulsive," raged the magazine Rolling Stone, "that one would best like to take physical revenge on the artists who commit such offences."
The album "Transformer", however, can by no means be classified as a case of Ďacoustic bodily harmí. It appeared just a few months after the somewhat unsuccessful appearance of Lou Reedís fairly underground first release and rocketed straight into the charts. This production had two British guardian angels to help it on its way, namely David Bowie and Mick Ronson, both of whom obviously knew how to steer Reedís songwriting qualities into safe waters, without watering down his biting sarcasm and humorous provocation. And thatís why grating guitar rock ("Vicious") is found alongside a bittersweet, tender ballad ("Perfect Day") and even an old-time jazz parody ("Goodnight Ladies") which is sung with a tongue a heavy as lead. Why then compare this highly original music mix with others, when itís so much easier to hear this record for what it is - a truly cult album?
- Lou Reed (vocal, guitar, arranger)
- Mick Ronson (vocal, guitar, piano, arranger)
- David Bowie (vocal, arranger)
- Ronnie Ross (saxophone)
- Klaus Voorman (bass)
- Herbie Flowers (tuba, bass)
- John Halzey, Barry Desouza; Ritchie Dharma (drums)
Recording: 1972 by Arun Chakranerty
Production: David Bowie and Mick Ronson
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 Ė 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 Skyď), 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 Ė excluding the exception above Ė and that the lacquer discs are newly cut.1. Vicious
2. Andy's Chest
3. Perfect Day
4. Hangin' Round
5. Walk on the Wild Side
6. Make Up
7. Satellite of Love
8. Wagon Wheel
9. New York Telephone Conversation
10. I'm So Free
11. Goodnight Ladies$34.99180 Gram Audiophile Virgin Vinyl LP - SealedAWAITING REPRESS Buy Now
Enter The Wu-Tang Clan (36 Chambers)Ranked 386/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's "The Way We Were"), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again. ~ Steve Huey, All Music Guide1. Bring Da Ruckus
2. Shame On A Nigga
3. Clan In Da Front
4. Wu-Tang: 7th Chamber
5. Can It Be All So Simple/Intermission
6. Mystery Of Chessboxin'
7. Wu-Tang Clan Ain't Nuthing Ta F' Wit
9. Method Man
10. Protect Ya Neck
12. Wu-Tang: 7th Chamber, Pt. 2
$19.99Vinyl LP - SealedBuy Now
Is This ItRanked 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
4. Barely Legal
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
$19.99Vinyl LP - SealedBuy Now