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Genre > Soul, R&B, Funk
Head HuntersMastered at Sterling Sound by Ryan Smith
Stoughton Printing Old-Style Deluxe Film-Lamination Tip-On Jacket
Plated and Pressed at Quality Record Pressings!
There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock.
In 1963, Miles Davis invited Hancock to join the Miles Davis Quintet. During his five years with Davis, Herbie recorded many classics with the jazz legend including ESP, Nefertiti and Sorcerer, and later on he made appearances on Davis' groundbreaking In a Silent Way and Bitches Brew.
Hancock's own solo career blossomed on Blue Note, with classic albums including Maiden Voyage, Empyrean Isles and Speak Like a Child. After leaving Davis' fold, Herbie put together a new band called The Headhunters and, in 1973, recorded Head Hunters. Head Hunters was a pivotal point in Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).
Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital four decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul and hip-hop.
This title is not eligible for discount.1. Chameleon
2. Watermelon Man
4. Vein Melter
$34.99200 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Just As I Am (Speakers Corner) (Awaiting Repress)
"Just As I Am" – anyone who sets off on a late career can already have earned himself quite a reputation, although in the case of Bill Withers it had had nothing to do with music at this stage. Withers served for many years with the US Navy, had a job as a milkman, and installed toilets in jets for American aeroplane construction companies; all the while he bombarded record companies with self-produced demo tapes which landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him on board and sent him into the recording studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald 'Duck' Dunn.
In his debut album Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings. "Harlem", an unadorned milieu-funk number about the New York slums, "Grandma’s Hands", with its obligatory retrospect of his childhood, and the sentimental ballad "Ain’t No Sunshine" with its prayer-wheel-like »I know, I know ...«, repeated over and over again on the offbeat, are the musical credo of a experienced artist in his mid-thirties who at last is given a hearing. There’s simply no alternative to this recording by the great songwriter with the small repertoire.
- Bill Withers (vocal, guitar)
- Booker T. Jones (arranger, organ, guitar)
- Steven Stills (guitar)
- Donald "Duck" Dunn, Chris Ethridge (bass)
- Al Jackson, Jim Keltner (drums)
- Bobbie Hall Porter (percussion)
Recording: 1971 at Sunset Sound Recorders by Bill Lazerus and at Wally Heider Recording Studio by Bill Halverson, both Hollywood, Ca.
Production: Booker T. Jones
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.and that the lacquer discs are newly cut.1. Harlem
2. Ain't No Sunshine
3. Grandma's Hands
4. Sweet Wanomi
5. Everybody's Talkin'
6. Do It Good
7. Hope She'll Be Happier
8. Let It Be
9. I'm Her Daddy
10. In My Heart
11. Moanin' And Groanin'
12. Better Off Dead
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedAWAITING REPRESS Buy Now
Local Customs: Downriver RevivalBetween 1967 and 1981 DetroitÆs downriver neighbor Ecorse, Michigan had its very own Harry Smith. Set up in a basement on 18th Avenue, Felton Williams chronicled the musical lives of EcorseÆs citizens and issued them on the Solid Rock, Compose, and Revival labels. Compiled here are 24 of WilliamsÆ most fascinating recordings, covering gospel, group soul, garage-punk, northern, jazz, and funk.
Also included is a DVD with over 200 sound recordings pulled from his archives and compiled into a digital tape vault. This allows you to dig deep into the endless hours of jam sessions, demos, sermons, rehearsals and studio outtakes. The DVD also has an engaging 30 minute documentary on the making of Downriver Revival and gives you further insight into Felton and the artists he recorded at Double-U-Sound.1. Shirley Ann Lee - There's A Light
2. Gospel Supremes - Sinner Man
3. Coleman Family - Peace On Earth
4. Calvin Cooke - Walk With Me
5. Shirley Ann Lee - I Shall Not Be Moved
6. Revelations - Take Care Of us
7. Bobby Cook & The Explosions - Untitled Jam
8. Organics - Foot Stomping (Alternate)
9. Combinations - While You Were Gone
10. Apostles Of Music - Wade In The Water
11. Deliverance Echoes - Heaven
12. Bobby Cook & The Explosions - On The Way
13. Shirley Ann Lee - How Can I Lose You
14. Young Generation - Running Mod
15. Burgess Band - Untitled
16. Bobby Cook Quater - Ridin' High
17. Mighty Voices Of wonder - Every Year Carries A Number
18. Shirley Ann Lee - Please Accept My Prayer
19. Calvin Cooke - What Happens To People
20. Coleman Family - People Has It Hard
21. Junior Mays Group - Round N' Round
22. Pilgrim Wonders - He Never Failed
23. Mighty Walker Brothers - He'll Make A Way
24. Voices Of Deliverance - The Power Of God$31.99Vinyl LP + DVD - 2 LPs SealedBuy Now
Master Of The GameImport
Although George Duke first made his mark as a Jazz instrumentalist, late-1970s classics like Reach For It, Don’t Let Go, and Follow The Rainbow made it clear that he could also be an expressive R&B singer.
But he didn’t want to handle all of the lead vocals himself; so during that period, his role was that of a producer/keyboardist/songwriter who was more than happy to share the lead vocals with Lynn Davis, Josie James, and others. Lynn Davis enjoyed a lot of exposure on R&B stations when, in 1979, Duke featured her on “I Want You for Myself”, the haunting single that made Master of the Game one of his best-selling albums.
This album contains a few jazz fusion instrumentals (including the Latin-flavored “Dog-Man”), but it’s an R&B release first and foremost. “I Want You for Myself” and the mellow, Stylistics-influenced “Every Little Step I Take” are gems in its own right.1. Look What You Find
2. Every Little Step I Take
4. I Want You For Myself
5. In The Distance
6. I Love You More
8. Everybody’s Talkin’
9. Part 1 – The Alien Challenges The Stick/Part 2 – The Alien Succumbs To The Macho Intergalactic Funkativity Of The Funkblasters
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
Fillet Of SoulReleased during the height of Stax Records’ prominence, 1972’s Fillet of Soul compiled the brightest stars and biggest hits to emerge from the Memphis soul powerhouse. A fantastic collection for fans of “The Memphis Sound,” Fillet of Soul includes such funky favorites as “Never Can Say Goodbye” by Isaac Hayes, “I’ll Take You There” by the Staple Singers, Johnnie Taylor’s “I Don’t Wanna Lose You” and the Bar-Kays’ “Son of Shaft.” Can ya dig it?1. Isaac Hayes: Never Can Say Goodbye
2. The Staple Singers: Heavy Makes You Happy (Sha-Na-Boom Boom)
3. The Dramatics: Whatcha See Is Whatcha Get
4. Mel & Tim: Starting All Over Again
5. The Bar-Kays: Son of Shaft
6. Frederick Knight: I’ve Been Lonely for So Long
7. Isaac Hayes: The Look of Love
8. The Staple Singers: I’ll Take You There
9. Johnnie Taylor: I Don’t Wanna Lose You
10. Rufus Thomas: The Breakdown (Part 1)
11. Mavis Staples: Since I Fell for You
12. Little Milton: If That Ain’t a Reason (For Your Woman to Leave You)
$21.99Vinyl LP Reissue - SealedBuy Now
Silk & SoulImport
Recorded in New York in 1967, Silk & Soul is Nina Simone's second album for RCA. And despite arrangements that don't always best suit her voice, this album does contain classics 'I Wish I Knew How It Would Feel to Be Free', which would become a Civil Rights anthem, 'It Be's That Way Sometimes', written by her brother Sam Waymon, and 'The Turning Point', a song that seems to be about a child making a new friend, but turns out to question the origins of racism.
Ms Simone also takes on Dusty Springfield by covering 'The Look Of Love', which was originally featured in the 1966 James Bond spoof Casino Royale and is greatly inspired by Mozart in the fugue-like 'Consummation'.It Be's That Way Sometime
The Look of Love
Go to Hell
Love o' Love
I Wish I Knew How It Would Feel To Be Free
Turn Me On
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
No Beginning No EndNo Beginning No End is a seamless musical experience that moves between different styles with remarkable fluidity, bound together by Jose James' transcendent voice. It marks a new chapter in the artistic journey of the 33-year-old singer/songwriter. Conceived, recorded and produced independently without any recording contract, the album is his most personal statement yet.1. It's All Over Your Body
2. Sword + Gun feat. Hindi Zahra
5. Come To My Door
6. Heaven On The Ground feat. Emily King
7. Do You Feel
8. Make It Right
9. Bird Of Space
10. No Beginning No End
12. Come To My Door feat. Emily King (Acoustic)
$15.99Vinyl LP - 2 LPs SealedBuy Now
The Amazing Nina Simone1. Blue Prelude
2. Children Go Where I Send You
3. Tomorrow (We Will Meet Once More)
4. Stompin' At The Savoy
5. It Might As Well Be Spring
6. You've Been Gone Too Long
7. That's Him Over There
8. Chilly Winds Don't Blow
9. Theme From "Middle of the Night"
10. Can't Get Out Of This Mood
11. Willow Weep For Me
$21.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now