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Albert King: Born Under A Bad Sign 180g Speakers Corner Vinyl

It took more than four decades of patient hard work until a discriminating congregation could proclaim Albert King as one of the three kings of the electric blues, alongside B. B. King and Freddie King.  

Alice Coltrane: Eternity – Speakers Corner 180g Vinyl

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.
When the brilliant saxophonist John Coltrane died in 1967, the core values of jazz music had long drawn him into the spiritual world (“A Love Supreme”, “Ascension”, “Meditations” etc.). His widow and final pianist followed in his footsteps. Alice Coltrane (1937–2007) sought after »cosmic sounds, higher dimensions, astral levels« – she had an important influence on the spiritualised, esoteric music scene of the 1970s.

Harry Belafonte – Belafonte At Carnegie Hall – 180g 2LP Speakers Corner Vinyl

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.
Recording: April 1959 live at Carnegie Hall, New York, by Bob Simpson Production: Bob Bollard

Henry Mancini – Breakfast At Tiffany’s – 180G Speakers Corner Vinyl

Long nights, dizzy parties, a variety of men-friends, and breakfast standing before the window display of the famed jewellery company govern the life of the dazzling Holly Golightly, who has in reality a very ordinary name and poverty-stricken background.

Jocelyn B. Smith & Band: Honest Song – BMS 180g Virgin Vinyl

The celebrated Diva Jocelyn B. Smith has been lauded by the Frankfurter Allgemeine Zeitung for her outstanding productions in the fields of jazz, soul, blues, pop, rock, gospel, funk, crossover and classical music, and described her as a »total work of art« – and now she surprises us yet again with a completely new genre. AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head 20 Years pure Analogue

Johnny Winter – Johnny Winter – 180G Speakers Corner Vinyl

Winter remains pretty cool when people attempt to identify personal afflictions in his music: When I play blues, I feel good he stated recently to a journalist. That the same goes for over 40 years ago is substantiated by both sides of this debut album.

Lou Reed – Transformer – Speakers Corner 180g Vinyl

'Transformer' is the second solo studio album by American artist Lou Reed, released in 1972. David Bowie offered Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went. The sound and style of 'Transformer' would in many ways define Reed's career in the 1970s, and while it led him into a style that proved to be a dead end, you can't deny that Bowie and Ronson gave their hero a new lease on life -- and a solid album in the bargain.

Michael Franks – The Art Of Tea – 180G 33Rpm Speakers Corner Vinyl

Michael Franks is a master of words. Not only did he study American Literature, he is also a song writer and a composer of film music, which he demonstrates in his début album with a major label, where music and language are on a par.

Patti Smith – Horses – 180G Speakers Corner Vinyl

Patti Smith, “the first published poet to move her poetry completely into rock ‘n’ roll and to entice experimental rock fans into the forbidden cinema of her hallucinatory fantasy” (New York Times), began her musical career unconventionally. It took off at a poetry reading where she was backed by Lenny Kaye on guitar; later star photographer Robert Mapplethorpe financed her punk-rock cult single “Hey Joe.”

The Ornette Coleman Double Quartet: Free Jazz Speakers Corner 180g Vinyl

The term 'free jazz' was already in existence – but it had a quite different meaning, namely jazz without paying for an entrance ticket. The album "Free Jazz", however, was intended to lend its name to a quite different style of jazz. 'Free' playing – now this meant that no one was bound to conventions, you could let your imagination run loose. Free jazz gave one the chance to find new rules for every new composition. And it was to be the greatest boost to innovation in the world of jazz. Ornette Coleman’s album from December 1960 stands at the beginning of the free jazz era like a massive portal.