Juliette Greco and her Greatest Chansons - 180g LP

Product no.: 5261641

Juliette Greco and her Greatest Chansons - 180g LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Philips - 526 164-1 - 180 Gram Virgin Vinyl -

AAA 100% Analogue - Limited Edition

Audiophile Mastering - Pressed  at Pallas Germany

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue
Juliette Gréco was born on 7 February 1927 in Montpellier. At seven she moved with her family to Paris; when she was 15 her mother and sisters were deported. Juliette made it through the war years and in 1945 she received her first small acting rolls.
In June 1949 she debuted as a singer at the Paris nightclub “Au Bœuf sur le Toit”. Overnight, the unknown chanteuse was the talk of all Paris. Sartre was so impressed that he wrote a chanson for her, “Les Blancs manteaux”. Later, Raymond Queneau wrote lyrics for her with music by J. Kosma. The popular success of the Muse of Saint-Germain-des-Prés was so great, in fact, that she often sang at three different “etablissements” on the same evening.
Over the years Juliette Gréco has developed into one of the great interpreters of the French chanson. A singer of rare penetration, in performance she combines a minimum of gesture with a warm intensity of vocal and facial expression. She has succeeded in uniting – and reconciling – the French traditions of the chanson and intellectualism. Her interpretations of modern poets such as Prévert, Queneau and Brecht bear eloquent testimony to the refinement of both their and her art.
With the present recording Juliette Gréco has provided connoisseurs with an outstanding documentation of the French chanson. Care has been taken to capture the intimacy of mood which made her concerts a fascinating experience. Indeed, it is not easy to escape the magic of Juliette Gréco.
A1 Sous Le Ciel De Paris
Written-By – H. Giraud*, J. Dréjac*
A2 Chopin-Clopant
Written-By – B. Coquatrix*, P. Dudan*
A3 Le Chaland Qui Passe
Written-By – A. De Badet*, C. Bixio*
A4 Les Feuilles Mortes
Written-By – J. Prévert*, J. Kosma*
A5 L’Âme Des Poètes
Written-By – C. Trenet*
A6 Die Ameise (La Fourmi)
Written-By – J. Kosma*, M. Morlock*, J. Desmos*
B1 Je Suis Seule Ce Soir
Written-By – J. Casanova*, F. Durand*, R. Noël*
B2 Parlez-Moi D'Amour
Written-By – Lenoir*
B3 La Mer
Written-By – A. Lasry*, C. Trenet*
B4 Moulin Rouge
Written-By – G. Auric*, J. Laruel*
B5 Chanson De Barbara
Written-By – Mauprey*, Brecht*, Weill*
B6 Die Gammlerin (La Rodeuse)
Written-By – G. Béart*, M. Morlock*


20 Years pure Analogue
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
Vinyl’s newfound popularity has led many other companies to jump 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 from which to master: CDs, LPs, digital files and even MP3s. 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 


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