180g 200g 45rpm Box Sets.

David Lindley - El Rayo-X - 180g LP

Product no.: 5E524

£29.95

Price includes VAT, plus delivery

Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item

Description

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Asylum 5E-524 - 180 Gram Virgin Vinyl

Mastered by Kevin Gray at Cohearent Audio from the Original Mastertapes

AAA 100% Analogue - Limited Edition - Audiophile Mastering - Pressed at Pallas

Speakers Corner 30 Years Pure Analogue This LP is an Entirely Analogue Production

Speakers Corner’s 180-gram vinyl re-mastering is excellent. The assortment of exotic stringed instruments are mixed with vibrant tonality. The electric slide has limited jaggedness and blends with the other instruments. Lindley’s reedy tenor is front and center in the mix, and sounds quirky with unexpected strength.David Lindley – El Rayo X is one of the greatest albums to emerge from the 80’s! Sound 5/5 Audiophile Audition

There simply isn’t a dull moment on this criminally underappreciated slab of high-energy vinyl.The best news of all is that the folks at Speakers Corner continue their impressive track record with this much-deserved reissue. While my original pressing [Asylum 5E-524], mastered by Doug Sax, is a slice of analog heaven, Kevin Gray’s 100-percent analog remastering of the original master tape unearths a low-end grunt and upper-register delicacy and bloom that my 38-year-old pressing cut at The Mastering Lab doesn’t quite reveal.Add to all this sonic goodness a graveyard-quiet, ruler-flat pressing by Pallas and the team at Speakers Corner earns my highest praise for making a fantastic record sound even better.- Music 4.5/5 Sound 5/5 The Audio Beat

Speakers Corner’ Vinyl re-mastering is excellent. The assortment of exotic stringed instruments are mixed with vibrant tonality. The electric slide has limited jaggedness and blends with the other instruments. Lindley’s reedy tenor is front and center in the mix, and sounds quirky with unexpected strength. David Lindley – El Rayo X is one of the greatest albums to emerge from the 80’s! - Sound 5/5 AudiophileAudition

The original Asylum pressing really did it for me on this track- more bite to the instruments, but it works. Then you hear the Speakers Corner– which has more punch and deeper tonality on the bass and kick drum. The vocal becomes even weirder on the Speakers Corner (in a good way) because the high pitch of the voice contrasts more with the sound of the instruments. The Speakers Corner has more meat on the bones. Kevin Gray’s approach is that he tries to respect the sound that the original producer sought to achieve. I asked whether the differences I heard here were largely a result of improvements in the mastering chain. Kevin Gray On this record, I did no compression/limiting in the mastering. When I’ve compared the master tape to the records Doug mSax astered, his system usually seemed lacking in the bottom octave. I’m sure Doug sometimes compensated for that with EQ, but it was a result of the system he used. - TheVinylPress

When David Lindley commenced on his solo career with "El Rayo-X" in 1981, he had already established himself as a studio musician in numerous venues. His competent playing, which he had long cultivated in performance with Jackson Browne, Linda Ronstadt and Crosby & Nash, is concentrated here on this album like an x-ray beam. And what is more: the multi-instrumentalist worked on his early, forgotten attempts on the banjo and fiddle and took himself right up to the strings of the steel guitar.

Here are just a few examples of the many styles which are gathered here together on this album: After the off-beat reggae rhythm of "She Took Off My Romeos" follows one of the greatest guitar hits of the 80s – "Bye, Bye Love". Then comes "Mercury Blues" with its magnificently sharp and swift-paced guitar playing. Not only the rhythmic mix but also the instrumentation follows a cleverly devised plan and is tailor-made for each number. "Quarter Of A Man", a subtle colorful dance on the bass line, is just as impressive as the pointed jabs of the well-established organ in "Ain’t No Way". All in all, this is a lavishly produced rock album of its time and well worth the listening today.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.

Features:
• 180g High Quality Vinyl
• Pure Analogue

Musicians:
David Lindley, vocals, guitar
Jackson Browne, vocals
Jorge Calderon, vocals
Garth Hudson, horns
Curt Bouterse, dulcimer
Bob Glaub, bass
Reggie McBride, bass
William 'Smitty' Smith, organ
Billy Payne, organ
Ian Wallace, drums
Ras Baboo, percussion, vocals

Selections:
Side A:
1. She Took Of My Romeos
2. Bye Bye Love
3. Mercury Blues
4. Quarter of A Man
5. Ain't No Way
6. Twist and Shout
Side B:
1. El Rayo-X
2. Your Old Lady
3. Don't Look Back
4. Petit Fleur
5. Tu-Ber-Cu-Lucas and The Sinus Blues
6. Pay the Man

AAA 100% Analogue This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue

MADE FROM THE ORIGINAL MASTER TAPES

AAA 100% ANALOGUE - PURE ANALOGUE AUDIOPHILE MASTERING

We use the Original Tapes and work with only the Best Mastering Studios Worldwide

180 GRAM VIRGIN VINYL PLATED & PRESSED AT PALLAS GERMANY

Faithful Reproduction of the Original Artwork and Labels

LIMITED EDITION Released in Limited Quantities

All Licences and Mechanical Rights Paid

Image result for pallas group germany vinyl pressing

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.

60 Years Pallas

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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