AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Speakers Corner / Columbia FC 37728 - 180 Gram Virgin Vinyl
AAA 100% Analogue - Limited Edition
Pure Analogue Audiophile Mastering - Pressed at Pallas Germany
Speakers Corner 25 Years Pure Analogue This LP is an Entirely Analogue Production
Superb Sound Quality This is an over the top superb sounding record! Speaker's Corner is very impressive. This is definitely the one to buy. Incredible Detail 5/5 LPreview
Anyone who gives the dull name “Four” to their rock album must either be very sure of success or already have resigned. The group Toto may well have experienced such extremes as there was an enormous cleft between their amazing financial success and the crushing negative opinions voiced by the critics. Billboard criticised the superficial lyrics as being void of any sort of emotional weight while the Los Angeles Times aimed their fire at the musicians themselves, slamming them as dubious artists with a commercialised mentality.
To this Toto struck back with their fourth album, which was an unparalleled success and brought them six Grammy awards. For a whole ten months "Africa" reigned at Number 1 on the charts and together with the super-hit "Rosanna" the two smash hits were a constant presence, backed up by a collection of impressive rock classics. A trip to the record shop is all that is needed to prove that this is unlikely to change in the near future. The bright red cover with its depiction of a sword will catch your eye, as though saying: It’s got to be the Fourth!
While already having a successful series of gold and platinum albums to their credit, Toto IV catapulted Toto into major superstar status as they accumulated a ton of Grammy Awards in 1983 including Record Of The Year ("Rosanna"), Album Of The Year and Producer Of The Year.
Upon its release in 1982, Toto IV flew to the top of the charts with the power rocker "Rosanna." Filled with its catchy hooks, brilliant vocal and guitar work from maestro Steve Lukather, and the familiar Bobby Kimball high energy duo lead vocals, this amazing single has become a classic rock staple. Adding James Pankow's (Chicago) horn charts, and the funky piano work from David Paich, the song truly resonated with its huge audience, and broke wide open the importance of both the band and their great new album.
Produced by Toto (David Paich, Steve Lukather, Jeff Porcaro, Steve Porcaro, Bobby Kimball, David Hungate) Toto IV was a watershed venture for the band as its ten champion tunes have all truly stood the test of time. Aside from the massive top charting "Rosanna" there were more classics abound like the beautiful power ballad "I Won't Hold You Back," the rocking fare of "Good For You" and the huge number one smash "Africa." Filled with imagery and a feel good tropical rhythm, "Africa" helped bring in the gold and platinum even further as Toto IV was a historic achievement for this amazing L.A. quintet.
- Steve Porcaro, David Paich (keyboard, vocal)
- Steve Lukather (guitar, vocal)
- Bobby Kimball (vocal)
- David Hungate (bass)
- Jeff Porcaro (drums, percussion)
Recording: 1982 at Sunset Sound, Los Angeles, by David Leonard, Peggy McCreary & Terry Christian and Record One, Los Angeles, by Jamie Ledner, Niko Bolas & Lon LeMaster
2. Make Believe
3. I Won't Hold You Back
4. Good For You
5. It's a Feeling
6. Afraid Of Love
7. Lovers In The Night
8. We Made It
9. Waiting For Your Love
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!