AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Demon FIEND63 / Speakers Corner - 180 Gram Virgin Vinyl - AAA 100% Analogue 3
Limited Edition - Audiophile Mastering - Presse at Pallas Germany
Speakers Corner 25 Years Pure Analogue This LP is an Entirely Analogue Production
"In some respects this could be considered a brave choice for an audiophile label. In others it’s a no-brainer. Speakers Corner is much more a music label than an audiophile label. That they also produce consistently excellent-sounding records is just a bonus. New Boots was long overdue a reissue, and kudos to Kai Seemann and Speakers Corner for not just delivering but doing so in such spectacular fashion. Dury may never have scaled these dizzy heights again -- at least not across a complete album -- but his considerable best just got a whole lot better. I can’t recommend this album highly enough (as many who know me will testify), but even if you decide it’s not for you, it’s still worth keeping around. Anything that can clear undesirables from a showroom as quickly as this is cast iron guaranteed to work on the in-laws!" - Roy Gregory, theaudiobeat.com, 5/5 Music, 4/5 Sound!
This issue includes “Sex & Drugs & Rock ‘n’ Roll” which was not included on the UK release.
It is not difficult to call Ian Dury the very epitome of British rock music in the Seventies. The rough charm of his bawdy Cockney accent, spiced with snotty rock, which he often belted out in pogo punk, was just the thing for the boulevard and lent a voice to the British working class.
His penchant for the grotesque, which he often expressed in the most vulgar of words ("I bet your mother fed you with a catapult") or what Sounds magazine described as brutal fairground music, gave birth to a collection of weird characters who were looking for a home in vinyl, as Village Voice observed.
This search resulted in the present album, which consists of a whole gamut of earthy downtown sounds. Beginning with the mechanical drive of disco beat ("Wake Up And Make Love With Me") and pure, unadulterated rock ("I'm Partial To Your Abracadabra"), Dury and his band work towards smirking circus music to arrive at hard punk. His lyrics are honest, coarse and harsh and thus totally unacceptable for glamorous pop venues. You simply had to hear him live - or on this record.
Recorded at The Workhouse, London, 1977.
Production by Peter Jenner, Laurie Latham and Rick Walton.
Ian Dury, vocals
Norman Watt-Roy, bass
Charlie Charles, drums
Chaz Jankel, guitar, keyboard
Geoff Castle, Moog
Davey Payne, saxophone
Edward Speight, ballad guitar
Recording: 1977 at The Workhouse, London
Production: Peter Jenner, Laurie Latham and Rick Walton
1. Wake Up And Make Love With Me
2. Sweet Gene Vincent
3. I’m Partial To Your Abracadabra
4. My Old Man
5. Billericay Dickie
1. Sex & Drugs & Rock ‘n’ Roll
2. Clevor Trever
3 If I Was With A Woman
5. Plaistow Patricia
6. Blackmail Man
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!