AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Speakers Corner / Warners - WS 1777 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Mastered by Kevin Gray at Cohearent Audio
Limited Edition - Audiophile Mastering - Pressed at Pallas -
Speakers Corner 25 Years Pure Analogue This LP is an Entirely Analogue Production
This new reissue by Speakers Corner received a first-class remastering from Kevin Gray, and it has earned a permanent slot in my slim soundtrack collection. Steve McQueen’s "missing" Mustang, not seen in decades, was recently unveiled at the Detroit Auto Show and put up for auction. Few of us can spare the millions needed to buy such a treasure, but for chump change you can get a lot of the Bullitt mileage each time you replay this splendid reissue.Sound 5/5 The Audio Beat
After establishing himself in the television world with the classic Mission: Impossible theme, Lalo Schifrin soon made himself equally famous in the world of film music with his work on the soundtrack of the Steve MacQueen cop thriller Bullitt. This classic soundtrack found Schifrin combining the skills he honed as an arranger for jazzmen like Count Basie with the gift he developed for writing tight, punchy themes on television soundtracks like The Man From U.N.C.L.E. and Mission: Impossible.
The end result is an exciting score that deftly blends traditional orchestral film-scoring techniques with the rhythms and swings of classic jazz. This combination is perfectly presented on "Bullitt (Main Title)," a jazz-pop instrumental that starts with an angular, staccato bass line and quickly layers on jazz guitar and controlled bursts of brass to create a tune that swings and thrills all at once. Other gems in this vein include "Shifting Gears," which adds and subtracts layers of dissonant strings and brass over an insistent, percolating groove from the rhythm section, and "Ice Pick Mike," a chase theme that builds from piano and percussion to a full-blown jazz instrumental complete with a wild horn section. Elsewhere, Schifrin effectively slows down the rhythms to craft lush instrumentals that manage to create a lighter, more pensive mood without losing their jazz edge: "The Aftermath of Love" layers gentle trumpet and flute lines over string-sweetened rhythms and "The First Snowfall" is a bright, horn-driven piece that applies the album's swinging brass section to a poppy melody.
Everything on the album is visually evocative the way good soundtrack music should be, yet the individual cuts are tight and melodic enough to hold up to repeated listens. The end result is a soundtrack that succeeds both as a film score and a stand-alone album. This unique combination makes Bullitt one of the finest achievements in the Lalo Schifrin catalog and one of the best action film scores ever written.
A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control.
Very up-to-date and just as exciting as the screenplay is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, "Bullitt": the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning.
Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is "Shifting Gears": here you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.
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.
Composed By – Sonny Burke)
Composed By, Conductor – Lalo Schifrin
Engineer – Lee Herschberg
Producer – Jimmy Hilliard
Recording: December 1968 at Western Recorders, Hollywood, by Lee Herschberg
1. Bullitt (Main Title)
2. Room "26"
3. Hotel Daniels
4. The Aftermath Of Love
5. Music To Interrogate By
6. On The Way To San Mateo
7. Ice Pick Mike
8. A Song For Cathy
9. Shifting Gears
10. Cantata For Combo
11. The First Snowfall
12. Bullitt (End Title)
20 Years pure Analogue
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 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.
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!