New for July

Many music lovers miss the sound from vinyl pressings. Many others have yet to discover how pleasant the sound can be. Most of our albums are mastered from vinyl LP pressings and earlier recordings (before 1953) from 78 rpm discs. It is our ability to recreate, in the digital age, the sound from the disc era that many of our customers find most enjoyable.

Unlike modern digital recordings tracks in our albums do contain some distortion, and the occasional surface noises, but for many listeners these "defects" are soon forgotten.

Our albums are available from many  and streaming sites.

We highly recommend downloading from  Qobuz where you can download or stream in high quality, for the same price as iTunes medium quality.

New albums

What the Critics Say

"The recordings which Thurston Dart made with the Philomusica of London were in many ways the beginning of modern practice in performing baroque music. These recordings, recorded with modern instruments but with a sense of baroque style – Dart’s day job was as a London University academic – led to the Academy of St Martin-in-the-Fields with Neville Marriner, still using modern instruments, and thence to period-instrument practice. So stylish, indeed, are these performances and so well has the recording come up that I might well have been fooled in a blind test into thinking this a recent recording.

" I imagine that the Water Music will be the main selling point. The harpsichord suites, though recorded only three years earlier, are a little less appealing, chiefly because the mono recording, or the chosen instrument, a Goff from 1952, sounds less clear. The ear soon adjusts, and I enjoyed this half of the programme, too, but this time modern practice, though having learned much from Dart, has come a long way since these recordings were made."

Brian Wilson at MUSICWEB INTERNATIONAL where you can read the full review

" Beulah’s other June 2018 release, though very different, is equally recommendable. Every Time I feel the Spirit contains 28 tracks sung by Paul Robeson, mostly recorded at his ‘farewell’ concert in Carnegie Hall in May 1958. The accompanists are Alan Booth and Harriet Wingreen (piano), Milt Okun and his orchestra and, on some tracks, Okun’s chorus. Much of the music is of a (very) sentimental nature and Robeson misses no opportunity to play on this. Occasionally it’s over-slow and overdone – at least for me – but tracks like Sometimes I feel like a motherless Child, Get on board little Children and (especially and inimitably) Old Man River amply compensate. Much of the material is predictable but Christ lag in Todesbanden (sung in English and German), while it might take J. S. Bach by surprise and wouldn’t win any prizes for authenticity or German pronunciation – it’s transposed too low even for Robeson’s dark-toned voice – makes me wish that he had been coached for and recorded more such repertoire.

"His rendition of the Schubert Lullaby, Schlafe holder süsse Knabe (again in somewhat unidiomatic German) also suffers from being pitched so low that the voice sounds merely growly. His Jerusalem is rather more successful and the Dvořák-inspired Going Home even more so, despite the banal words. The recordings have been well transferred, though the piano tone sounds rather hollow at times and the applause is sometimes rather abruptly terminated. "

Brian Wilson at MUSICWEB INTERNATIONAL where you can read the full review

RAF 100

The Royal Air Force was formed on 1 April 1918. By the second world war it had massively expanded so in 1941 the Air Ministry sent a set of records to every RAF station entitled Music for Service Occasions.

Read extensive notes for this album

Beulah at 25

Ballet Music
Here is a 30 minute journey through some of the ballets featured in Beulah albums. All these tracks can still be downloaded or streamed.