25 Years after the Mindcrime Revolution, the ryche returns with their 13th studio album - a new chapter in the epic saga of one of the most critically adored and commercially successful metal bands of all time!
3. Give It To You
5. In The Hands Of God
6. Running Backwards
7. Life Without You
10. The Weight Of The World
The ambitious new project from one of the world’s leading orchestras recording fully orchestrated progressive rock masterpieces with guest appearances by members of iconic prog rock bands!
Features scintillating symphonic versions of Pink Floyd’s “Comfortably Numb” with Alan Parsons Project multi-instrumentalist Ian Bairnson, King Crimson’s “21st Century Schizoid Man” featuring King Crimson and Porcupine Tree drummer Gavin Harrison, Gentle Giant’s “Think Of Me With Kindness” featuring Yes and Moody Blues
keyboardist Patrick Moraz and many more!
1. ELP Suite: Tarkus / From The Beginning / Tarkus (Reprise)
2. Comfortably Numb feat. Ian Bairnson
3. Thick As A Brick feat. Richard Harvey
4. 21st Century Schizoid Man feat. Gavin Harrison and Guthrie Govan
5. Focus II feat. Thijs Van Leer
6. Nights In White Satin feat. Mark Feltham
7. Think Of Me With Kindness feat. Patrick Moraz
8. Roundabout feat. Jimmy Greenspoon
Disco Club is a groundbreaking 1978 EP of experimental electronic disco produced by French library music composer Bernard Fèvre and producer Jacky Giordano under the name Black Devil. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however, this is the first ever reissue of the EP in its original, intended sequence.
Hugely influential to generations of electronic musicians and and an impossibly rare piece, this edition has been treated to a remaster from the original tapes by Bernard Fèvre himself.
1. “H” Friend
2. Timing, Forget the Timing
3. One to Choose
4. We Never Fly Away Again
5. Follow Me (Instrumental)
6. No Regrets
The Kansas/Friday Music 180 Gram Audiophile Vinyl Series Continues!
Celebrate 4 Decades Of Kansas With Their Live Greatest Hits LP From 1978
First Time 180 Gram Vinyl & Gatefold Cover Presentation
Mastered Impeccably At Friday Music And Capitol Mastering. Pressed At R.T.I.
In 1978, superstars Kansas rewarded their fans with their legendary live masterpiece Two
for the Show. Featuring the classic line-up of Steve Walsh on keys and lead vocals, Phil Ehart on
drums, Kerry Livgren playing lead guitar, Robby Steinhardt on violin and lead vocals, plus Dave
Hope on bass, the Two for the Show album rapidly became one of the most definitive live albums
ever in the classic rock era.
With hard rock Kansas standards like Carry On Wayward Son and Point of Know Return and
the brilliant prog-rock classics Dust in the Wind and The Wall, Two for the Show would go on to
become one of the best-selling albums in their career.
Dig deeper into the grooves and there you find even more prog-rock champions like the
masterful Song for America and the powerful rocker Paradox, and the power ballad Lonely Wind
making Two for the Show the multi-platinum smash it is and will forever be!
Friday Music is no stranger to the stunning recordings of Kansas. Therefore it is with much
excitement to announce another installment in the Kansas/Friday Music 180 Gram Audiophile
Vinyl Series with their legendary live masterpiece Two for the Show. Mastered impeccably by Joe
Reagoso (Kansas, Deep Purple, Styx) at Friday Music Studios and Capitol Mastering and pressed
at RTI, this stunning double LP was long overdue for the audiophile vinyl domain.
In honor of Kansas 40th Year Anniversary, we are offering for the first time in years the original
splendid gatefold cover art, plus the rare inner sleeve art on 2 inserts, and of course the five
star mastering you would expect from Friday Music. We believe this wonderful new audiophile
release of Two for the Show will become one of the most anticipated prog-rock releases of the
year! Carry On Wayward Son!
1. Song for America
2. Point of Know Return
4. Icarus-Borne On Wings of Steel
5. Portrait (He Knew)
6. Carry On Wayward Son
7. Journey From Mariabronn
1. Dust in the Wind
2. Lonely Wind
3. Mysteries and Mayhen
4. Excerpt From Lamplight Symphony
5. The Wall
6. Closet Chronicles
7. Magnum Opus
The Yes/Friday Music 180 Gram Audiophile Vinyl Series Continues!
45th Anniversary Limited Edition!
Stunning Gatefold Cover & Box Set Presentation!
Mastered Impeccably From The Original Atlantic Records Tapes By Joe Reagoso At Friday Music Studios
And Capitol Records, Hollywood, CA
After four decades of recording a staggering catalog of top charting albums, a plethora of successful
worldwide tours and basically the original architects of the prog-rock genre, the makings of their superstar reign
began during the recording sessions for masterpiece The Yes Album.
With an ever interesting line-up of world class musicianship, this highly regarded chapter of Yes consisted
of Jon Anderson (vocals), Chris Squire (bass/vocals), Bill Bruford (drums), Tony Kaye (keyboards) and the
introduction of Steve Howe (guitars/vocals), The Yes Album truly stands as absolutely one of the finest and most
revered rock albums of all time.
Yes fans continue to praise The Yes Album as a truly inspiring masterwork. This important piece of music
consists of six amazing Yes workouts such as the definitive album opener Yours Is No Disgrace, the hard rocking
Starship Trooper, and the brilliant I’ve Seen All Good People which featured the massive hit single Your Move.
From this moment on, there was no looking back for this superstar quintet.
Yes enthusiasts were superlatively rewarded with even more progressive rock favorites as the brilliant
acoustic driven guitar work of Steve Howe’s Clap, Chris Squire and Jon Anderson’s superb Perpetual Change
and the jazz-rock fusion of A Venture truly made The Yes Album one of the finest albums of the classic rock era.
As we continue our exclusive and extensive Yes 180 Gram Audiophile Vinyl Series, Friday Music is very
honored to announce their 1971 masterpiece The Yes Album. Issued for the first time on 2 LP 180 gram 45 rpm
audiophile vinyl, this exceptional work is now mastered impeccably from the original Atlantic Records tapes by
Joe Reagoso (Close to the Edge, Drama, Tales From Topographic Oceans, 90125, Relayer).
To celebrate the 45th Anniversary of this amazing album, this limited edition masterpiece is housed in a
beautiful box set and features a stunning gatefold cover inside, which includes the historic photography of Phil
Franks and Jon Goodchild’s cover design.
So, let us celebrate the audiophile dream recording from Yes with the exclusive Friday Music Deluxe 45 rpm
2 LP Box Set presentation of their masterwork The Yes Album…exclusively from your friends at Friday Music.
Look for more Yes 45th Anniversary releases this year from Friday Music as we continue to celebrate the wonderful
music of our incredible superstar act. I’ve Seen All Good People!
1. Yours Is No Disgrace
3. Starship Trooper
a. Life Seeker
1. I’ve Seen All Good People
a. Your Move
b. All Good People
2. A Venture
3. Perpetual Change
Ranked 269/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Stones' Classic Remastered on 180 gram LP
Universal Music Group and The Rolling Stones present the remastered version of their groundbreaking 1978 album, Some Girls, which introduced the band to a whole new generation of fans. Justly considered one of the finest works by Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Ronnie Wood, Some Girls topped the US charts over three decades ago and remains the best selling album of their storied career.
Some Girls is the Rolling Stones' most direct and diverse collection of material from Mick Jagger's irresistible falsetto on the four-on-the-floor filler "Miss You," their eighth U.S. #1, to the country-flavored "Far Away Eyes" via the Chuck Berry meets punk snarl of "Respectable." And let's not forget the sensuous, "Beast of Burden," one of Keith Richards' finest tunes, which reached #8 on the U.S. singles chart, the garage rocker "Shattered," the albums' third U.S. Top 40 entry, and the soulful swagger of the group's version of The Temptations' "Just My Imagination," another timeless offering in their canon of classic Stones Motown covers.
Following the critical praise and commercial success afforded the re-mastered, expanded editions of Exile On Main Street, which matched the chart performance of the epochal 1972 album, and returned the Rolling Stones to their rightful place at the top of the British charts in 2010, the extensive reissue of Some Girls constitutes the next step in the band's ongoing relationship with Universal Music Group.
Some Girls holds a special place in the history of the Rolling Stones and demonstrates why they remain one of the most thrilling and influential bands of all time. The 1978 album features the Keith Richards' classic "Before They Make Me Run," a signature song he still performs defiantly to this day. Some Girls documented Mick Jagger's love of 1970's funk reflected in "Miss You," the dance track that wrong footed many people, made the club and black charts, and made it okay for other mainstream acts at the time to 'go disco'.
The 1978 album also courted controversy because of Jagger's tongue-in-cheek lyrics on the title track, on "Miss You" and on "Respectable," perceived as a retort to the punk and new wave groups who had borrowed so much attitude and copped so many anti-establishment moves from the Rolling Stones. Ironically, the furor around the elaborate Some Girls package, designed by Peter Corriston and featuring the band members in drag, a nod in the direction of the picture on the 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" and likenesses of Lucille Ball, Farrah Fawcett, Raquel Welch, Judy Garland and Marilyn Monroe that hadn't been legally cleared, necessitating a swift withdrawal and rethink.
Some Girls demonstrated the distinctive and definitive riffing from Keith Richards, with its abundance of unstoppable licks and majestic power chords driving the band into its brand new musical direction. This album not only defined him and his playing, but also defined a new era for the Rolling Stones, with Richards since described as "a sense of renewal." Some Girls marks the only other time since recording "Satisfaction" where Richards used an effects pedal to 'elevate' the sound.
The album cemented the position of guitarist Ronnie Wood, who had joined in 1975, and added his trademark slide and pedal steel playing to several of the album's most memorable tracks, including "When the Whip Comes Down" and "Shattered." He also co-wrote the "Shattered" B-side "Everything Is Turning To Gold." Some Girls also marked a move to the Pathe Marconi Studios in Paris for the Glimmer Twins production team of Jagger and Richards. These factors helped what is arguably the group's most focused and dynamic album, driven by the sans pareil rhythm section of drummer Charlie Watts and bassist Bill Wyman.
Some Girls featured fewer guest musicians than any Rolling Stones album since 1971, but the contributions keyboard-player Ian McLagan, Wood's bandmate in The Faces, saxophone-player Mel Collins, and harmonica player Sugar Blue (discovered busking on the Paris metro), made "Miss You" in particular sound brighter than ever.
Thirty-three years on from its original release, the re-mastered vinyl edition of Some Girls shows exactly why the 1978 album has often been hailed as the equal of Exile On Main Street. The album stands as both a time capsule and a timeless listen and it features the band at their tightest and toughest, at their most vibrant and vital.
1. Miss You
2. When the Whip Comes Down
3. Just My Imagination (Running Away With Me)
4. Some Girls
6. Far Away Eyes
8. Before They Make Me Run
9. Beast of Burden
Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version
Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended
Ranked #149 on Rolling Stone’s List of the Greatest Albums of All Time
Santana’s self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader’s most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity’s 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it’s ever enjoyed.
Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity’s collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.
Indeed, separation between Carlos Santana’s fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie’s soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.
For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.
Bound by natural chemistry and earthy spirituality, the record’s innovative synthesis of myriad styles goes beyond anything that came before—as well as nearly everything that’s followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn’t water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.
Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis’ Bitches Brew and Jeff Beck’s Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash “Evil Ways” and jam favorite “Soul Sacrifice,” it hasn’t aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.
2. Evil Ways
3. Shades Of Time
8. You Just Don't Care
9. Soul Sacrifice
The first new studio album from Ringo Starr in 3 years and his 18th studio album. Features the hits Rory and the Hurricanes as well as the title
track Postcards from Paradise.
The solo album, with 11 original tracks, is the first to include a song written and recorded by Ringo Starr and his current All Starr Band – Steve Lukather, Todd Rundgren, Gregg Rolie, Richard Page, Warren Ham and Gregg Bissonette. POSTCARDS FROM PARADISE was produced by Ringo and recorded at his home studio in Los Angeles and, as always, features friends and family. As Ringo often says, “If I am recording and you’re in town and drop by, you’re going to be on the record!” The album’s guest artists include: Joe Walsh, Benmont Tench, Dave Stewart, Ann Marie Simpson, Richard Marx, Amy Keys, Peter Frampton, Nathan East, and Glen Ballard.
1. Rory And The Hurricanes
2. You Bring The Party Down
4. Postcards From Paradise
5. Right Side Of The Road
6. Not Looking Back
8. Island In The Sun
9. Touch And Go
11. Let Love Lead
While much of Z comes as a shock, even the surprises should seem perfectly natural in hindsight. The combination of the hushed, indie balladry of their early records with the spacious guitar rock of their last was to be expected, here they deliver newer, more exotic rhythms and textures, which makes it clear that this is a great band, doing great things, whove been playing it safe until now. An ambitious leap of faith into a new frontier.
1. Wordless Chorus
2. It Beats 4 U
4. What A Wonderful Man
5. Off The Record
6. Into The Woods
8. Lay Low
9. Knot Comes Loose
Tin Can Trust is Los Lobos’ first collection of new original material in four years. The Grammy-winning East L.A. band’s lineup has remained uninterrupted since 1984, when saxophonist/keyboardist Steve Berlin joined original members Louie Pérez (guitar, drums, vocals), David Hidalgo (guitar, violin, accordion, percussion, vocals), Cesar Rosas (guitar, vocals) and Conrad Lozano (bass, vocals). Seven songs on the album are distinguished and genius Hidalgo-Pérez collaborations, including the opening track “I’ll Burn It Down,” (featuring Susan Tedeschi). Three others were written in whole or in part by Rosas – including the album’s two Spanish-language numbers: the cumbia “Yo Canto” and the norteño “Mujer Ingrata” – and display Los Lobos’ signature seamless infusion of Mexican folk songs into rock music. Also included in Tin Can Trust – a cover of the Grateful Dead’s “West L.A. Fadeaway” – offering a nod to the bands’ shared history that extends back into the 1980s when the Angelenos befriended and opened shows for their northern peers. They will be touring the second half of the summer away into the fall. In a gatefold cover.
1. Burn It Down
2. On Main Street
3. Yo Canto
4. Tin Can Trust
5. Jupiter Of The Moon
6. Do The Murray
7. All My Bridges Burning
8. West L.A. Fadeaway
9. The Lady And The Rose
10. Mujer Ingrata
Headline-grabbing personal upheavals turn into introspective surges on Homogenic, the third album by Icelandic singer Björk. Driven inward after a bizarre year accented by a much publicized mail bomb, airport cat fight and brawl between ex-lovers Tricky and Goldie, Björk gets lost in a wash of strings and minimalist techno patterns on her latest outing. The eccentricity and stylistic schizophrenia of Debut and Post have been cast away in favor of darker, more sublime edginess. Filled with songs about paranoia, heartbreak, and lost faith, Homogenic not only showcases more mature themes, but a more uniform mood. Notch that up to Björk's decision to produce the album herself. Aside from a few nominal collaborations with Mark Bell of obscure techno outfit LFO and the Icelandic String Octet, this is the purest representation of the artist's vision. Little did we know that such a quirky personality would have such a bleak world view. Homogenic is almost too heavy to take in sitting, and songs, like the grating "Pluto," are downright unlistenable. But there are moments of inspiration that burn through the dark clouds, particularly on the contemplative "Joga" and the uplifting "Bachelorette." --Aidin Vaziri
5. All Neon Like
6. 5 Years
8. Alarm Call
10. All Is Full Of Love
Regarded as one of The Rolling Stones' all-time great albums, 'Sticky Fingers' captured the bands trademark combination of swagger and tenderness in a superb collection. The classic album features timeless songs such as 'Brown Sugar,' 'Wild Horses,' 'Bitch,' 'Sister Morphine' and 'Dead Flowers' and showcases the inventive song writing of Mick Jagger and Keith Richards and formidable guitar licks from Mick Taylor. All Deluxe and Super Deluxe formats will feature a generous selection of previously unavailable material. These include the alternative version of the chart-topping single 'Brown Sugar' featuring Eric Clapton; unreleased interpretations of 'Bitch,' 'Can't You Hear Me Knocking' and 'Dead Flowers'; an acoustic take on the anthemic 'Wild Horses', and five tracks recorded live at The Roundhouse in 1971 including 'Honky Tonk Women' and 'Midnight Rambler.'
1. Brown Sugar
3. Wild Horses
4. Can't You Hear Me Knocking
5. You Gotta Move
7. I Got The Blues
8. Sister Morphine
9. Dead Flowers
10. Moonlight Mile
Counting Crows' 1993 debut album released for the first time as an LP in the U.S.!
Double album cut at 45 RPM, plated and pressed by Quality Record Pressings — four sides maximize the recording's dynamic range
Mastered by Ryan Smith at Sterling Sound
Counting Crows put in the gigging hours during the early days of the band, and it paid off. By the time they signed to Geffen in 1993, they had already built up a significant fanbase. Their debut, August and Everything After, produced by T-Bone Burnett, was released later the same year and became an unexpected multi-platinum hit, partly as a result of the successful single "Mr. Jones."
Although recorded to audio tape, the album was originally mastered for CD and featured a longer playing time than a standard LP. Thus Analogue Productions has reissued August and Everything After as a double LP set to maximize the dynamic range of this recording. This is the first time that the 'Crows multi-platinum smash has been released in the U.S. as an LP. Mastered by Ryan Smith at Sterling Sound.
This title is not eligible for discount.
1. Round Here
3. Mr. Jones
4. Perfect Blue Buildings
5. Anna Begins
6. Time And Time Again
7. Rain King
8. Sullivan Street
9. Ghost Train
10. Raining In Baltimore
11. A Murder Of One
"Australian singer-songwriter Xavier Rudd has a voice that needs to be heard to be understood. Soaring, plaintive and
deeply emotive, he sings every verse as if it were his last. There’s a poignancy, intimacy and gravitas he achieves
with each utterance and intonation that makes nearly every moment worth remembering. It’s an achievement many
artists can strive a whole career to achieve and never attain." - AbsolutePunk
Emerging from the studio after recording his dream project - the long awaited dub sessions, Nanna - Xavier Rudd
returns to front a full band: The United Nations, featuring bass, drums, keys, horns, flute, guitar, backing vocalists,
percussion and representing musicians from many cultures including Australia / indigenous Australia, South Africa,
Samoa, Germany, Ireland & Papua New Guinea.
Xavier Rudd & The United Nations are a celebration of a “One People Musical Force” with a strong message of
all people coming together around the globe to return to spirit, respect the ancient ways and protect the earth and
the very essence of creation.
2. While I’m Gone
4. Come People
7. Rusty Hammer
8. Rainbow Serpent
Emotionally and musically intense, Little Earthquakes shows that the piano is as much a rock & roll instrument as the guitar. Tori Amos's debut (if one disregards Y Kant Tori Read, as one would be well advised to do) is at once listenable and challenging; she takes on every topic, from sex to gender to religion, in an uncompromising manner.
Her music appears gentle at first, but this appearance is deceiving, as one quickly learns upon listening to the wrenching "Crucify" or the almost violent "Precious Things." By the time the album gets around to "Me and a Gun," sung hauntingly by Amos without accompaniment from her piano, the juxtaposition of Amos' sweet voice and the emotional complexity of her lyrics is both familiar and shocking. Sandman fans should listen for a reference to author Neil Gaiman in "Tear in Your Hand."
-- Genevieve Williams
3. Silent All These Years
4. Precious Things
6. Happy Phantom
10. Tear In Your Hand
11. Me and a Gun
12. Little Earthquakes
Under the Pink was Tori Amos' follow-up to the sensationally successful Little Earthquakes and demonstrates that she had by no means run out of faeries and demons to sport with. Amos herself describes it as her "impressionistic" album--her piano playing is perfectly attuned to the subtle, shifting colors of her lyrical moods on "Bells for Her," while "Past the Mission" indicates her growing use of distinctive arrangements to illustrate her songs. Highlights include "God," in which Amos demonstrates her often-missed humor, openly taunting the Almighty for his indifference to humanity, asking "Do you need a woman to look after you?" --David Stubbs
One of the most successful and influential artists of her generation, Tori Amos is as much a force to be reckoned with today as when she released her first solo album Little Earthquakes over 2 decades ago. Eschewing the trends of the time, the prodigious chanteuse touched millions deeply with her arresting melodies, riveting stage presence and personal & honest lyrics.
1. Pretty Good Year
3. Bells for Her
4. Past the Mission
5. Baker Baker
6. The Wrong Band
7. The Waitress
8. Cornflake Girl
10. Cloud on My Tongue
11. Space Dog
12. Yes, Anastasia
Froot is the upcoming third studio album by Welsh recording artist Marina Diamandis, professionally known as Marina and the Diamonds.
Welsh by birth, kaleidoscopic by nature, Marina Diamandis is a serial college drop-out who once dressed up as a boy to audition for a reggae boy-band, hoping to amuse the record label into signing her. After further failed auditions (girl bands, musicals), in a fit of ambitious pique, she taught herself piano and created Marina and The Diamonds in 2005 (it's just her, the Diamonds are the audience). She was a MySpace generation D.I.Y powerhouse who hand-made and sold her own CDs to Rough Trade until being signed to Warner Music Group's '679 Recordings' in 2008.
Acclaimed overnight as an intriguing, confrontational and theatrical amalgam of Kate Bush and PJ Harvey, she was nominated in 2010 for both the Brits Critic's Choice Award and the BBC Sound of 2010. She looks back on her early years, now, with some ambivalence. "I experimented with my voice a lot, I was young, amateurish and ambitious" she decides. "I feel different now. My voice is far more controlled and my writing style has matured. For me, it's a real, coherent step-up. I would love to one day be a great artist."
3. I’m a Ruin
7. Can’t Pin Me Down
9. Better Than That
"Bricks Are Heavy" was the third album by L7 originally released in 1992. Produced by Butch Vig "Bricks Are Heavy" is somewhat poppier with more focused songwriting than their previous LP's and was the bands breakthrough album fueled by the success of the single "Pretend We're Dead". L7 was often associated with the then raging Grunge movement (even though they were from L.A.) and it's not hard to see why as the album features abrasive, sledgehammer guitar riffs and plenty of heavy rockers with the songs "Wargasm", "Slide", and "Everglade". The group emphasized their feminist and Riot Grrrl side with "This Ain't Pleasure" and "Diet Pill". First domestic release on vinyl for this early 90s alternative classic.
3. Pretend We're Dead
4. Diet Pill
7. One More Thing
8. Mr. Integrity
11. This Ain't Pleasure
During the King’s artistically unproductive period of military service, no costs or efforts were spared (e.g. "A Date With Elvis", RCA LPM-2011), and no consolatory promises of things to come were left unsaid by the management in order to keep Elvis alive and well in the minds of his vast circle of fans. At last the great coup was landed: "Elvis Is Back" was what everyone was waiting to hear and American radio and television broadcasting stations made a gigantic medial feast of it.
With the ink scarcely dry on his demobilization papers, Elvis entered the studio in March 1960 and recorded a whole series of numbers which later became worldwide hits, such as "Are You Lonesome Tonight" and "It’s Now Or Never". Released as singles, these tender ballads created a sensation, while the LP with numbers such as "Dirty, Dirty Feeling", "Like A Baby" and "The Thrill Of Your Love" underlined Elvis’s enhanced qualities as a rock, blues and gospel singer. That his voice - despite everyone’s fears - had lost nothing of its erotic thrill is more than amply demonstrated in his rendering of "Fever" alone, which is accompanied merely by bass and percussion.
With its amazing array of varying styles, this must surely be one of Elvis’s most genial albums and was unrivaled right up until his great comeback in 1968 ("From Elvis In Memphis", RCA LSP-4155).
Elvis Presley (guitar, vocal)
Scotty Moore (guitar)
Boots Randolph (saxophone)
Hank Garland (bass, guitar)
Charlie Hodge (harmony)
Bob Moore (bass)
D.J. Fontana (drums)
Hoyt Hawkins, Neal Matthews, Gordon Stoker, Ray C. Walker (vocal)
March 1960 at RCA Studios, Hollywood, CA. and April 1960 in Nashville, TS., USA,
by Bill Porter
Production: Chet Atkins
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped 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 to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.
1. Make Me Know
3. The Girl of My Best Friend
4. I Will Be Home Again
5. Dirty, Dirty Feeling
6. The Thrill of Your Love
7. Soldier Boy
8. Such a Night
9. It Feels So Right
10. The Girl Next Door
11. Like a Baby
12. Reconsider Baby
Marriages is a new band comprised of Red Sparowes members Emma Ruth Rundle (vocals, guitar), Greg Burns (bass, synthesizer) and David Clifford (drums). Their sound is a singularly sensual kind of heavy, dramatic rock, but perhaps the most stark contrast to their other band, Marriages employs vocals in their songs. Their music is also considerably darker and more experimental, drawn from a wide range of styles and ideas. Emma’s breathy, understated delivery provides a focal point, the eye of the proverbial storm. A haunting presence, as elusive as it is alluring, her voice is a shore upon which waves of overdriven bass, thunderous drums, and cosmic guitars and synths swell and crash.
Kitsune is their 6-song debut release, a short introduction of an album whose undeniably epic proportions suggest massive things to come. Recorded with the formidable Toshi Kasai (Melvins, Red Sparowes, Tool) at the controls, Kitsune presents a collection of poignant, emotionally-charged tracks that wriggle free of easy classification. The comparisons are diverse; Cocteau Twins and Zola Jesus would appear to be as influential as Boris and Godspeed You! Black Emperor. The songs came together quickly as the band wrote and played their first shows in November of 2011 and wrapped recording in January of 2012.
Album opener "Ride in My Place" sets the tone, immediately revealing the undulating, reverb-cloaked darkness at the band’s core. Sounding not unlike PJ Harvey fronting an overdriven rendition of Pink Floyd’s "Echoes," the fittingly-titled song arrives as a fully-formed companion piece for expansive landscapes, perhaps traversing the vastness of the American west. Hardly overstaying its welcome, the track soon gives way to "Body of Shade," whose cryptic lyrics suggests a sort of transcendence echoed in the music itself while Clifford’s steady backbeat, the tense rhythm and the swirling interplay of synth and cascading guitars recall the finer moments of The Verve’s early recordings.
Opening with a celestial keyboard loop and quickly gaining weight, third track "Ten Tiny Fingers" builds upon a heavy dirge-like rhythm punctuated by Rundle’s vocals, which by now clearly occupy a place among esteemed peers such as Chelsea Wolfe and label mate Lisa Papineau. The song’s cryptic, claustrophobic lyrics, contrasted with a loose (but by no means less thunderous) atmosphere and sense of impending collapse bring to mind The Cure, circa Pornography. The next track, "Pelt," is born from the decaying remnants of "Ten Tiny Fingers." A menacingly hypnotic three-minute meditation on minimalist doom, it serves as the perfect introduction to the distorted, bass-driven hard rock and wailing psychedelia of instrumental track "White Shape."
Seven-minute closer "Part the Dark Again" is a song whose cinematic scope recalls precisely the kind of grandiosity the Red Sparowes are synonymous with, taken to its logical extreme. The impassioned, struggling-against-the-odds sentiment of the vocals takes things over the top emotionally, culminating in a soaring, melancholic riff that grinds to a halt far earlier than you’d expect. Throughout, Rundle unassumingly steps to the forefront, showcasing her unique talents as a guitarist often overlooked within the Red Sparowes' three guitar onslaught.
Kitsune is an exciting debut release from a band well aware of their potential, harnessing the skills to fulfill it. Marriages are an expansive, visionary development, a unique combination of elements, a sound signposting the path ahead. Kitsune will be released courtesy of Sargent House.
1. The Liar
3. Santa Sangre
4. Southern Eye
7. Less Than
8. Love, Texas
Mike Simonetti has decided to split from Italians Do It Better (Chromatics, Glass Candy) to focus on his new project, Pale Blue, as well as his new venture: the freshly minted label 2MR (Two Mikes Records). A collaboration between Simonetti and Captured Tracks, 2MR is an opportunity for Simonetti to start from a blank slate and release music he believes in. The first release on 2MR will be The Past We Leave Behind, the debut album from Pale Blue. During the writing process of Capricorn Rising, Simonetti was asked to remix tracks from the West Coast twosome Silver Hands. Immediately taken by the incredible range of lead-vocalist Elizabeth Wight, he reached out to collaborate. The result of the bi-coastal email exchange would eventually become Pale Blue. Pale Blue, referencing the term “Pale Blue Dot” , coined by Carl Sagan to refer to a photograph of planet Earth taken by the Voyager 1 space probe in 1990, was originally conceived around the time that Hurricane Sandy hit New York and came to completion with Simonetti’s severance from Italians. Thus, many of the tracks that make up The Past… grapple with themes of loss and new beginnings. The Past… encompasses a myriad of sonic elements, ranging from rhythmic, melodic techno to atmospheric ambient productions, while also incorporating Simonetti’s varied background in noise, drone, and even experimental dream pop. Above it all though, Wight’s vocals remain the focal point, saturating the record with a lush melodic warmth that’s so often missing in the electronic world. Musically, Pale Blue is a response to modern dance music and its constant fluctuations. It intentionally bears no obvious singles, nor club hits. While Simonetti, Wight and Jana Hunter (vocals on “Dusk in Parts”) remain at its core, Pale Blue’s philosophy is to keep everything open to collaboration. It does not aim to pigeonhole itself into a genre or any new vistas in music, but instead to a unifying sound produced collectively and harmoniously.
1. The Past We Leave Behind
2. The Scars
3. Distance To The Waves
7. The Scars (reprise)
8. Dusk In Parts
9. The Math
11. The Eye
13. One Last Thing
Ranked 314/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Velvet Underground's self-titled third album was in many ways the debut of a new band as John Cale had departed by this time and was replaced by Doug Yule. Cale's more experimental style was replaced by Sterling Morrison's eloquent guitar accompaniment which allowed the human side of Lou Reed's songwriting to emerge like never before. Unobstructed by walls of sonic noise, Reed's insight and genius really shines here.
1. Who Loves The Sun
2. Sweet Jane
3. Rock And Roll
4. Cool It Down
5. New Age
6. Head Held High
7. Lonesome Cowboy Bill
8. I Found A Reason
9. Train Round The Bend
10. Oh! Sweet Nuthin'
Remastered Reissue Of The Long Out-Of-Print Deathrock 7"
Deluxe Gatefold Packaging Also Includes Guitarist Mark Ferelli’s Horror Zine I...Paraworm
Part 1 formed in 1980 and were part of the original London anarcho-punk scene.
During the early 1980s they played a number of gigs, often with Rudimentary
Peni, who the band became associated with, as well as other acts operating
around the London Anarchy Centres funded by Crass’ Bloody Revolutions 7". Part
1’s final gig (before reforming in 2013) was at London’s 100 Club in 1983 with
The band’s only vinyl release during this time was the Funeral Parade EP, released
in a limited run of 300 in October 1982. As well as an anarcho-punk classic, the
record is now regarded as a seminal deathrock release – largely due to the dark,
heavily flanged guitar work, morbid imagery, and anti-religious lyrical themes.
Indeed, Part 1 have been described as “England’s ultimate cult deathrock band.”
This very special reissue finally sees this lost classic receiving a long-deserved quality
release: A remastered 12" vinyl in a deluxe gatefold sleeve with accompanying
horror zine I...Paraworm, packed with never-seen text and unpublished artworks
from the pen of guitarist Mark Ferelli, all contemporaneous to the 1982 release.
In 2013, founding members Ferelli and Jake Baker (vocals), reformed the band
with long-time admirer Chris Low (ex-Apostles, Oi Polloi, Political Asylum)
on drums; later joined by David Barnett (ex-Adam & the Ants, Guernica, Lola
Colt) on bass. Their first reformation show was at the Rebellion Festival that
summer, 30 years after their last live performance. Since then, Part 1 have played
a number of gigs to great acclaim and enthusiastic response with further releases
and concerts scheduled for 2015.
1. Funeral Parade
2. Graveyard Song
6. Funeral Parade (Reprise)