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Run-DMCFuture archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It's no exaggeration to say that the group
changed the course of music in the '80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic.
Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Run
was, at one time, a DJ known as "Son of Kurtis Blow") and Blow's bassist and burgeoning super-producer Larry Smith, the trio - Joseph
"Run" Simmons, Darryl "DMC" McDaniels and Jason "Jam Master Jay" Mizell - learned from the best, but created their own path.
1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, "Sucker M.C.s (Krush-Groove
1)" was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkers
and music aficionados around the world by storm. The song's lyrics are a mandatory memorization assignment to this day by MCs learning
their craft. "Two years ago, a friend of mine "
The group's sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith's
use of live musicians who laid down grooves but didn't soften the edges. Lyrically the group wasn't just about brags either, with songs like
"Hard Times," "It's Like That" and "Wake Up" (the first two were singles). Run's and DMC's overlapping tag-team approach to lyricism was
powerful and immensely influential.
"Rock Box," another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their first
worldwide smash, 1985's "King Of Rock." Jam Master Jay's DJ work was stellar, knowing exactly when to jump in and put listeners' ears in
The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started - their next two LPs would
take them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it's a classic that still sounds
fresh today as it did more than 30 years ago.
This title is not eligible for discount.1. Hard Times
2. Rock Box
3. Jam-Master Jay
4. Hollis Crew (Krush-Groove 2)
5. Sucker M.C.'s (Krush-Groove 1)
6. It's Like That
7. Wake Up
8. 30 Days
9. Jay's Game$22.99Vinyl LP - Sealed Buy Now
ADAD-POL-1310xSonny & The Sunsets
Moods Baby Moods
180-Gram Orange Vinyl
On previous records, the Sunsets have plundered a
wide spectrum of musical appropriation (garage-rock,
forgotten AM radio fodder, Modern Lovers, late-era
Clash, Doo-Wop, and the Velvet Underground, to
name a few.)
Mood Baby Moods follows suit, and on this outing we
find the Sunsets, along with producer Merrill Garbus
of tUnE-yArDs, repurposing early '80s funk and new
wave with rap beats and collages from both sides of
the ocean (be it Niles Rogers, Jah Wobble, The Gap
Band, Orange Juice, Trans-era Neil Young or The Tom
Tom Club.) These are songs that juxtapose the haze of
today with a vibrant and colorful explosion of sounds
and 180 degree turns.1. Death Cream part 2 "Watch Out for the Cream"
3. Modern Age
4. Well But Strangely Hung Man
6. Reject of the Lowest Planet
7. White Cops on Trial
8. Check Out
10. My Little Death
11. Dead Meat on the Beach
12. The Hospital Grounds at Night$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Celebrate 35 Years Of Chic!
Impeccably Mastered From The Original Atlantic Tapes By Joe Reagoso
First Time 180 Gram Audiophile Vinyl!
In 1977, Chic (Nile Rodgers, Bernard Edwards and Tony Thompson)
hit the upper rungs of the charts with their smash debut Lp Chic featuring Dance, Dance, Dance as well as the killer funk of Everybody
Dance. A year later, their fortunes multiplied to the top of the charts with C'est
Chic (FRM-19299 ) The #1 LP featuring the huge chart toppers Le Freak and
I Want Your Love, Chic truly were at the top of their game around the world.
With all of these hits accumulated in a very short time, Chic roared back
with their huge best-selling platinum plus smash Risque. The seven song funk
and dance masterpiece would go on to include one of the biggest songs of
the era with the #1 Good Times. It's familiar and stunning guitar riff and its
powerful bass and drum attack would prove even more rewarding a few
years later, as Good Times would go on to be sampled and develop another
shelf life all its own thanks to the '80s rap movement.
Further hit tracks blew wide open as My Forbidden Lover and My
Feet Keep Dancing all became classic dance, soul and pop hits throughout
the rest of 1979 into 1980 making Risque one of the best-selling albums of
RisquÉ has been out of print on vinyl now for several decades .that
is until now!
Friday Music is very proud to continue The Chic 180 Gram Audiophile
Vinyl Series with the 35th Anniversary release of their biggest album Risque.
Mastered impeccably by Joe "Soul Man" Reagoso from the original Atlantic
Records tapes, this is the first time ever the masterwork has been issued on
180 Gram Vinyl and as an added anniversary bonus, we are presenting
this great album with a first time gatefold cover, featuring all of the stunning
artwork and lyrics which haven't been seen in LP format for decades.
More Chic is on the way too .Look for more spectacular 180 Gram
Vinyl and more impeccable compact disc deluxe editions exclusively from
your soulful friends at Friday Music.1. Good Times
2. A Warm Summer Night
3. My Feet Keep Dancing
4. My Forbidden Lover
5. Can't Stand To Love You
6. Will You Cry (when You Hear This Song)
7. What About Me$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Trill O.G. The EpilogueTrill OG: The Epilogue is the fourth studio album by American rapper Bun B. The album features guest appearances from Big K.R.I.T., Lil' O, Pimp C, Rick Ross, 2 Chainz, Serani, Raekwon, Kobe, Royce da 5'9, C-Note, Big Hawk, Lil Boosie, E.S.G., Redman, Kirko Bangz, Devin the Dude, Trae tha Truth and Z-Ro among others.
Rapper Bun B (born Bernard Freeman) rose to fame in the duo UGK. Bun B and Pimp C formed UGK in the late '80s when their former crew, Four Black Ministers, fell apart. Based in Port Arthur, Texas, UGK signed with Jive, and with 1992's Too Hard to Swallow began a series of Southern gangsta rap albums that were successful sellers. Bun B formed the side project Mddl Fngz in 2000, but his main concern was still UGK. Things came to halt in 2003 when Pimp C was sentenced to eight years in prison on an aggravated gun assault charge. Bun B carried on solo, making numerous appearances on other artists' tracks and then in 2005 releasing both the mixtape Legends and his debut album, the Rap-a-Lot release Trill, a Top Ten hit. With Pimp C seeing early release in late 2005, Bun B returned to UGK and a self-titled double album from the duo dropped in 2007. Tragedy struck in early 2008 when Pimp C died suddenly, leaving Bun B to return to a solo career. His second solo album, II Trill, arrived that same year with his third, Trill O.G., following in 2010. In 2013 he closed the Trill series with the fourth and final effort, Trill O.G.: The Epilogue.
- David Jeffries (All Music Guide)1. The Best is Back
2. Care (Feat. Big K.R.I.T. & Pimp C)
3. Fire (Feat. Rick Ross, 2 Chainz & Serani)
4. No Competition (Feat. Raekwon & Kobe)
5. Don't Play With Me (Feat. Pimp C)
6. Gladiator (Feat. Royce da 5'9 & Redman)
8. Stop Playin' (Feat. Raekwon & Kobe)
10. Off Top (Feat. Max Frost)
11. Dippin' & Swervin'
12. On One (Feat. Gator Main & Devin the Dude)
13. The Legendary DJ Screw
14. Bye!$17.99Vinyl LP - Sealed Buy Now
AnikaPolitical Journalist isn't a credential we usually have in musician's bios, but this is exactly what Anika was doing while living between Berlin and Bristol earlier this year when she met Geoff Barrow. The producer was looking for a new singer to work with his band Beak>, and it was immediately clear they shared the same musical vision, including a love of punk, dub and 60s girl groups.
Just a week later Anika and Beak> (Barrow, Billy Fuller and Matt Williams) went into the studio to begin recording material. The resulting album was recorded in twelve days, live, with the four together in one room. Dub with no overdubs. The collaboration is political, trashy, dub, punk, funk ... a cohesive sound, and and experience in uneasy listening.
In the tradition of short-lived but deeply influential 99 Records and the NYC's 80s No Wave nexus, the nine songs on Anika run the gamut from experimental rock (Yang Yang, Officer Officer) to covers of folk (Masters of War) and pop songs (Terry, I Go to Sleep), while showcasing reverb-drenched ancient drum machine rhythms.1. Terry
2. Ying Yang
3. End of the World
4. Masters of War
5. Officer Officer
6. Sadness Hides the Sun
7. No One's There
8. I Go to Sleep
9. Masters of War$19.99Vinyl LP - Sealed Buy Now
The Cactus AlbumThe Cactus Album is the debut album from the hip-hop trio 3rd Bass. The album was selected as one of The Source's 100 Best Rap Albums. Most of the
music was produced by Sam Sever alongside members MC Serch and Pete Nice. Released at the end of the 80's, this album sums up all that was fun
about rap/hip hop at the time. M.C. Serch, Prime Minister Pete Nice, and D.J. Richie Rich come together to make The Cactus Album (The Cactus Cee/D)
a perfect late 80's time capsule of fun rhymes and funky beats. In celebration of Def Jam's 30th Anniversary this title is being reissued back on vinyl for
the first time in years.1. Stymie's Theme
2. Sons of 3rd Bass
3. Russell Rush
4. The Gas Face
5. Monte Hall
6. Oval Office
8. Soul In The Hole
9. Triple Stage Darkness
10. M.C. Disagree And The Re-Animator
11. Wordz Of Wizdom
12. Product Of The Environment
13. Desert Boots
14. The Cactus
15. Jim Backus
16. Flippin' Off The Wall Like Lucy Ball
18. Steppin' To The A.M.
19. Episode #3
20. Who's On Third$24.99Vinyl LP - Sealed Buy Now
Ritualize (Awaiting Repress)...attitude-thick rapping...with gorgeous
- The New York Times
"Lushlife is an under-the-radar treasure"
From the moment you hear the bristling boom-bap chorus on album-opener
Totally Mutual Feeling, it's apparent that Lushlife's third full-length finds the
Philadelphia rapper-producer at his most introspective. Themes of isolation and
mortality permeate Ritualize, a cinematic hour-long odyssey co-produced by
enigmatic production trio, CSLSX (pronounced Casual Sex) and featuring
contributions from Ariel Pink, Killer Mike, Freeway, Marissa Nadler, RJD2, and
more. With CSLSX at the boards, an entire universe opens up for Lush, where
the pulsating Juno synths of '80s LA night music sit side-by-side with
gorgeously propulsive indie-leaning jams, and low-fi soul burners too. The
resulting LP is a post-blog-era joint that seems to exhale the whole of the 20th
century in a single, fascinating breath.
After toiling over two self-produced LPs in the last half-decade, I felt
compelled to bring on an outside production team for Ritualize, Lushlife
(born Raj Haldar) explains. Not only did I want to broaden the musical
palette, but I felt like the group production effort would give me a depth of
focus on lyrical content and emotion that I hadn't previously been afforded.
After a chance encounter with CSLSX, who had been quietly self-releasing
low-fi dance gems to remarkable organic blog buzz, the newly-formed team
set out on a three-year journey that would eventually yield their new joint
album. By the time work began on Ritualize, Lush had already been riding a
small wave of critical acclaim for his 2012 full-length, Plateau Vision, an album
that made several year-end lists and was described by the Sunday New York
Times as a melding of captivating rhymes with audacious, gorgeous production.
Still, with Ritualize, Lushlife and CSLSX seem to have gone one deeper.
From album cut, The Waking World, which finds Lushlife spitting thorough
sixteens from the vantage of Mark David Chapman lying in wait for John
Lennon, to Incantation, a song that's as much inspired by Allen Ginsberg's
Howl as the general, street-level anxieties of urban life, Ritualize is nothing short
of a step forward. For proof, look no further than Toynbee Suite, a 10-minute,
4-movement rap epic that explores the strange Toynbee Tile meta-art
conspiracy that has captivated Philadelphians for decades. As the centerpiece
of the album, Toynbee Suite was the subject of a 2013 documentary, and
itself represents the combined work of 20+ musicians, including RJD2, Nightlands,
Yikes the Zero, and a full chamber orchestra. On the other hand, the
CSLSX-produced, Hong Kong (Lady of Love), a collaboration with weird
music godhead, Ariel Pink, is a sparse yet powerful four-on-the-floor ode to LA,
inspired by the film soundtrack work of Giorgio Moroder, Vangelis, and others.1. Total Mutual Feeling
2. The Waking World (feat. I Break Horses)
3. Hong Kong (Lady of Love) (feat. Ariel Pink)
4. Incantation (feat. Deniro Farrar)
5. Undress Me In The Temple
6. Body Double
7. Toynbee Suite (feat. Nightlands, RJD2)
8. Strawberry Mansion (feat. Freeway)
9. This Ecstatic Cult (feat. Killer Mike)
10. Burt Reynolds (Desert Visions)
11. Integration Loop (feat. Marissa Nadler)
12. Ritualize$18.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Best Of The Sugarhill Gang: Rapper's Delight2 180 Gram Vinyl LPs
The Sugarhill Gang's 1979 Hit rapper's Delight Is Arguably The First True Rap Song To Gain Widespread Recognition And, As Such, The Precursor Of One Of The Major Musical Genres Of The '80s.
It is generally considered to be the song that first popularized hip hop in the United States and around the world. The song is ranked #251 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time and #2 on both About.com's and VH1's 100 Greatest Hip-Hop Songs. It is also included in NPR's list of the 100 most important American musical works of the 20th century. The song was also named as the Greatest Really Long Rock Song of all time by Digital Dream Door. It was preserved into the National Recording Registry by the Library of Congress in 2011, calling it culturally, historically, or aesthetically significant.1. Rapper's Delight
2. Hot Hot Summer Day
3. 8th Wonder
4. Showdown (The Furious Five Meets The Sugarhill Gang)
6. The Lover In You
7. The Word Is Out
8. Livin' In The Fast Lane
9. Kick It Live From 9 To 5
11. Work, Work, The Body$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
Eazy Duz It (25th Anniversary Edition)Remastered 25th Anniversary Edition
Released only a month after Straight Outta Compton (1988), Eazy-Duz-It was the first N.W.A spin-off album. Years before Ice Cube went solo with Amerikkka's Most Wanted (1990), before Dr. Dre changed the rap game with The Chronic (1992), before MC Ren struggled to establish himself with Shock of the Hour (1993), and before Yella simply fell into obscurity, Eazy-E rose to immediate superstar status with this solo debut. It's no wonder why, for the album plays like a humorous, self-centered twist on Straight Outta Compton with Eazy-E, the most charismatic member of N.W.A, front and center while his associates are busy behind the scenes, producing the beats and writing the songs.
In terms of production, Dr. Dre and Yella meld together P-Funk, Def Jam-style hip-hop, and the leftover electro sounds of mid-'80s Los Angeles, creating a dense, funky, and thoroughly unique style of their own. In terms of songwriting, the D.O.C., Ice Cube, and MC Ren are each credited; plus, Ren performs raps of his own on five of the 12 songs.
The collaborative nature of the music -- with Dre and Yella producing; the D.O.C., Ice Cube, and MC Ren writing the songs; MC Ren featured as a guest on half of them; and Eazy-E performing -- fortunately makes Eazy-Duz-It more of an N.W.A effort than a true solo album. This is fortunate because as charismatic as he may be, Eazy-E isn't an especially gifted MC. He's at his best here when he's cracking wise and also when he's overshadowed by Dr. Dre's productions, particularly on the four-song sequence of Eazy Duz It, We Want Eazy, Eazy-er Said Than Dunn, and Radio -- all heavily produced songs with layers upon layers of samples and beats competing with Eazy-E's rhymes for attention.
Straight Outta Compton is no doubt the more revolutionary album, yet Eazy-Duz-It is a great companion, showcasing N.W.A's sense of humor and, despite the often violent subject matter, casting them in a lighter, more humorous mood. When Eazy-E would return with a second solo release, 5150 Home 4 tha Sick, his N.W.A associates would be M.I.A. and the difference would be stark.
- Jason Birchmeier (All Music Guide)1. Still Talkin'
2. Nobody Move
3. Ruthless Villain
4. 2 Hard Mutha's
5. Boyz-N-The-Hood (remix)
7. We Want Eazy
8. Eazy-er Said Than Dunn
10. No More ?'s
11. I'mma Break It Down
12. Eazy - Chapter 8 Verse 10$24.99Vinyl LP Reissue - Sealed Buy Now
True RomanceOver the past few years, Charli has released a series of singles and mixtapes, toured the globe supporting the likes of Coldplay, Santigold, Sleigh Bells and Justice and garnered champions from practically every tastemaker blog and magazine on both sides of the Atlantic. She's had 2.5 million views on YouTube, 470k views of new video for 'You (Ha Ha Ha)' (in one month) and over 630k total plays on Soundcloud. It's hard to believe someone so young could achieve so much. Through it all her main focus has always been on making the best possible album she could. This was made possible by working with some fantastic collaborators who helped hone her vision for a dark, emotional pop record including Ariel Rechtshaid (Usher, Major Lazer, Solange), Patrik Berger (Lana del Rey, Robyn) as well as hotly tipped blog favourites Blood Diamonds and J£zus Millions.
As well as being an artist in her own right, Charli has written and featured on one of the biggest global breakthrough hits of 2012 for Icona Pop. I Love It created an absolute frenzy stateside, having blown up all over the world.
True Romance shares its title with an unbelievably well-cast 1993 movie written by Quentin Tarantino, who was reassembling cultural detritus way before mash-ups and microblogging. Charli XCX's approach to pop is similarly postmodern (how 90s does that sound?), pulling from moody 80s synth-pop, sassy turn-of-the-millennium girl groups, and state-of-the-art contemporary producers to create something distinctive and immediately memorable. She clearly understands the internet, having shared two original mixtapes and two influences mixtapes before her official full-length, but this carefully pruned set is no data dump. And there you'll see a glimmer of True Romance's most throwback aspect: its evident pop ambition, an overriding sense of an imagined mass audience for music that's radio-ready yet outsider-friendly. It's almost like Napster-- and the filler-crammed album sales model that preceded it-- never happened.
In fact, by the time Charli XCX was a teenage electro-house devotee, illegal file-sharing's early free-for-all had already given way to iTunes and other legal download services. Robyn had already released her self-titled comeback album. So it might be only natural that Charli XCX would keep the pre-bubble faith that people will pay for emotionally direct, bubblegum-catchy, yet stubbornly left-of-center songs about falling in and out of love. But the generous hooks on the previously released singles here, such as the gospel-kissed prechorus of the yearning Stay Away or the Santigold-savvy lilt of love-and-the-bomb brooder Nuclear Seasons, are extraordinarily welcome just the same. Even better are newer singles such as the gorgeously bitter You (Ha Ha Ha), which inhabits its cloud-rappy Gold Panda sample like they were made for each other, and the almost-as-gorgeously blissful What I Like, which recounts a still-young relationship with the cheeky frankness of Lily Allen or the Streets, and the sing-songy near-rapping of the Spice Girls.
The several songs on True Romance that hadn't previously surfaced in videos or other releases aren't quite as strong, but they're effective enough to suggest Charli XCX's best work might still be ahead of her. The Todd Rundgren-sampling So Far Away, with the sun-dappled lushness of the Avalanches, is a clear highlight; Charli XCX's vocals are usually plain-spoken, but the anguished break-up plea Set Me Free proves she can reach for Jessie Ware-like dramatics when appropriate. The pitch-shifting no one is forever intro added at the start of opener Nuclear Seasons probably should've been given its own track-- and later on the album it is, when the same backing vocal forms the base of the cloudy, broken-hearted Grins. Elsewhere, the haunted confession How Can I, while solid enough, is a reminder that Charli XCX's lyrics so far tend to fall relatively flat; when, on swooning finale Lock You Up, she sings, It hits me like a ton of bricks, she leaves the clichÉ untweaked.
And then there's Cloud Aura, a lovelorn, engagingly laid-back bit of groove that lets Grimes' Genesis video co-star Brooke Candy rap horribly about Chris Brown. Candy's guest verse previously appeared on 2012's uneven Super Ultra mixtape, and it was near-universally panned. It isn't any better now. But in an era when too many up-and-comers are all too eager to please, this stubborn refusal to back down displays another quality in short supply: genuine irreverence. The songwriting and production credits on True Romance include Usher's Climax co-conspirator Ariel Rechtshaid and I Love It collaborator Patrick Berger, among others, who also share some credit (and blame). But like 90s pop stars turned 10s pop sophisticates Justin Timberlake and BeyoncÉ, Charli XCX stamps her personality across the entire project, and True Romance suggests she'll be worth following for a while.
- Marc Hogan, Pitchfork1. Nuclear Seasons
2. You (Ha Ha Ha)
3. Take My Hand
4. Stay Away
5. Set Me Free (Feel My Pain)
7. So Far Away
8. Cloud Aura
9. What I Like
10. Black Roses
11. You're the One
12. How Can I
13. Lock You Up$21.99Vinyl LP - Sealed Buy Now
Professor 3Professor Rhythm's 1991 recording Professor 3 is a vivid reflection of urban
South Africa as apartheid was ending. Thami Mdluli's production
project had young and old dancing to a sound that sought to unite Blacks
within Southern Africa. "Our music gave hope to the hopeless," he says.
Mdluli's third instrumental album (which contains some background vocals,
to be exact), portrays the moment when the dominant mbaqanga
and American R&B-based bubblegum sounds being produced in Johannesburg
and other urban centers were transforming into house and hiphop-inspired
kwaito. The pop of the 80's and all that went with it-from the
models of synths and drum machines to the lyrical style-gave way to a
changing melodic emphasis and new, much slower tempi using a completely
different rhythmic skeleton.
Upbeat, chipper bubblegum, often with double-time breakdowns and upstroke
syncopations, faded and the sounds began to more closely resemble
those of contemporary Black America-where hip-hop was slowing
down and the bass-lines and melodies were getting moodier, darker in
general. At the same time house music had briefly reached mainstream
acceptance in the States and that popularity continued to feed into awareness
overseas. These two influences blended with the burgeoning house
music scenes in Johannesburg and Pretoria as Professor Rhythm 3 was
being produced in March 1991 (the same year apartheid ended). Mdluli
explains, "We were Influenced by foreign bands and so people updated
According to Mdluli, the evolving sound was bolstered by widening availability
of house and rap records from abroad while, most importantly, an
increasing sense that apartheid might soon be finished was met with a
new positivity vibe society. "1991, '92, '93 Mandela was released. People
were upbeat, they were happy, the music was good."
Professor 3 came out on vinyl as the LP business was dying in South
Africa and sold around 20,000 copies. It was mainly distributed on tape,
which sold closer to 100,000. With the help of engineer Fab Rosso, the
recording features backing vocalists from Mango Groove.
After making a half-dozen records as Professor Rhythm, Mdluli once
again shifted his focus musically. By the mid-90's he had veered off
gospel music-and left playing in bands and started making his own solo
recordings. His enormous success in the gospel realm in the years since
is a remarkable story in its own right, but for now we are only dancing.1. Uskamosothotsa
2. Ubohisa Kanna
3. Via Zimbabwe
4. Raditaba (Nozindaba)
5. Professor 3
6. Zabalaza$20.99Vinyl LP - Sealed Buy Now
Ghostbusters II SoundtrackThe Ghostbusters II soundtracks is a great blend of R&B, new jack swing, and rap. Featuring a redone version of Ray Parker, Jr.'s original theme by Run D.M.C., as well as two cuts from Bobby Brown (On Our Own and We're Back) and New Edition's Supernatural, the film's soundtrack is like a time
capsule of radio in the late '80s. Although the film didn't spawn any truly essential songs, the soundtrack makes for a nostalgic journey that fans of the film
(or '80s R&B) will have fun revisiting.1 On Our Own - Bobby Brown
2 Supernatural - New Edition
3 The Promised Land - J.T. Taylor
4 We're Back - Bobby Brown
5 Spirit - Doug E. Fresh & The Get Fresh Crew
6 Ghostbusters - Run D.M.C.
7 Flesh 'N Blood - Oingo Boingo
8 Love Is A Cannibal - Elton John
9 Flip City - Glenn Frey
10 Higher And Higher - Howard Huntsberry$19.99Vinyl LP - Sealed Buy Now
What's Going On (Pure Pleasure)In 2006, exactly a year after Katrina, in the aftermath of a vicious natural disaster that displayed the incompetence of the Crescent City's infrastructure, the Army Corps of Engineers, and the Federal Government, they addressed the tragedy in the only way they know how, by re-creating the same kind of bewilderment and anger that Marvin Gaye felt and witnessed in 1971 by issuing their own take on Gaye's classic album What's Goin' On. This is a question that is proved all the more poignant given the efforts of an entire region trying not only to rebuild homes and businesses, but trying to preserve a culture as this recording was released. The Dirty Dozen recruit a number of vocalists to help out on the hinge tunes. The samples of New Orleans Mayor Ray Nagin's voice in the aftermath of the hurricane usher in the brass slip-sliding along the dark funky overtones of Gaye's signature tune. Guitarists Doug Bossi and Ben Keeler dig into the groove, as does drummer Terence Higgins and keyboardist/producer Anthony Marinelli, as Chuck D raps the refrain in the context of modern history, the disaster, and the ineptitude and even hostility of a government who wages war and ignores domestic problems. It's a news report from the front lines as the horns cut the melody, the harmony, and the deep, steamy funk groove. What's Happening Brother, closes the funk from the inside, turning the groove back in on itself not only playing the rage, but echoing it in the grain of Bettye LaVette's vocal, which dares to spit out the truth with questions and observations in the pain of a first person narrative. The airy arrangement of Flyin' High (In the Friendly Sky) is nearly mournful, nostalgic for a more innocent time, but is all the more poignant for that longing. The deep tribal drums Mardi Gras Indian-style, with the skronky saxophones, tight guitar groove, and screaming narrative in Save The Children give way to the smoothness of Gaye's melody. It's a bewildered tune, sad with undercurrents of rage. Ivan Neville's arrangement for God Is Love is a stunner, full of deeply imaginative hues and colors and gospel grooves. G. Love helps out on Mercy Mercy Me (The Ecology), where the musicality in Gaye's vocal disappears but is supercharged in the horn charts, and Love's vocal sounds confused, displaced, out of time against the instruments. Right On is both militant and celebratory. It's got the funk, but it's also got gospel, rock, and deep soul blaring from the trombones and the repetitive riff in the rest of the brass section. Guru from Gang Starr cuts out from the moody, spectral introduction of Inner City Blues, when Higgins drums play counter to Kirk Joseph's deep blues sousaphone on the bassline. Frustration is everywhere and the horns point fingers to this truth which Guru lays out: that today is the same and perhaps even more so than it was in Gaye's time. The desolation in Gaye's lyric isn't lost but it is fleshed out over the chart so that they are merely the ghosts from the past preaching and exhorting in this new generation. Never has party music sounded so poignant, so utterly damning and hopeful and unbowed. This is the next step in the Homecoming that was a funeral for a friend; this is the aftermath, the sound of angry resurrection coming out with the sun, one where the revolution may be televised but bursts out of the edges in the screen and makes itself known by the medium understood by the people who have to live its realization. With killer grooves that take no prisoners, What's Goin' On is the most fitting tribute yet to Gaye, because not only does it prove the timelessness of the music itself, it echoes that what is indeed goin' on (Gaye's dedication to Detroit as its decline became a reality with no onlookers interested in doing anything) is even more true today than it was in 1971.
About Pure Pleasure
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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.1. What's Going On feat. Chuck D
2. What's Happening Brother feat. Bettye Lavette
3. Flying High (In the Friendly Skies)
4. Save the Children
5. God is Love feat. Ivan Neville
6. Mercy Mercy Me (The Ecology)
7. Right On
8. Wholy Holy
9. Inner City Blues (Make Me Wanna Holler)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Minimal Wave Tapes Vol. 2Minimal Wave is both a genre of underground DIY electronic music from North America and Europe in the late 1970s and 80s, and the name of the label devoted to unearthing these recordings. The Minimal Wave Tapes is the first official anthology of Minimal Wave music from this label. Most of the songs were originally released on limited edition cassettes or vinyl by the artists themselves, and only a handful of people knew about them. Theyve been remastered from their analog source tapes and compiled here by Minimal Wave's Veronica Vasicka and Stones Throw's Peanut Butter Wolf.
The Minimal Wave musical genre was hallmarked by the use of the analog synths and drum machines manufactured in the '70s and '80s, and characterized by simple music structures made by musicians working in the early D.I.Y. asthetic: recording on tape in their home studios, creating their own album artwork, and often collaborating via postage mail. The fanzine CLEM (Contact List Of Electronic Musicians) was very influential in creating a worldwide community for this sort of music, before digital technology and the internet came into play.
Minimal Wave the label was founded in New York City in 2005 by Veronica Vasicka, who focused the label solely on obscure Minimal Wave recordings, remastering and releasing them on limited vinyl and digitally.
The Minimal Waves Tapes fits neatly into Stones Throw Records' own tradition of compiling or reissuing the independent music of the past which influences the independent music we make today ie '60s funk (The Funky 16 Corners), early '80s hip-hop (The Third Unheard) and West Coast electro/rap (Arabian Prince's Innovative Life) to name a few. Featuring 14-tracks on gatefold 2LP.1. Way Out Of Living - Linear Movement
2. Flying Turns - Crash Course In Science
3. Radiance - Oppenheimer Analysis
4. Who's Really Listening - Mark Lane
5. Tempusfugit - Tara Cross
6. Blurred - Turquoise Days
7. Mickey, Please... - Bene Gesserit
8. Moscú Está Helado - Esplendor Geometrico
9. Reassurance Ritual - Das Ding
10. Just Because - Martin Dupont
11. Game & Performance - Deux
12. Things I Was Due To Forget - Somnambulist
13. My Time - Ohama
14. The Cabinet - Das Kabinette$22.99Vinyl LP - 2 LPs Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Mental Floss For The GlobeImport
At the end of the 80's -in the central part of Holland- a one-off jam session by local musicians led to the birth of an influential and groundbreaking group: The Urban Dance Squad, led by MC/Singer Rudeboy, who was backed by a traditional rockband line-up plus DJ DNA, they pioneered the Rock-meets-Rap movement in Holland and abroad. Not fitting in either one of those categories, they singlehandedly created their own mix of genres: Rocking with the toughest while maintaining street credibility.
On the heals of their 1989 debut Mental Floss for the Globe they toured on both sides of the Atlantic and gained praise by fellow musicians Rage Against The Machine and The Red Hot Chili Peppers. 'Deeper Shade of Soul' proved a song with international hit-appeal and several tracks off the album turned up in Hollywood movies.
20 years after release, this LP was voted Most Important Dutch Album by Dutch OOR Magazine. Definitely worthy of a remastered version, we present the long overdue audiophile pressing in a gatefold sleeve with a lyric sheet to rap-a-long while headbanging to 'Fast Lane', 'No Kid', 'Deeper Shade of Soul' to name a few.
* 180 grams audiophile vinyl
* Gatefold Sleeve + lyric sheet
* Remastered Audio1. Fast Lane
2. No Kid
3. Deeper Shade Of Soul
4. Brainstorm On The UDS
5. Big Apple
6. Piece Of Rock
7. Prayer For My Demo
8. The Devil
9. Famous When You're Dead
10. Mental Floss For The Globe
11. Struggle For Jive
12. God Blasts The Queen$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lick It Up (Awaiting Repress)Due to the underachievement of their exceptional 1982 comeback album, Creatures of the Night, Kiss knew the time was right to drop the makeup, so in September 1983 the band shocked their fans by unmasking on MTV. Their first non-makeup album, Lick It Up, followed soon after and successfully re-established the band among the heavy metal masses worldwide. Kiss also reconnected with their stateside fans -- Lick It Up was the band's first record to achieve gold status since 1980's Kiss Unmasked. The album's success was spurred by MTV's repeated airing of the imaginative video for the album's strong title track, and songs such as Exciter, Not for the Innocent, A Million to One, and the rap-rocker All Hell's Breaking Loose confirmed that the band was back on the right track. Vinnie Vincent again proved to be a worthy replacement to original guitarist Ace Frehley but would unfortunately leave the band after the completion of the Lick It Up worldwide tour (eventually resurfacing with the Vinnie Vincent Invasion in the late '80s). Lick It Up is undoubtedly Kiss' best non-makeup album.
- Greg Prato (All Music Guide)1. Exciter
2. Not For the Innocent
3. Lick It Up
4. Young and Wasted
5. Gimme More
6. All Hell's Breakin' Loose
7. A Million To One
8. Fits Like a Glove
9. Dance All Over Your Face
10. An On the 8th Day$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now