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  • Forever Forever Quick View

    $20.99
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    Forever

    The follow up album to 2014's breakthrough I AM KING, FOREVER is heralded by the LP's title track and accompanying official music video. Rolling Stone exclaims, FOREVER captures some of the most punishing noise the band has recorded to date, featuring songs rife with sudden transitions to still-harsher textures.


    Code Orange drummer / co-vocalist Jami Morgan detailed the band's new LP in an exclusive interview with Rolling Stone stating, Everywhere we've turned, we've met a lot of 'You're not this enough for this, or that enough for that, FOREVER opens it up by saying, 'F*ck you, we're here. We're gonna do whatever the f*ck we wanna do, and there are no rules.'


    Recorded with producers Will Yip at Studio 4 in Conshohocken, PA and Kurt Ballou at GodCity Studios in Salem, MA, FOREVER is a jarring and experimental body of work, pushing the envelope with songs like; Bleeding In The Blur, Kill The Creator, and Spy.

    1. Forever
    2. Kill The Creator
    3. Real
    4. Bleeding In The Blur
    5. The Mud
    6. The New Reality
    7. Spy
    8. Ugly
    9. No One Is Untouchable
    10. Hurt Goes On
    11. dream2
    Code Orange
    $20.99
    Vinyl LP - Sealed Buy Now
  • Agent Orange (Awaiting Repress) Agent Orange (Awaiting Repress) Quick View

    $24.99
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    Agent Orange (Awaiting Repress)

    Their origins date back to the year 1980. Be it the early demo tapes, their "In The Sign Of Evil-EP" (Steamhammer), or their 1996 debut album "Obsessed By Cruelty" - Sodom intimidated the world at large from the very beginning. Two years and one album later, the band toured Europe with the likes of Whiplash, recording the live cut "Mortal Way Of Life" at the legendary Tor 3 in DÜsseldorf in the process. With "Agent Orange", the band from Gelsenkirchen in the Ruhr area of Germany unleashed a milestone of the genre. Sodom toured all over the world, travelled Europe repeatedly and played a number of successful gigs in Japan and South America. Albums like Better Off Dead (1990) or "Tapping The Vein" (1992) solidified the success of the band, who - despite a number of personnel changes - managed to maintain their characteristic sound, mainly thanks to bassist and vocalist Tom Angelripper. Throughout the Nineties, Sodom lost none of their authenticity on albums like "Masquerade In Blood" or "'Til Death Do Us Unite", remaining firmly grounded and never losing touch with their roots. With their 1999 release "Code Red", a
    title that refers to the US Marines' infamous punishment code, the trio consisting of Angelripper/
    Bernemann/Schottkowski proved as politically committed as ever. This tradition was continued in
    2001 with a journey to the Far East, namely two shows in Bangkok and Saigon and the explosive
    subject matter of their album, "M16". Subsequently, Angelripper threw himself into the preparations for Sodom`s first DVD, "Lords Of Depravity Part I" (the band are already busy working on a successor), presenting their latest studio recording in 2009 - "Sodom".
    LP1
    1. Agent Orange
    2. Tired And Red
    3. Incest
    4. Remember The Fallen
    5. Magic Dragon
    6. Exibition Bout


    LP2
    1. Ausgebombt
    2. Baptism Of Fire
    3. Don't Walk Away
    4. Incest (live)
    5. Agent Orange (live)
    6. Ausgebombt (live)

    Sodom
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Orange Blossom Special (Speakers Corner) Orange Blossom Special (Speakers Corner) Quick View

    $34.99
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    Orange Blossom Special (Speakers Corner)

    Just like the often sung-about fellow locomotives 'Midnight Special' and the 'Chattenooga Choo Choo', the 'Orange Blossom Special' finds itself bathed in the very best tradition of American long-distance trains and memorable journeys. Puffing steam trains symbolise an atmosphere of departure, endurance and the mechanical pulse beat of profit-oriented industrialisation, while also conjuring up the spirit of down-and-outs who tramp from one end of the country to the other along the railtracks, dodging train fares.



    Almost guilelessly at first, the album number 20 forged ahead into the hearts and hips of Cash fans with old favourites and climbed to number three in the Country charts. If you listen carefully, you will notice that three top Bob Dylan songs have crept in - It Ain't Me Babe, Mama, You've Been On My Mind and Don't Think Twice, It's All Right. Dylan, who in his early years was far from enjoying cult status and was condemned a godless troublemaker, communist and traitor to folk music, found a perspicacious patron in Cash. In no uncertain terms, Cash demanded that Dylan's critics should »Shut up! ... and let him sing!« and even sang Dylan himself. This present LP is not merely a perfectly produced Country album by the Man In Black, but a traction engine for the work of his spiritual brother.



    Musicians:



    • Johnny Cash (vocals, guitar)

    • Charles R. Charlie McCoy (harpsichord)

    • Homer L. Boots Randolph (saxophone)

    • William K. Bill McElhiney (trumpet)

    • Luther Perkins (guitar)

    • Floyd Cramer (piano)

    • Marshall Grant (bass)

    • W.S. Holland (drums)




    Recording: 1964

    Production: Don Law, Frank Jones




    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. Orange Blossom Special
    2. The Long Black Veil
    3. It Ain't Me, Babe
    4. The Wall
    5. Don't Think Twice, It's All Right
    6. You Wild Colorado
    7. Mama, You Been On My Mind
    8. When It's Springtime In Alaska (It's Forty Below)
    9. All Of God's Children Ain't Free
    10. Danny Boy
    11. Wildwood Flower
    12. Amen
    Johnny Cash
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Four Year Strong Four Year Strong Quick View

    $19.99
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    Four Year Strong

    Four Year Strong have announce their self-titled fifth studio album on Pure Noise Records. The effort was produced by Converge guitarist Kurt Ballou (Every Time I Die, Code Orange Kids, High On Fire) at his Godcity Studio in Salem, MA.


    When asked about the album's sound, guitarist/vocalist Dan O'Connor stated that it's "one of the most raw records we've ever made, it's just us playing. No fancy computer shit. Made for singing along and head banging."

    1. Hold Myself In Contemp
    2. We All Float Down Here
    3. Eating My Words
    4. Wipe Yourself Off, Man. You Dead
    5. Stolen Credit Card!
    6. Gravity
    7. Who Cares?
    8. Here's to Swimming with Bow Legged- Women
    9. I'm a Big, Bright Shining Star
    10. The Sound Of Your Heart
    11. Go Down In History
    Four Year Strong
    $19.99
    Vinyl LP - Sealed Buy Now
  • Ageless Ageless Quick View

    $14.99
    Buy Now
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    Ageless

    A pummeling fusion of crusty grind, sludgey hardcore and groove injected metal, Ageless was recorded and mixed by Andy Patterson (Subrosa, Eagle Twin, Gaza) and mastered by Brad Boatright (Tragedy, From Ashes Rise, Integrity). Having cut their teeth playing live over the past two years with Today is the Day, Eyehategod, Code Orange, Ringworm, Brutal Truth and many others, Ageless sees CALL OF THE VOID further sharpen their aggressively vitriolic sound into a fine-tuned display of hardcore savagery.
    1. Old Hate
    2. Truth In Bone
    3. The Sun Chaser
    4. R.I.S.
    5. Black Ice
    6. I
    7. The Hive
    8. Cold Hands
    9. Long Knives
    10. Honor Among Thieves
    11. II
    12. Ageless
    Call Of The Void
    $14.99
    Vinyl LP - Sealed Buy Now
  • Chopin & Liszt: Concertos for Piano and Orchestra (Speakers Corner) Chopin & Liszt: Concertos for Piano and Orchestra (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Chopin & Liszt: Concertos for Piano and Orchestra (Speakers Corner)

    The virtuoso concerto is often criticised by audiences chatting in the concert-hall foyer as being superficial and narcistic, but a brilliant soloist performing with a dramatic and sonorous orchestra certainly has no need for excuses. Let's be honest: we all want to enjoy the brilliance and ecstasy of such music. Putting Chopin's brilliant youthful work, with which he took Paris by the storm, alongside Liszt's symphonically structured work with its manifold improvisatory passages is rather like comparing apples and oranges. However, a compilation of the two works on one record is highly desirable, especially when the youthful and athletic Martha Argerich is at the keyboard. She lends Chopin's dominant piano part elegance, pearly lightness, and brings out his exquisite harmonies to create haunting poetry in music.



    Just as effortlessly she brings the sharp contrasts between lyrical airiness and extreme tension to perfection in Liszt's E flat major concerto. With shivers running down the spine, one eagerly awaits Argerich playing the forceful passages, where her complete control is particularly evident in the phenomenal chordal passages.



    Recording: Feburary 1968 at Walthamstow Townhall, London by Heinz Wildhagen

    Production: Rainer Brock



    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.

    FrÉdÉric Copin: Concerto for Piano and Orchestra No. 1
    Franz Liszt: Concerto for Piano and Orchestra No. 1
    Martha Argerich and the London Symphony Orchestra conducted by Claudio Abbado
    Claudio Abbado
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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