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Death Wish (Original Soundtrack)Import
180-Gram Audiophile Vinyl
Including 4-Page Booklet
PVC Protective Sleeve
Music By Ludwig Göransson
Limited Edition Of 750 Individually Numbered Copies On Solid Red Vinyl
Death Wish is the new action adventure by the famous horror director Eli Roth. The music to the remake of the 1974 movie classic is created by the Swedish composer Ludwig Göransson, known for his compositions to sitcoms like New Girl and Community. Shortly after releasing his Black Panther score he's back with another fantastic effort. The different pieces offers piano melodies, string sections and atmospheric electronic parts. Ludwig's writing is influenced by modern music and he shifts away from the original 70s funky sound by Herbie Hancock. The dark an catchy tunes are mixed with sound effects, creating an uncomfortable atmosphere. There are also beautiful classic sounds, which are more focused on the melancholic and emotional feelings. But it mostly consists of aggressive music parts, supporting the story of the movie.
Eli Roth is best known for creating the horror movies Hostel and Cabin Fever, but he also starred as an actor in the multiple awarded war film Inglourious Basterds, directed by Quentin Tarantino. His new movie Death Wish is the sixth installment of the Death Wish series. The remake of the 1974 movie stars Bruce Willis as Dr. Paul Kersey and Dean Norris as Detective Kevin Raines. The movie has been released March 2, 2018.
Death Wish is available as a limited edition of 750 individually numbered copies pressed on solid red vinyl. The package includes a 4-page Booklet.1. Race To The Hospital
4. Riding The Trains
5. Have Faith
6. The Reapers First Victim
7. Fleeing The Scene
8. Media Takeout
9. Grim Reaper
12. Bowling Night At El Trebol
13. Going Viral
14. You Don't Know Jack
15. Knox Calls
16. Shootout At Blowout / Stapling
17. Jordan Returns
18. Knox Returns
19. Gone For Good
20. Death Wish End Titles$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
III: Tabula Rasa Or Death And The Seven PillarsTHE DEVIL'S BLOOD announced at the beginning of 2013 that they have returned to nothingness. At the same time, they announced that plans had already been put into motion to release new material.
SL comments on the release: Prior to our disbanding on the 22nd of January 2013, we had been active with the pre-production of what was to be our third album. Seven songs, the complete outline of the album, had been, in humble form, recorded in my home recording studio and these demos were supposed to be the template for our studio recordings. Obviously, we would never make it that far and the initial shock of that fact saddened us greatly. After but a few days we listened to this material again and decided that even though the audio quality might not be what people have come to expect from a THE DEVIL'S BLOOD release, the song material was and is the best we have ever done. We came to the conclusion that these songs deserve to become a part of The Canon and that we would release them as is.
I spent a few days gathering all the demo material together, made a very simple mix and gave the material to our friend and mentor Pieter G. Kloos to master in his studio. Here we present you with the titles of the material and the artwork which was done by Manuel Tinnemans.
The song we have chosen to release now is 'White Storm Of Teeth'. More so than the other material, this song speaks to the completion and transubstantiation that always follows an Occult path. Not the end of a journey but the start of a completely new one. Built around thirteen stanzas in the first part and thirteen stanzas in the second part the process of inner enlightenment through confusion and entropy and the initiation through the Death of the lower self is illustrated. This theme is rampant throughout the record and its lyrics but here it culminates and completely devours itself. After this work no words are needed and, on the album, none are offered.
THE DEVIL'S BLOOD has always been an entity that defied any fealty or thankfulness towards any earthly influence. But we as people need not hold to this paradigm any longer. We therefore wish to express our sincere thankfulness to all those who have supported this weird quest and have made the earthly woes to not work against us. You most definitely know who you are.1. I Was Promised A Hunt
2. The Lullaby Of The Burning Boy
3. If Not A Vessel
4. In The Loving Arms Of Lunacy's Secret Demons
5. Dance Of The Elements
6. White Storm Of Teeth
7. Tabula Rasa$29.99Vinyl LP - 2 LPs Sealed Buy Now
This Crying, This Screaming, My Voice Is Being Born (Discontinued)Colored Vinyl
Comes with a digital download code! To celebrate it's 15th year as a label, Magic Bullet goes all the way back to catalog #001, with Boy Sets Fire's This Crying, This Screaming, My Voice is Being Born first pressing on vinyl. This political, post-hardcore band have had releases on Equal Vision, Hydra Head, Victory, Burning Heart, Initial & Death Wish Records. With this very special project, Magic Bullet are going back to the humble, DIY roots of the label, and they've completed an amazing chipboard jacket, with a stark and simple 1-color black ink treatment with original artwork and insert. All 6 songs have room to breathe across both sides of a 12 format (spun at 45 rpm). Includes original American Civics 101 inserts.1. Vehicle
2. In the Wilderness...No One Can Hear You Scream
4. Blame (Live at Eleven) [Live]
5. Blame (Live at Eleven)
6. My Own Restraints
7. Resection$15.99Colored Vinyl LP - Sealed Buy Now
Flood (Speakers Corner)
In the summer of 1975, the Herbie Hancock Sextet made a hugely successful tour of Japan, which made people aware of a 'new' Hancock. The last LP that the keyboard virtuoso had recorded, Thrust, was already one year old, and the film music for the Charles Bronson classic Death Wish was received negatively by his fans. At his concerts in Tokyo, Herbie Hancock reached back to his hits: Maiden Voyage, Chameleon, and the famous, soulful Watermelon Man made the fans at his concert hall and open-air appearances go wild with enthusiasm. Forty years later I have the courage to confess that I couldn't have cared less about this music at the time; in Europe there was enough that was new and exciting to see and listen to. However, this re-release in its original format has given me the opportunity to check out whether this music has withstood the test of time. And I must say: it has passed the test! Just listen to Herbie at his best!
Dr. Michael Frohne
- Herbie Hancock (keyboard)
- Bennie Maupin (saxophone, clarinet, flute, percussion)
- Blackbird McKnight (guitar)
- Paul Jackson (bass)
- Mike Clark (drums)
- Bill Summers (conga, percussion)
Recording: June and July 1975 at Shibuja Kohkaido and Nakano Sun Plaza, Tokyo, by Tomoo Suzuki
Production: David Rubinson
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.$64.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Hit ResetKathleen Hanna stealthily assembled the members of The Julie Ruin without any of them realizing exactly what was happening. It all began in late 2009. Kathleen had not released an album since Le Tigre's This Island (2004), and she was ready to jump back into music again. She knew her onetime Bikini Kill band mate Kathi Wilcox was going to be moving to New York in the near future, so she didn't even bother with finding a bass player at first. Carmine Covelli, who had toured with Le Tigre as their video guru, was having a blast at Kathleen's birthday party when she abruptly asked him to be the drummer.
A longtime admirer of Kathleen's work, Carmine couldn't say no to her at her own party, so of course he joined the band. Sara Landeau and Kathleen both taught at Girls Rock Camp and Kathleen lured her into the band by trading Pro Tools lessons for guitar lessons. Sara's surf-informed style gelled perfectly with Kathleen's sonic vision for her new band. Kathleen approached Kenny Mellman last with the idea that they should write country songs together to sell to other artists. Within a week of their first meeting, Kathleen's mysterious "manager" (whom Kenny maintains does not exist) told her that they would never break into the Nashville songwriting scene, so Kenny might as well join her new band on keyboards. Done.
In late 2014 they began work on their second album, Hit Reset, due out July 8th on Hardly Art records. Mixed by Eli Crews (with whom the band worked on Run Fast), Hit Reset expands on the band's established sound: dancier in spots and moodier in others, with girl group backing vocals and even a touching ballad closer. Hit Reset is the sound of a band who have found their sweet spot. Kathleen's vocals are empowered and her lyrics are as pointed and poignant as ever. From the chilling first lines of "Hit Reset"("Deer hooves hanging on the wall, shell casings in the closet hall") to the touching lines of "Calverton" ("Without you I might be numb, hiding in my apartment from everyone / Without you I'd take the fifth, or be on my death bed still full of wishes"), Hanna takes a leap into the personal not seen completely on the first album or possibly even in the rest of her work.1. Hit Reset
2. I Decide
4. Be Nice
5. Rather Not
6. Planet You
7. Let Me Go
8. Mr. So and So
9. Record Breaker
10. Hello Trust No One
11. I'm Done
12. Roses More Than Water
13. Time Is Up
14. Calverton$16.99Vinyl LP - Sealed Buy Now
Heaven & HullImport
Available On Vinyl For The First Time
Heaven And Hull was the final solo album by David Bowie alumnus and Rock guitarist Mick Ronson, released in 1994, following Ronson's death the previous year. The album features collaborations by long time friends of Ronson including David Bowie, Joe Elliott, and Ian Hunter. Other artists on this first-ever LP include Peter Noone, Martin Chambers and Chrissie Hynde, Phil Collen and John Mellencamp.
The All The Young Dudes track on Heaven And Hull is from the Freddie Mercury Tribute Concert, where Ronson himself was suffering from cancer. On screen, he appears very thin, while still playing blistering guitar. It proved to be his last concert.
Sham Morris, one of the album's producers: During the making of Heaven And Hull, (working title To Hull And Back) I asked Mick to visualize a characteristic from his home town of Hull. His first thought was the Humber Bridge. The Bridge became very symbolic for those of us working on the album and it was his wish to incorporate it in the artwork. Mick has crossed the Bridge now and left us this swan song.1. Don't Look Down
2. Like A Rolling Stone
3. When The World Falls Down
4. Trouble With Me
5. Life's A River
6. You And Me
7. Colour Me
8. Take A Long Line
9. Midnight Love
10. All The Young Dudes$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Heaven And EarthImport
Heaven and Earth is a posthumous 2011 release by British singer/songwriter/guitarist John Martyn featuring material he was working on at the time of his death in 2009. The finishing touches were made in accordance with Martyn's wishes over the last two years by producer/sound engineer Gary Pollitt with additional production by Spencer Cozens, Stefon Taylor and Jim Tullio. Includes nine bittersweet tracks with accompaniment by his longstanding band and a guest appearance by Phil Collins on Can't Turn Back the Years. 180g pressing from Music On Vinyl.1. Heel of the Hunt
2. Stand Amazed
3. Heaven and Earth
4. Bad Company
5. Could've told you before I met you
7. Can't turn back the years
9. Willing to work$28.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Weird Scenes Inside the Gold MineReissue of the 1972 Elektra Records release. It was the second compilation by the group and the first release following the death of Jim Morrison. It features the first album release of two B-sides, Willie Dixon's (You Need Meat) Don't Go No Further, sung by Ray Manzarek, originally on the flip side of the 1971 45 Love Her Madly, and the beautiful Who Scared You, Wishful Sinful's flip with Jim Morrison on vocals from a session in 1969. Both are worthwhile additions not found on their first greatest hits collection, 13.1. Break On Through (To The Other Side)
2. Strange Days
3. Shaman's Blues
4. Love Street
5. Peace Frog/Blue Sunday
6. The WASP ( Texas Radio And The Big Beat )
7. End Of The Night
8. Love Her Madly
9. Spanish Caravan
10. Ship Of Fools
11. The Spy
12. The End$27.99Vinyl LP - 2 LPs Sealed Buy Now
Family Style is a fantastic Blues Rock album by the Vaughan Brothers, released in 1990. The album features the brethren guitarists and vocalists, Jimmie and Stevie Ray Vaughan, in their only studio collaboration.
In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with Thanks Mama V. for letting us play.
With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on White Boots and Good Texan, and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustainy twang, Jimmie moving into Albert King territory.1. Hard To Be
2. White Boots
4. Good Texan
5. Hillbillies From Outerspace
6. Long Way From Home
7. Tick Tock
8. Telephone Song
9. Baboom/Mama Said
10. Brothers$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Family Style (200 Gram Vinyl)200-Gram Vinyl Pressed At Quality Record Pressings
All-Analog Mastering By Ryan K. Smith At Sterling Sound From The Original Tapes
Deluxe Tip-On Gatefold Jacket From Stoughton Printing
Stevie Ray had made music beyond the powers of most musicians but for this 1990 studio collaboration he returned to the things he loved: upbeat music and working with the brother he idolized his whole life. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play." With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on "White Boots" and "Good Texan" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustained twang, Jimmie moving into Albert King territory.
This title is not eligible for discount.1. Hard To Be
2. White Boots
4. Good Texan
5. Hillbillies from Outerspace
6. Long Way from Home
7. Tick Tock
8. Telephone Song
9. Baboom / Mama Said
10. Brothers$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Texas Hurricane (45 RPM)Mastered from the Original Analog Tapes by Sterling Sound
What if. What if everything that you have come to know and worship about the sonic superiority of Quality Record Pressings LPs could be brought to bear on one of the rockingest powerhouses of blues guitar who ever lived?
Then your wish is granted. We're about to rock your world with the greatest Stevie Ray Vaughan tribute ever reissued: Six of Vaughan's most classic album titles combined in the ultimate box set for ultimate blues and guitar fanatics!
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For about seven years, Stevie Ray Vaughan was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.
This is classic Stevie Ray Vaughan, meticulously remastered from the analog tapes by New York's Sterling Sound. In each set you'll receive Texas Flood, Couldn't Stand the Weather, Soul to Soul, In Step, plus the posthumous classics Family Style and The Sky Is Crying.
Those of you familiar with our previous LP box sets - Miles Davis and Thelonious Monk, Creedence Clearwater Revival - and soon to come, The Doors - know how deluxe these sets are. From the detailed liner notes to the rarest photographs, these sets will truly be gems.
The truly luxurious - and ultimate - listening experience can be had on 45 RPM LP. With so few songs on each side and at 45 RPM, your cartridge will capture every last winsome note. The box set will be pressed on 200 gram vinyl at QRP, lauded for its vinyl manufacturing excellence.
Each LP set will come housed in deluxe gatefold jackets that include rarely published, intimate photos - a look inside the career of a legend whose death at age 35 shocked the music world. A few statistics showcase Vaughan's success and musical influence: His debut album Texas Flood, reached No. 38 on the charts, crossing over to rock radio stations. The album's succesor, Couldn't Stand the Weather, released in May 1984, reached No. 31 on the charts; by the end of 1985 it went gold. Vaughan and his band, Double Trouble, recorded their third album, Soul to Soul, released in August 1985, and it reached No. 34 on the charts.
This title is not eligible for discount.Texas Flood:
1. Love Struck Baby
2. Pride And Joy
3. Texas Flood
4. Tell Me
6. Rude Mood
7. Mary Had A Little Lamb
8. Dirty Pool
9. I'm Cryin'
Couldn't Stand The Weather:
1. Scuttle Buttin'
2. Couldn't Stand the Weather
3. The Things (That) I Used to Do
4. Voodoo Chile (Slight Return)
5. Cold Shot
6. Tin Pan Alley
7. Honey Bee
8. Stang's Swang
Soul To Soul:
1. Say What!
2. Lookin' Out The Window
3. Look At Little Sister
4. Ain't Gone 'n' Give Up On Love
5. Gone Home
6. Change It
7. You'll Be Mine
8. Empty Arms
9. Come On (Part III)
10. Life Without You
1. The House Is Rockin'
4. Let Me Love You Baby
5. Leave My Girl Alone
6. Travis Walk
7. Wall of Denial
9. Love Me Darlin'
10. Riviera Paradise
The Sky Is Crying:
1. Boot Hill
2. The Sky Is Crying
3. Empty Arms
4. Little Wing
6. May I Have a Talk With You
7. Close to You
8. Chitlins con Carne
9. So Excited
10. Life By the Drop
1. Hard To Be
2. White Boots
4. Good Texan
5. Hillbillies From Outerspace
6. Long Way From Home
7. Tick Tock
8. Telephone Song
9. Baboom/Mama Said
10. Brothers$399.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 12 LPs Sealed Buy Now
Second Full-length Release For Hardly Art
Recorded In Analog At Tiny Telephone In San Francisco
There are times when beauty and sadness are inextricably linked. Massachusetts-based Gem Club understands this fragile symmetry. The band-singer/pianist Christopher Barnes and his collaborators, cellist Kristen Drymala and vocalist Ieva Berberian-create music that is intimate, graceful, and filled with melancholy.
In 2009, Gem Club's primary songwriter Christopher Barnes began playing local solo shows. The enthusiastic reception led him to bring Drymala and Berberian into the fold, and the six-song Acid and Everything EP was self-released the following year. Breakers, their subsequent full-length, paired plaintive piano melodies with impressionistic lyrics. Made primarily in Barnes's bedroom, the album displayed how music, even at its most minimal and hushed, could be cathartic, even transcendent.
For the new In Roses, Gem Club have ventured beyond the isolation of the bedroom to record in San Francisco at John Vanderslice's analog studio Tiny Telephone. Barnes worked closely with arranger and conductor Minna Choi of The Magik*Magik Orchestra, who, Barnes says, "helped reshape the new songs in fresh and unimagined ways," The resulting album is more expansive, more majestic, than prior Gem Club releases. There are spacious, grand flourishes-the church-choir voices on "Idea for Strings"; the reverberating drumbeats that propel the melody of "Braid"-yet the music retains the intimacy of previous works.
Because In Roses is an album of haunting piano songs, it might seem felicitous to the listener that Christopher Barnes once lived in a disused Boston piano factory. Nights, from behind neighboring doors, he could hear strangers fighting, throwing loud parties, even shooting scenes for porn films. While life exploded around him, Barnes retreated, "trying to re-create these landscapes with music." But he is quick to note that In Roses takes a different approach to the landscapes of the world than before. "Whereas Breakers was more about the body and inward-gazing, the new album is about me looking out on relationships I've had or wish I've had." Many lyrics address "the crashing realization that lives are no longer happening the way we want." Other songs are elegies for those Barnes has idolized or loved, but has lost: "Soft Season" is inspired by the life and death of early-90s gay adult film actor Joey Stefano ("I'm a boy on my back," Barnes sings, "and I'm more of a man"); the harrowing closer "Polly" is a song he wrote about his relationship with his late aunt.
Beauty and Sadness is the title of a 1964 novel by the late Japanese writer Yasunari Kawabata, but the name could also serve to describe the music of Gem Club. During one scene of the book, Kawabata writes, "He heard a sound that only a magnificent old bell could produce, a sound that seemed to roar forth with all the latent power of a distant world." With In Roses, the beautiful and sad sounds of Gem Club come roaring forth with increasing power.
--Scott Heim1. [Nowhere]
2. First Weeks
5. Idea for Strings
6. Soft Season
8. Speech of Foxes
10. Marathon (In Roses)
11. Polly$16.99Vinyl LP - 2 LPs Sealed Buy Now
Man & MythMan And Myth, Roy's first studio album in 13 years, isn't just proof
that one of the leading, most erudite and passionate orators of the
British folk rock renaissance hasn't lost an iota of his gifts, but also
timely evidence for anyone who has wondered why so many musical
luminaries have been lining up to praise this enigmatic and legendary singer-songwriter.
In 2011, Harper performed a special show at the Royal Festival Hall
in celebration of his 70th birthday, playing with guests including
Joanna Newsom, Jonathan Wilson and Jimmy Page of Led
Zeppelin-who once penned a tribute called Hats Off To (Roy)
Harper. David Gilmour not only played on record and stage for
Harper, but Pink Floyd engaged him to sing Have A Cigar on the
band's landmark album Wish You Were Here. Fellow collaborator
Kate Bush has called Harper one of the greatest English songwriters while the late John Peel demanded, on his death, that cricket
obsessive Harper's When An Old Cricketer Leaves The Crease be
played at his funeral. Johnny Marr, meanwhile, has stated that
Harper's 1971 opus Stormcock was intense and beautiful and
Four of the seven tracks that constitute Man And Myth were
recorded with Jonathan Wilson at his studio in Laurel Canyon.
Wilson had been assembling a Harper tribute album and the two
struck up a friendship after meeting backstage at London's Borderline in 2012. Heaven Is Here and The Exile, the album's epic
closing tracks, and January Man were subsequently recorded
back in County Cork.
Man And Myth is incontrovertible proof to everyone of Roy Harper's
persisting brilliance, with many hallmarks of what has singled him
out since his first album 47 heady years ago.1. The Enemy
2. Time Is Temporary
3. January Man
4. The Stranger
5. Cloud Cuckooland
6. Heaven Is Here
7. The Exile$22.99Vinyl LP + CD - Sealed Buy Now
Family Style (45 RPM)200-Gram Vinyl Pressed At Quality Record Pressings
All-Analog Mastering By Ryan K. Smith At Sterling Sound From The Original Tapes
Deluxe Tip-On Gatefold Jacket From Stoughton Printing
Double 1990 Grammy Award Winner: Best Contemporary Blues Album, Best Rock Instrumental Performance - "D/FW"
Stevie Ray had made music beyond the powers of most musicians but for this 1990 studio collaboration he returned to the things he loved: upbeat music and working with the brother he idolized his whole life. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play." With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on "White Boots"
and "Good Texan" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustained twang, Jimmie moving into Albert King territory.
As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings.
There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.
This title is not eligible for discount.LP 1
1. Hard To Be
2. White Boots
4. Good Texan
5. Hillbillies from Outerspace
1. Long Way from Home
2. Tick Tock
3. Telephone Song
4. Baboom / Mama Said
5. Brothers$54.99200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Black Beauty28-page, full-color book (11" x 11")
Extensive essay by Ben Edmonds (Creem, Rolling Stone, Mojo) featuring all-new interviews
Abundant, never-before-seen photographs by Herbert Worthington (Fleetwood Mac's Rumours)
Brilliantly mastered by multi-GRAMMY® nominee Dan Hersch (Paul Simon, Kinks, Cars,The Band)
Mastered for vinyl by multi-GRAMMY® winner Doug Sax (The Who, Rolling Stones, Pink Floyd)
Black Beauty, the never-before-released masterpiece by Arthur Lee's legendary psychedelic rock band Love, is available on 180-gram vinyl LP. Recorded in 1973 for the ambitious new label Buffalo Records,
the album remained unreleased when the company folded. Finally, after 39 years High Moon Records is honored to fulfill Arthur Lee's wish that Black Beauty be heard by music fans worldwide. Black Beauty is making its first-ever official release
in any format, anywhere! With unparalelled sound and state-of-the-art packaging, critics are hailing Black Beauty as an instant classic. Black Beauty is that rarest of rock artifacts: an unreleased,
full-length studio album, from an undisputed musical
genius. Black Beauty is the missing link in a catalog that includes Forever Changes, the classic 1967 Love album the New York Times called "one of the most affecting and beguiling albums of all time. With Black Beauty, Arthur Lee manages to combine searing 70's-rock with gorgeous melodies and stellar songwriting - topped off by his most distinctive, snarling, soulful vocals ever. With its wonderfully eclectic collection of songs, the
album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee's fabled career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love.
It's tempting to play what-if with Love's lost labor, Black Beauty, which was recorded in 1973 but shelved for nearly four decades. What if Buffalo Records hadn't gone out of business just prior to the album's release? What if Black Beauty had actually hit stores? What if it hadn't languished in limbo until years after Arthur Lee's death? Would it have stopped Love's slide into obscurity? Would it have signaled a comeback for the man who masterminded Forever Changes, still one of the most complex and compelling artifacts of 1960s Los Angeles? Would his life and career have played out any differently? Would we think of him today as something other than a cult artist, inspired as well as damned by his era?
It's difficult to imagine any answers to those questions, but it says a lot about Lee that the album even raises these what-ifs and coulda-beens. The very qualities that made him such a fascinating voice-- restlessness, excitability, paranoia, perfectionism, single-mindedness-- may have doomed any commercial prospects more than his notorious fear of travel ever did. After recording Forever Changes, he fired the band and hired new musicians to take their places. Every subsequent album featured a different line-up, although the changes seem based more on personality than on musical direction or ability. Never stagnant, Love was in constant flux, always in a state of development but never quite arriving. So the operative question becomes: Was this the version of Love that Lee had been working toward?
For Black Beauty-- which is finally seeing release via High Moon Records, although the reissue has been delayed for two years-- Lee assembled guitarist Melvan Whittington, bass player Robert Rozelle, and drummer Joe Blocker. This may be the hardiest and most muscular of Love's post-Changes rosters, with remarkable force and range. With crisp production by Paul Rothchild, best known for his work with the Doors, Love build from a potent blues rock foundation not dissimilar to that of Jimi Hendrix, but without the distracting shamanistic persona and guitar pyrotechnics. "Walk Right In" struts into country rock territory, rewriting Cannon's Jug Stompers 1929 hit into a plea for empathy, and "Beep Beep" attempts a sort of pop reggae, albeit not entirely convincingly.
On the whole, this particular line-up sounds perfectly rough and unrehearsed, generating a tense energy on "Skid" and "Stay Away" even as they suggest a band still figuring out exactly what they can do together. It's a strong album, but it's not another Forever Changes, whose accomplishments in retrospect were unrepeatable, or even another Four Sail. On the other hand, Lee wasn't aiming to craft something in that vein. Still, especially considering the professional setbacks he had faced in the years leading up to Black Beauty-- which includes being dropped by Elektra and shuffling through a series of independent labels-- Lee sounds engaged and invigorated, forgoing the bitterness that had rankled the band for a slightly more hopeful outlook. On stand-out "Can't Find It", he sings, "Every time I cry my heart out, and every time I play the fool, but there's gotta be something in this lonely world for me." The confession is all the more bittersweet for being capped with the line, "but I can't find it without you." It's ostensibly a love song, but could just as easily be addressed to his audience. His creative satisfaction relies on having a listener to complete the circuit, which makes this album's long shelf life all the sadder.
-Stephen M. Deusner (Pitchfork, May 15, 2013)1. Young & Able
2. Midnight Sun
3. Can't Find It
4. Walk Right In
6. Beep Beep
7. Stay Away
8. Lonely Pigs
9. See Myself In You
10. Product Of The Times$26.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Mediator Between Head And Hands Must Be The HeartIt was the city of Belo Horizonte, Brazil that launched the ascent of their native sons in SEPULTURA (Portuguese for "grave") in 1983 with a trajectory unsuspectingly aimed at the worldwide metal music scene. A band with humble economic beginnings whose musical identity was forged in the context of living through Brazil's authoritarian military dictatorship, SEPULTURA would go on to become Brazilian ambassadors to the metal world, revered master architects of the death/thrash genre, and the most successful heavy metal band from the Federal Republic of Brazil.
When SEPULTURA experienced a line-up change in the mid-1990s that was widely covered by the metal press around the world, remaining members recruited American Derrick Green in 1997 to front the band, a position the Cleveland, Ohio native has held for the past fifteen years and counting. This past June, long-time guitarist Andreas Kisser (who joined in1987), original bassist Paulo Jr., and drum prodigy Eloy Casagrande, SEPULTURA entered the studio in Venice, California with renowned producer Ross Robinson (KORN, MACHINE HEAD, FEAR FACTORY) - who also worked on the band's landmark 1996 release, »Roots« - and co-producer Steve Evetts (THE DILLINGER ESCAPE PLAN, SYMPHONY X, INCANTATION) - who previously worked on SEPULTURA's »Roorback« (2003), the »Revolusongs« EP (2002), and »Nation« (2001) - to record the band's seventh studio album with Green (and their second album for Nuclear Blast): »The Mediator Between The Head And Hands Must Be The Heart«, scheduled for release this October.
Inspired by Austrian filmmaker Fritz Lang's classic 1927 movie "Metropolis," SEPULTURA leans heavily on the strength of their thrash metal influences to make a statement against the dehumanizing effects of technology. Guitarist Andreas Kisser delves a little deeper:
"In the movie, a crazy millionaire wants to transform a robot into a real person. That's kind of the opposite of what we live today. More than ever, we are robotized through the worldwide web, Google glasses, chips under our skins and globalized slavery our society suffers nowadays. Being that the novel was written in the early 1920s, it's almost prophetical. The phrase that inspired me - the main message of the story - points to the heart as being the human factor that keeps a man a man - not a robot. The heart beats with freedom of choice. We have to think for ourselves to create a real world, not a matrix."
Exploring the miseries and privileges associated with technological power, »The Mediator Between The Head And Hands Must Be The Heart« - SEPULTURA's angry dystopian documentary in sonic form - also addresses the chaotic aftermath of natural disasters, the unfulfilled promises of religion, and the still-widening divide & unbridgeable gap between pampered citizens who live in decadent luxury and the working poor who withstand unbearable living & working conditions to simply survive.
The album's opening track, 'Trauma Of War', begins as a cacophony of noise that gives rise to an urgent panic that spins into a paranoiac distress about others making decisions that will lead to our demise in war. In 'The Vatican', we listen as yearning souls pray to their god to alleviate their suffering as the furious vocals, guitars, and drums document the moment when the faithful come face-to-face with the reality of their absent god too self-absorbed with being adored to notice humanity's cries for help. 'The Bliss Of Ignorants' is an indictment by those who intimately know the depths of human suffering against those who don't wish to know. 'Grief' weeps with its gnosis of such a feared emotion. With so many recent natural disasters throughout the world, who could deny the truth behind human greed & corruption sung about in 'Manipulation Of Tragedy'?
With both the 2014 FIFA World Cup championship and the 2016 Olympic Games headed to Rio de Janeiro, Brazil, a worldwide audience will surely be mesmerized by the glamour surrounding these world-broadcasted events. But there are those who bear witness to what won't be televised; there are those who have seen the decades of daily strife of Brazilian citizens with wide-open eyes.
»The Mediator Between Head And Hands Must Be The Heart« never lacks confidence in what SEPULTURA knows: "I live in São Paulo, one of the big metropolises in the world with more than 20 million people living and working in it," asserts Kisser. "I know how it is to live in daily chaos. Our music reflects a lot of that feeling."
Featuring a guest appearance by former SLAYER drummer Dave Lombardo, »The Mediator Between Head And Hands Must Be The Heart« does what many great albums do: it captures a moment in time and carves out a place to have a dialogue with listeners with an honesty that rings so true, it becomes a part of our arsenal with which to defend ourselves against the wrongdoings of the world.1. Trauma Of War
2. The Vatican
3. Impending Doom
4. Manipulation of Tragedy
6. The Bliss Of Ignorants
8. The Age Of The Atheist
10. Da Lama Ao Caos (Chico Science & Nação Zumbi cover)$24.99Vinyl LP - 2 LPs Sealed Buy Now