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Emergency Ward! (1972) is Nina Simone's statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day.
The entire first side consists of a 18-minute medley of George Harrison's My Sweet Lord and a poem by David Nelson called Today Is a Killer, set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols' Cool Jerk with a call-and-response vocal arrangement - one of Simone's finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York.
Side two consists of the Lennie BleecherJeremy Wind song Poppies and George Harrison's Isn't It A Pity. Tracks 1 and 4 were recorded november 18, 1971 at Fort Dix, and tracks 2-3 were recorded at the RCA Studio in New York City.1. My Sweet Lord
2. Today Is A Killer
4. Isn't It A Pity$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Emergency Ward (Speakers Corner)
We can thank our lucky stars that Nina Simone was well aware of her musical environment and enjoyed experimenting with it, despite her notorious eccentric personality. This was the only reason that so much basic repertoire, traditional blues numbers, black work songs and favourite white show melodies - all filled with a deep soul feeling - reached her fans. Emergency Ward! is no exception. First there is the explosive medley, recorded live, of George Harrison's My Sweet Lord and David Nelson's Today Is A Killer. Accompanied by a small combo and a gospel choir, Nina Simone ignites an 18-minute blazing bonfire which loses none of its spiritual fire for even a second.
In contrast to the gentle Poppies, extravagantly produced with strings, woodwinds and chorus, is the questioning Isn't It A Pity, arranged for piano. Here, simple, throbbing harmonies are occasionally allowed to swell into clouds of chords, giving Nina Simone the opportunity to show off her highly diversified vocal timbre which, as so often, fades away into nothing like an unanswered question. This is an exceptional album filled with a wealth of feeling and one which will leave no one untouched.
- Nina Simone (piano, vocal)
- Sam Waymon (vocal)
Recording: November 1971 at Fort Dix and February 1972 at RCA Victor's Studio A,
New York City, by Ed Begley
Production: Nina Simone, Andrew Stroud and Weldon J. Irvine Jr.
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. My Sweet Lord
2. Today is a Killer
4. Isn't It a Pity$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Camp (Awaiting Repress)At 27, Donald Glover is one of the most sought after multi-threats in Hollywood, a former writer for the Emmy ward winning 30 Rock, a network TV gig on the NBC hit series Community, a few movies on deck including the Muppets Movie and The To-Do List, a sideline gig doing stand-up comedy and a career as a rapper, performing under the moniker Childish Gambino.
Childish Gambino has emerged as one of the most exciting young talents in music. A unique blend of hip-hop with multiple genres, combined with lyrical genius, Gambino has gone from a viral cult following to a mega sensation. He has released two mixtapes, I Am Just A Rapper and I Am Just A Rapper 2 and in 2010 released his first full length of original material entitled Culdesac. In March of 2011, Childish Gambino released an untitled EP that featured the hit Freaks and Geeks. This, his first mass distributed album, Camp, will be released via Glass Note Records.1. Outside
2. Fire Fly
4. All The Shine
5. Letter Home
9. Hold You Down
10. Kids (Keep Up)
11. You See Me
13. That Power$17.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
The Big To-DoATO Records is pleased to commence its relationship with the The Drive-By Truckers beginning with the incomparable rock band's label debut, The Big To-Do. The album is the band's 10th in their thirteen-year career and it features 13 new DBT tracks produced by their long time collaborator, David Barbe (Sugar, Bettye LaVette). Patterson Hood and Mike Cooley continue to handle chief songwriting duties here while bassist Shonna Tucker also contributes two originals. Brad Morgan (drums), John Neff (guitar/pedal steel), and Jay Gonzalez (keyboards) round out the current lineup.
The Big To-Do was recorded in three concentrated sessions during the first part of 2009: ten days in January, five days in March, ten days in May. That added up to 25 songs, a dozen of which sequenced into The Big To-Do. We had it mixed, mastered, and completely done, and Cooley wrote the best song that just needed to be on it, Patterson says with his raspy chuckle. This happens a lot with the Truckers, and it's always a good sign. So we went back in and recorded, mixed, and mastered 'Birthday Boy' pretty much in one fell swoop. Thirteen songs, then.
The balance of the remaining tracks, plus five more they've cut in the interim, will make up the Truckers' next album, which Patterson projects as a quieter affair.
This is, in large part, possible because the Truckers have such a long-standing relationship with David Barbe (ex-Sugar, etc.) and the Athens, GA, studio he calls Chase Park Transduction, which long ago Patterson helped to build so as to earn the right to record there.
It's gotten to where, that day of set-up time to get sounds and levels and all of that takes us about two hours, Patterson says. We can pretty much walk in the door, and we know exactly where to put everything to get that sound, so that's just one less thing to have to think about. I wanted to eliminate the distractions. That clarity of purpose translates into a delicious assortment of Trucker songs themed loosely around crime and (self-) punishment. The Wig He Made Her Wear, Patterson says, is both a true story (as seen on Court TV) and the closest he's come to making the movie he started out to make a decade or more back. The Fourth Night of My Drinking will speak for itself, and This Fucking Job (paired thematically with Cooley's wry Get Downtown) is arguably the most political song the Truckers have made since Living Bubba. Which leaves the deceptive, airy simplicity of Shonna Tucker's You Got Another and (It's Gonna Be) I Told You So to reckon with. We always knew she had that in her, Patterson says, delighted with the emergence of another strong songwriter in the band. It was never a secret. She was writing songs all along. But watching it come out has been a really amazing thing to behold.
Off the road, incidentally, didn't mean out of work. First off, there was the matter of cutting an instrumental album with the legendary Booker T, having previously served as the backing band to the equally legendary soul singer, Bettye Lavette. Potato Hole turned out all right, got a Grammy nod, and Neil Young added his touches separately even though it's pretty much a Truckers effort. But it's what they learned making Potato Hole that counts most. I think doing the Booker album really, really paid off a lot on the musical end of this record, even though stylistically it might not sound anything like that record, says Patterson, and then tells the story.
We made that record in four days, and that included the first day when it was, 'Booker, it's wonderful to meet you!' Maybe the third song we tracked just wasn't going the way he wanted it to go. We weren't quite understanding what he wanted. We were playing it right, but it wasn't right. All the sudden he just stopped the session. He gathered us around, and he told us a story about a Thanksgiving dinner, and the way it smelt in the house, he'd been on the road a long time, and they were all in - cousins and aunts he hadn't seen in several years. He said, 'It's just a day where nothing happens, but it's all really good.'
And we sat down and we played it, and we nailed it. It was like a revelation. We're a lyric-driven band, and our songs generally paint scenes and tell stories based on scenes. He instinctively knew that was how we operated. And I think it taught us a lot about how we operated. Going in and making this record, I could tell a real difference in the way the songs hold up musically. We put a little more care into that side of it than I think we ever did before because of what we learned from him.
...an absorbing hunk of smart, crunchy, guitar-driven music shot through with the bands vivid narratives, balanced storytelling, barroom punch, and Southern accents. Its a set that portrays desperate people trying to survive in these ever more desperate times, with the Truckers joyous pride and spirited attitude warding off any bitter aftertaste. Several songs are sad, and at times depressing, but the moods always point up. As it is for Bruce Springsteen, this blue-collar band not only believes in but preaches rock as salvation, and their iron-clad conviction suggests they wont have it any other way. --Bob Gendron, TONE Audio, Issue 271. Daddy Learned to Fly
2. The Fourth Night of My Drinking
3. Birthday Boy
4. Drag the Lake Charlie
5. The Wig He Made Her Wear
6. You Got Another
7. This Fucking Job
8. Get Downtown
9. After the Scene Dies
10. (It's Gonna Be) I Told You So
11. Santa Fe
12. The Flying Wallendas
13. Eyes Like Glue
14. Girls Who Smoke (vinyl only bonus track)$21.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now