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Fifth Harmony is the self-titled third studio album by American girl group Fifth Harmony, originally released on August 25, 2017.1. Down
2. He Like That
3. Sauced Up
4. Make You Mad
6. Lonely Night
7. Don't Say You Love Me
10. Bridges$19.99Colored Vinyl LP - Sealed Buy Now
The Byrds were one of the earliest groups who could combine the best of two worlds.
They caught on to the energy of the British Invasion and combined it with the lyricism & musical elements of the contemporary folk movement.
Along the way they pioneered Psychedelic and Country Rock, always keeping things recognizable with their vocal harmonies accompanied by their jangly guitars.
On their third album 'Fifth Dimension' from 1966 they started showing a more LSD-tinged side of themselves with the Psychedelic Rock of songs such as 'Eight Miles High' and 'I See You' and a preference for the Indian raga.
One of their most pioneering albums!1 5 D (Fifth Dimension)
2 Wild Mountain Thyme
3 Mr. Spaceman
4 I See You
5 What's Happening?!?!
6 I Come And Stand At Every Door
1 Eight Miles High
2 Hey Joe (Where You Gonna Go)
3 Captain Soul
4 John Riley
5 2-4-2 Fox Trot (The Lear Jet Song)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The LearnerThe Learner is the newest album from renowned singer/songwriter Griffin House and fifth full-length overall. Recorded primarily at Sound Emporium studios in Nashville, The Learner continues House's collaboration with the producer team of Justin Loucks and Ian Fitchuk (Mindy Smith, Landon Pigg), with whom he worked with on his 2004 release Lost and Found. Also featured on the record is world-renowned singer Alison Krauss, providing vocal harmonies on River City Lights and Dan Wilson (Semisonic) who produced and co-wrote If You Want To.1. If You Want To
2. River City Lights
3. Standing At The Station
4. Just Another Guy
5. She Likes Girls
6. Never Hide
7. Rule The World
8. Gotta Get Out
9. Feels So Right
10. Let My People Go
12. Coming Down The Road$24.99Vinyl LP - Sealed Buy Now
Origin: OrphanThe Hidden Cameras never fail to capture the imagination. Orchestrated by leader Joel Gibb, their live spectacles are unconventional to say the least, everything from blindfolded band members and string players to go-go dancers shimmying alongside gospel choirs. The Hidden Cameras fifth full-length album, Origin:Orphan, is equally ingenious as the four previous albums.
No matter the subject, Gibb knows the power and importance of melodies and harmonies in a pop song and has displayed it with elegant indie pop orchestrations and abundant twee-choir harmonies. Under The Radar1. Ratify The New
2. In The NA
3. He Falls To Me
4. Colour Of A Man
5. Do I Belong
6. Walk On
7. Kingdom Come
10. The Little Bit
11. Silence Can Be A Headline$16.99Vinyl LP - Sealed Buy Now
Shostakovich - Symphony No. 5 (Speakers Corner)
One of the most fascinating aspects of Dmitri Shostakovich's music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin's regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood.
Skrowacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. His well-balanced conducting, combined with the wonderfully transparent recorded sound creates an ideal basis for identifying all the details which Shostakovich composed 'between the lines of the staff'.
Recording: March 1961 at Northrop Memorial Auditorium, Minneapolis, USA, by C.R. Fine and Robert Eberenz
Production: Wilma Cozart Fine
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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
House Of Spirits
A more melancholic take on Brian Eno's "Baby's On Fire",
only with dusty country-style vocal harmonies - Pitchfork
Bells of Paonia is a lush and pretty fuzz-guitar drone with
plenty of starry-eyed melody in there - Stereogum
Warm organ tones shine through the fuzz, showing The Fresh &
Onlys at their most earnest and heartfelt. - Consequence of
With surreal nightmares, glistening pop tempered by sinister
undertones and even unsettling experimentalism, The Fresh & Onlys'
fifth album, House of Spirits is the San Francisco quartet's most
focused and most experimental yet. The material gestated during
vocalist Tim Cohen's isolated stay on an Arizonan horse ranch where
he documented dreams in a bedside notebook. The resultant songs are
by turns pristine, feverish, and bizarre, as The Fresh & Onlys returned
to Lucky Cat Studios in San Francisco with Phil Manley (Trans Am)
to recast the textures, leaps of logic and evocative character of
Cohen's dreams into songs.1. Home Is Where?
2. Who Let the Devil
3. Bells of Paonia
4. Animal of One
5. I'm Awake
7. April Fools
10. Madness$13.99Vinyl LP - Sealed Buy Now
LuckyLucky, the title of Nada Surf's fifth album, is at once literal and ironic. Like the songs that singer-guitarist Matthew Caws, bassist Daniel Lorca and drummer Ira Elliot crafted for their previous two albums, let go (2003) and the weight is a gift (2005), lucky is filled with images of restlessness, longing and the elusiveness of love. Yet the band counterbalances the lyrical bittersweetness with a musical buoyancy. Intimate songs become in-it-together anthems, thanks to the chiming guitars, propulsive rhythms, and the emotional candor in Caws' vocals. A song like beautiful beat segues from a sparsely arranged, confessional first verse into a harmony-laden chorus and reaches multi-layered, canon-like proportions before the track fades out. If Caws is often suggesting that romance and resolution may still be an inch or two out of reach, he's also proffering immediate musical solace. Turn up the volume, hit the repeat button, and your troubles, for a blissful three minutes or so, will disappear.1. see these bones
2. whose authority
3. beautiful beat
4. here goes something
6. are you lightning
7. i like what you say
8. from now on
9. ice on the wing
10. the fox
11. the film did not go 'round$17.99Vinyl LP - Sealed Buy Now
Slow DazzleIn 1975, mad scientist and Velvet Underground alum John Cale returned to the lab to record another experiment. Slow Dazzle, his fifth solo album and second collaboration with Roxy Music's Brian Eno and Phil Manzanera, dissects rock and avant-garde, hacks the limbs off of pop and jazz, and fuses the styles together into a limber, impassioned creation.
Back on domestic vinyl for the first time in decades, this RTI-pressed edition of Slow Dazzle is cut at Mobile Fidelity by in-house engineer Krieg Wunderlich and features stunning sonics. Quiet surfaces, faithful artwork, and the opportunity to hear Cale's incisive fare unfold amidst wide soundstages and black backgrounds-not to mention the emotionally unsettling content within-make this Wax Cathedral LP a must for music aficionados.
Sometimes jaunty and beer-soaked, sometimes maniacally spitting into the microphone about killing his wife's lover, sometimes despairing, sometimes sweet, Cale holds forth with schizophrenic authority. Manzanera's sordid guitar dirges ambidextrously switch to cheerful riffs as Eno's synthesizer rubber-bands its way through sunshine and smoke-machine fog. Chris Thomas, who recorded with the Beatles and engineered albums for Pink Floyd and the Sex Pistols, throws haunted violin and dissonant electric piano into the formula.
Whether he's heaping neon sleaze atop earnest surf harmonies in an ode to the Beach Boys' Brian Wilson (Mr. Wilson), lulling you into a blurred, easy-listening trance (Ski Patrol, I'm Not the Loving Kind), or growling a pre-goth era cover of Elvis' Heartbreak Hotel" with mascara-running intensity, Cale delivers an elastic range of artistry. Ditties like "Dirty Ass Rock 'N' Roll" and "Guts" place psychopath tendencies into the body of a catchy pop song, turn up the electricity, twitch, and grab.
By all means, Cale's experiment was a success. Slow Dazzle is alive.1. Mr. Wilson
2. Taking It All Away
3. Dirty-Ass Rock 'N' Roll
4. Darling I Need You
6. Heartbreak Hotel
7. Ski Patrol
8. I'm Not The Loving Kind
10. The Jeweller$21.99Vinyl LP - Sealed Buy Now
SwiftMarco Benevento is used to doing things for himself. Since launching his solo career six years ago, Benevento has co-founded the label that releases his music, The Royal Potato Family, and built the studio, Fred Short Sound, where he works whenever he's not on the road. He's written, arranged and played his largely instrumental anthems, leading a band from behind his customized piano and a tiny armada of drum-machines and sequencers, keyboards and pedals. But until Benevento set out to complete his fifth solo album, he'd never sung his own songs, a strange omission for music that's so often been lyrical. That changes-decisively, assuredly, triumphantly-on Swift, the boldest and most bracing album of Benevento's career.
Abetted by producer Richard Swift (Shins, Damien Jurado, Foxygen) and featuring Benevento's core touring band: Dave Drewitz on bass (Ween) and Andy Borger on drums (Tom Waits, Norah Jones), an ease and energy radiate throughout Swift, its nine tracks every bit as delightful and kinetic as the title suggests. Opener "At the Show" is a handclap invocation, the big-bottomed drums and fleet keyboard line motioning toward the dance floor. "Eye to Eye" moves with an indomitable swagger, while closer "Free Us All" prompts eyes-closed, mouths-open bliss. Even "No One is to Blame," the album's ostensible down-tempo drift, can't suppress the excitement of the new setting, the new singer or the new approach. Its climax offers arching catharsis, Benevento's multi-tracked harmonies curving like a rainbow. On "If I Get to See You At All," Dreiwitz's bass dances atop the track, his rich fuzz-tone affording the melody the feeling of a sinister carousel. And on "The Saint," he and Borger emerge as powerhouse, the viscous bass line rumbling over drums that slow and spring, stutter and stomp. A minute into the track, Benevento has to wait for just the perfect moment in which to slide his silvery piano.
An album of crisp, strange pop songs, sliced through with a wholly original approach to piano, electronics and songwriting, Swift is the singular artistic statement Benevento was destined to create at this point in his continually evolving body of work.1. At The Show
2. If I Get To See You At All
3. Witches Of Ulster
4. Eye To Eye
5. Coyote Hearing
6. One And One Is Two
7. The Saint
8. No One Is To Blame
9. Free Us All$18.99Vinyl LP - Sealed Buy Now
Bitte OrcaBitte Orca is the highly anticipated follow up album to 2007's critically acclaimed, Rise Above, and the band's Domino debut. David Longstreth formed the Dirty Projectors in 2002 and the band now consists of core member Amber Coffman, Brian Mcomber, Angel Deradoorian and Longstreth. Recorded in the fall of 2008 in Portland, OR and Brooklyn, NY, Bitte Orca is the band's fifth and most successful album.
From the bright curtain-raising opener Cannibal Resource to the stunning off-kilter Temecula Sunrise and Useful Chamber's ornate harmonies, Bitte Orca contains the Projectors' best individual songs to date. It's a big rock album by design and the results are both universal and singular. Stillness Is The Move and Two Doves were written specifically for the voices and temperaments of Coffman and Derardoorian, who take solo turns respectively. While Coffman's Stillness Is The Move is an R&B anthem, Deradoorian's Two Doves is stringed and elegantly spare.
Bitte Orca's idiosyncratic and sincere take on popular music is reminiscent of David Byrne with whom the Dirty Projectors collaborated on Knotty Pine for the 2009 compilation Dark Was The Night. In many ways, Longstreth could be seen as this generation's answer to Byrne, a distinctive torchbearer of labyrinthine song arrangements that go down easy.
180 Gram Vinyl in Gatefold Sleeve1. Cannibal Resource
2. Temecula Sunrise
3. The Bride
4. Stillness Is The Move
5. Two Doves
6. Useful Chamber
7. No Intention
8. Remade Horizon
9. Fluorescent Half Dome$21.99Vinyl LP - Sealed Buy Now
After The PartyFor their fifth full-length After the Party, The Menzingers set
out to make the quintessential jukebox record: an unstoppably melodic
album primed for bar-room sing-alongs. Delivering anthemic
harmonies, furious power chords, and larger-than-life melodies, the
Philadelphia-based garage-punk four-piece amply fulfills that mission
while achieving something much more deeply nuanced. With its
delicately crafted storytelling and everyman romanticism, After the
Party ultimately proves to be a wistful but life-affirming reflection
on getting older but not quite growing up.
"We spent our 20s living in a rowdy kind of way, and now we're at a
point where it seems like everyone in our lives is moving in different
directions," says Tom May, who joined fellow singer/guitarist
Greg Barnett, bassist Eric Keen, and drummer Joe Godino in forming
The Menzingers as teenagers in their hometown of Scranton. With
each song unfolding as its own fully realized story, After the Party
came to life thanks largely to an introspective yet outward-looking
lyrical sensibility on the part of Barnett and May.
Produced by Will Yip (Title Fight, Balance & Composure, Pianos
Become the Teeth) and recorded in Yip's Conshohocken, Pennsylvania-based
Studio 4, After the Party finds the band breaking into new
sonic terrain. The Menzingers' most refined album to date, After
the Party was also shaped from an intensive writing and pre-production
process that involved holing up for five weeks in Yip's
studio. Along with sculpting more expansive arrangements, the band
focused on experimenting with new effects and production techniques
to forge the album's dynamic but intricately textured sound.1. Tellin' Lies
2. Thick as Thieves
4. Midwestern States
5. Charlie's Army
6. House on Fire
7. Black Mass
8. Boy Blue
9. Bad Catholics
10.Your Wild Years
11. The Bars
12. After the Party
13. Livin' Ain't Easy$19.99Vinyl LP - Sealed Buy Now
Beethoven: Symphony No. 5Beethoven was Wilhelm FurtwÄngler's guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum - and a constant sense of imaginative freshness - through the interrelationship of form, harmony, texture, rhythm and tempo. No work appeared more frequently in FurtwÄngler's concert programmes than Beethoven's Fifth. Between 1918 and his death in 1954, he conducted more than a hundred performances, including a superbly realized 1937 HMV studio recording with the Berlin Philharmonic and this formidable studio remake with the Vienna Philharmonic, further proof of his astonishing ability to penetrate a work to its core yet preserve it as a living entity.1. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): I. Allegro con brio
2. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): II. Andante con moto
3. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): III. Allegro -
4. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): IV. Allegro - Presto$21.99Vinyl LP - Sealed Buy Now