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  • Jazzmatazz Volume 1 Jazzmatazz Volume 1 Quick View

    $19.99
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    Jazzmatazz Volume 1

    Guru's Jazzmatazz, Vol. 1 is a jazz rap album from Guru, one half of the duo, Gang Star. This album is one of the first albums to combine a live jazz band with hip hop production and rapping. Jazzmatazz, Vol. 1 brought together a diverse group of jazz cats both old-school and new, including Roy Ayers, Donald Byrd, Lonnie Liston Smith, Ronny Jordan, and Courtney Pine. Continuing with its Respect The Classics campaign, UMe will be reissuing this classic album back on standard weigh vinyl.
    1. Introduction
    2. Loungin'
    3. When You're Near
    4. Transit Ride
    5. No Time To Play
    6. Down The Backstreets
    7. Respectful Dedications
    8. Take A Look (At Yourself)
    9. Trust Me
    10. Slicker Than Most
    11. Le Bien, Le Mal
    12. Sights In The City
    Guru
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Inner Mounting Flame (Speakers Corner) The Inner Mounting Flame (Speakers Corner) Quick View

    $34.99
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    The Inner Mounting Flame (Speakers Corner)

    The liner notes for The Inner Mounting Flame were written by the guru Sri Chinmoy - now that's a real sales point! The music too burns right from the very first note to the last as though it were licked by the flames of hell fire.



    The wealth of ideas, sheer vitality and supreme soloistic virtuosity of the five top-notch musicians from four different countries is absolutely first class. In addition there is their truly dreamlike interplay; one could say they were born and grew up with the same 'spirit'. Meeting Of The Spirit, The Dance Of Maya and You Know You Know are the highlights of this first Mahavishnu Orchestra.



    Aspiration - struggle, hope and desire - is seen as an inner mounting flame which takes man towards 'divine perfection'. Well, opinions differ of course. But what is certain is that this music from 1971 is still amazingly fresh and creative even 36 years later - and luckily it is available once again in the form of a vinyl disc.



    Musicians:



    • John McLaughlin (guitar)

    • Jan Hammer (piano)

    • Jerry Goodman (violin)

    • Rick Laird (bass)

    • Billy Cobham (drums)




    Recording: August 1971 in New York City by Don Puluse

    Production: John McLaughlin





    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.




    This title is not eligible for discount.

    1. Meeting of the Spirits
    2. Dawn
    3. Noonward Race, The
    4. A Lotus on Irish Streams
    5. Vital Transformation
    6. Dance of Maya, The
    7. You Know You Know
    8. Awakening
    Mahavishnu Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazzmatazz Jazzmatazz Quick View

    $37.99
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    Jazzmatazz

    Guru's Jazzmafazz, Vol. 1, originally released in 1993, is one of the first albums to combine a live jazz band with hip hop production and rapping. Guru had a vision and brought together a diverse group of jazz cats both old and new school; Lonnie Liston Smith, Branford Marsalis, Ronny Jordan (check out his solo on the track No Time To Play), Donald Byrd and Roy Ayers and vocalists like Carleen Anderson, N'Dea Davenport (of the Brand New Heavies) and French rapper MC Solaar have cooperated on this classic album.


    Jazzmafazz proved to be a highly influential album and a huge commercial success.

    1. Introduction
    2. Loungin'
    3. When You're Near
    4. Transit Ride
    5. No Time To Play
    6. Down The Backstreets
    7. Respectful Dedications
    8. Take A Look (At Yourself)
    9. Trust Me
    10. Slicker Than Most
    11. Le Bien, Le Mal
    12. Sights In The City
    Guru
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mothership Mothership Quick View

    $25.99
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    Mothership

    The mothership has landed and this brand new project from Guru Guru co-founder Mani Neumeier
    and multi-instrumentalist /producer JÜrgen Engler of Die Krupps is about to lead a new Krautrock invasion! Contains 2 epic side-long journeys into the outer reaches of spacey psychedelica and groovy prog rock that will have audiences shouting "Take me to your leader!"
    1. Notre Dame (Mothership)
    2. The Snows Of Mt. Bonnell
    Guru Freakout
    $25.99
    Vinyl LP - Sealed Buy Now
  • Space Explosion Space Explosion Quick View

    $32.99
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    Space Explosion

    A krautrock supergroup featuring Dieter Moebius of Cluster, drummer Mani Neumeier of Guru Guru, JÜrgen Engler of Die Krupps, Chris Karrer of Amon DÜÜl, and Zappi Dietmeier & Jean-HervÉ Peron both of Faust. This recording was made at ATOM H Studios in DÜsseldorf in 1998 and originally released under the group name "Space Explosion". The bonus CD features 4 bonus tracks also recorded at ATOM H in DÜsseldorf in 1996 by the Cosmic Couriers 1, consisting of Moebius, Neumeier and Engler, and originally released on their album Other Places.
    LP
    1. Dino's Dream
    2. Taub
    3. Space Explosion
    4. I'm Hall
    5. Krakatau


    CD
    1. Dino's Dream
    2. Taub
    3. Space Explosion
    4. I'm Hall
    5. Krakatau
    6. Culture In A Small Room
    7. Anabolica
    8. Dat Loop
    9. Sumpfige Wasser

    Amon Guru
    $32.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Chronchitis Chronchitis Quick View

    $19.99
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    Chronchitis

    Southern California's Slightly Stoopid have cemented a signature sound by fusing acoustic and electric rock with blues, psychedelic dub reggae and hip-hop. Chronchitis is the band's 5th studio album, and it was produced by Mario C, Paul Leary, Miguel and Chris D out on Stoopid Records/Controlled Substance Sound Labs. This stellar album features a little help from friends such as G Love, Guru of Ganstar, Angelo Moore of Fishbone and Money Mark.
    1. Anywhere I Go
    2. The Otherside featuring Guru
    3. Hold On To The One
    4. 2 AM
    5. Blood Of My Blood
    6. Nobody Knows
    7. Above The Clouds
    8. Digital
    9. Round The World
    10. Baby I Like It feat. G-Love
    11. Ocean
    12. Jimi
    13. Breakbeat feat. DJ Hellnaw
    14. Mind On Your Music
    15. Ever Really Wanted
    16. Girl U So Fine, Part 1 & 2
    17. Reward For Me
    Slightly Stoopid
    $19.99
    Vinyl LP - Sealed Buy Now
  • So It Goes So It Goes Quick View

    $22.99
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    So It Goes


    "Perfect blend of old-school sensibility with modern energy." - Complex


    "Ratking unlock noise-rap stunner." - SPIN


    "Ratking not what the City expected, but it's exactly what it needs" - REVOLT


    "Aggressive, dark, and propulsive." - NPR


    Following a busy 2013 that saw them playing shows with acts as diverse
    as GZA, Death Grips, King Krule and Trash Talk as well as collaborating
    with legendary photographer and lmmaker Ari Marcopoulos, RATKING are
    ready to announce their debut album So It Goes. The album nds the group
    perfecting the balance between the raw, unbridled energy of their live set
    and the warm soulful, golden-era hip hop that the members grew up on,
    aided in large part by engineering from Young Guru (Jay-Z, The Diplomats,
    Notorious B.I.G.). So It Goes is a portrait of
    modern day New York City painted over the course of its 11 tracks.

    1. *
    2. Canal
    3. Snow Beach
    4. So Sick Stories (feat. King Krule)
    5. Remove Ya
    6. Eat
    7. So It Goes
    8. Puerto Rican Judo (feat. Wavy Spice)
    9. Protein
    10.Bug Fights
    11.Take (feat. Soloman Faye)
    Ratking
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Audeze LCD-4 Headphones Audeze LCD-4 Headphones Quick View

    $3,995.00
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    Audeze LCD-4 Headphones





    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    If you're looking for one of only a very select pair of headphones at the apex of personal audio, look no further than the LCD-4.

    - Headphone Guru


    The LCD-4 represents 40 years of advancements in planar magnetic technology and our own research and development from 2009 onward when we debuted our first product. Our new flagship headphone features game-changing technology, like its first-of-the-kind nano-scale diaphragm with Double Fluxor Magnet Arrays that nearly double the driving power. The sound is breathtaking and many listeners are shocked by its extreme you-are-there spaciousness, powerful bass, rich midrange, and an open and extended top that renders music that permeates the soul. Writer's Choice Award at Headphone.Guru.


    Exclusive LCD-4 planar magnetic technology


    Acoustically engineered for accuracy

    The LCD-4 is far and away Audeze's most advanced headphone featuring innovative planar magnetic technology that delivers startling dynamics and incredibly open and spacious sound.


    Near weightless nano-scale diaphragm

    The LCD-4 features our most advanced diaphragm design; our exclusive nano-scale film actually weighs less than the air it displaces! Benefits include faster response times for better imaging, and the flattest, deepest, most accurate bass response of any headphone available.


    Audeze nearly doubles the magnetic driving force

    Double-Fluxor Magnet Arrays focus the magnetic flux to a previously unheard of 1.5 Tesla, nearly doubling the power driving the diaphragm for improved transient response and far greater resolution.


    Near zero distortion

    Patented Fluxor Magnet Arrays focus the magnetic flux nearly doubling the power driving the diaphragm for even lower distortion and greater accuracy.


    Internal soundwaves

    Patented Fazor Elements guide internal headphone soundwaves to avoid resonance for a more accurate waveform.


    Designed, engineered and handcrafted in our California factory

    The LCD-4 headphone is thoroughly engineered and meticulously hand-built using the finest, most luxurious materials combined with cutting-edge planar magnetic technology. It takes four weeks to finish the beautifully-finished 30-year-old Macassar Ebony wood rings, a dense finely-textured hardwood with a very smooth finish when polished. We closely match transducers, then match our rings by grain and color. We match earpads by leather texture and color. Choose real lambskin leather or microsuede headbands. The earpads are filled with carefully chosen acoustical foam. Pair the LCD-4 with our King Headphone Amplifier for a breathtaking experience.


    Industrial Design by Audeze

    You'll be proud of how the LCD-4 sounds; it's imbued with sophisticated looks and beautiful hand-made rings manufactured at our facility. The quality of the entire structure guarantees years of trouble-free listening. Our cutting-edge designs and circuit technologies have created a breathtakingly beautiful sounding headphone.


    This item is not eligible for discount.



    Audeze Headphones
    $3,995.00
    LCD-4 Headphones with Travel Case Buy Now
  • Keep It Like A Secret Keep It Like A Secret Quick View

    $18.99
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    Keep It Like A Secret

    Doug Martsch is enough of a guitar god to fill Keep It Like a Secret, one of indie rock's strongest 1999 major-label releases, with blazing solos. He's also ambivalent about the whole thing, which allows him to highlight the album with You Were Right, a despairing litany of classic-rock lyrical hooks.


    Most guitar heroes make their mark by doing something extravagant, like playing with their teeth or with their instrument in flames. Doug Martsch of Boise, Idaho's Built to Spill has acquired his guru status by simpler means--he combines his trippy, meandering guitar style with classic pop structures. Doug Martsch also wins points for singing about small-scale moments as well as huge moral abstractions, from watching TV to contemplating the center of the universe. By subtly balancing the forest of dense guitars with Doug Martsch's oddly prosaic yet uncannily beautiful singing, Built to Spill hold the rare achievement of making music that's rooted yet allows you to fly. Time Trap begins with a harplike guitar line floating above a heavy wave of distortion, drifts into a reggae pattern, and eventually rises to the high step of musical theater. The charming and funny You Were Right decides once and for all which of the classic-rock clichÉs ring true. You were wrong when you said, 'Everything's going to be all right' / You were right when you said, 'We're all just bricks in the wall.' It is a richly deserved analysis from alt rock's heroic Everyman.

    1. The Plan
    2. Center Of The Universe
    3. Carry The Zero

    4. Sidewalk
    5. Bad Light
    6. Time Trap

    7. Else
    8. You Were Right
    9. Temporarily Blind

    10. Broken Chairs
    Built To Spill
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Blackest Beautiful The Blackest Beautiful Quick View

    $19.99
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    The Blackest Beautiful

    LP Contains CD Of Full Album.


    From the streets of Inglewood CA come letlive. Their self-produced and released debut Fake History was picked up by Epitaph in 2011,and quickly established the band as a force to be reckoned with, inheritors of that uncategorizable blend that made bands like the Deftones, Mars Volta and Rage Against the Machine so crucial.


    Such was the rapt reception for the album that by end of year frontman Jason Aalon Butler was being named the #1 rock star in the world by Kerrang (yes, #1,that's not a typo). Mixing hardcore punk, metalcore, and even jazz and R&B influences in their sound (Jason's dad was a well-known LA bandleader who pioneered rock/soul crossover with Eric Burdon), letlive.'s melting pot of influences reflects the melting-pot Los Angeles neighborhood in which the band came together.


    Now with their proper debut on the label, The Blackest Beautiful, the band comes fully prepared with a mammoth sonic attack, produced by longtime co-conspirator Kit Walters and mixed by pop guru
    Stephen George (Britney Spears, Michael Jackson).


    Opening salvo "Banshee (Ghost Frame)" announces a band that has remained loyal to their hardcore origins, while tracks like "Younger" and "Pheromone
    Cvlt" display a new melodic sophistication.

    1. Banshee (Ghost Fame)
    2. Empty Elvis
    3. White America's Beautiful Black Market
    4. Dreamers Disease
    5. That Fear Fever
    6. Virgin Dirt
    7. Younger
    8. The Dope Beat
    9. The Priest And Used Cars
    10. Pheromone Cvlt
    11. 27 Club
    Letlive
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • Inferno Inferno Quick View

    $22.99
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    Inferno

    Former MEGADETH guitarist Marty Friedman will release Inferno, his first solo album of original material in four years, via Prosthetic Records. The album was recorded primarily in Los Angeles with engineer Chris Rakestraw (DANZIG, CHILDREN OF BODOM) and mixed by Jens Bogren (OPETH, AMON AMARTH) - features what Friedman recently told Guitar World is the most intense writing and playing I can do. The album also includes notable guest appearances by several artists influenced by Friedman, including flamenco/metal acoustic guitar duo RODRIGO Y GABRIELA, CHILDREN OF BODOM frontman Alexi Laiho, SKYHARBOR mastermind Keshav Dhar and REVOCATION guitar whiz David Davidson, as well as Friedman's first songwriting collaboration with Jason Becker since the pair played together in CACOPHONY, the pioneering duo of guitar mayhem.


    In addition, Inferno breaks all genre rules and creates new ones with an exhilarating and musically daring mash-up with Jørgen Munkeby of the acclaimed blackjazz act SHINING, as well as two tracks featuring vocals by rock guru Danko Jones. Overall, Inferno is by fa Friedman's most thrilling and adventurous effort to date.


    - Blabbermouth

    1. Inferno
    2. Resin
    3. Wicked Panacea (feat. Rodrigo y Gabriela)
    4. Steroidhead (feat. Keshav Dhar)
    5. I Can't Relax (feat. Danko Jones)
    6. Meat Hook (feat. Jørgen Munkeby)
    7. Hyper Doom
    8. Sociopaths (feat. David Davidson)
    9. Lycanthrope (feat. Alexi Laiho & Danko Jones)
    10. Undertow
    11. Horrors (co-written by Jason Becker)
    12. Inferno (reprise)

    Marty Friedman
    $22.99
    Vinyl LP - Sealed Buy Now
  • Little Games Little Games Quick View

    $21.99
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    Little Games

    By the time Jimmy Page joined the Yardbirds in 1966, the group was already firmly established as one of the era's most innovative and creatively adventurous British bands. The addition of Page allowed the band's heady mix of blues and psychedelia to coalesce into an edgy approach that laid the stylistic groundwork for Page's next band, Led Zeppelin (who were known as the New Yardbirds in their early days).


    The Yardbirds' 1967 release Little Games - produced by noted British pop guru Mickie Most - is the band's only album to be recorded entirely with Page as a member, and the only one to feature the group's final lineup of Page and founding members Keith Relf, Chris Dreja and Jim McCarty. Little Games is also a transitional effort that find the Yardbirds delving into an array of sounds and styles, from gritty blues-rock (Drinking Muddy Water) to swirly psychedelia (Glimpses) to introspective balladry (Only the Black Rose).


    Several of the album's tracks can now be seen as sonic blueprints for Led Zeppelin, e.g. Tinker, Tailor, Soldier, Sailor and Glimpses, both of which feature the distinctive guitar bowing technique for which Page would soon become famous. Page's acoustic instrumental showcase White Summer would later become a frequent feature of Led Zeppelin's live performances. The album also features Page's future Zep band mate John Paul Jones on bass, cello and string arrangements, along with guest appearances by UK session aces Nicky Hopkins and Clem Cattini.

    1. Little Games
    2. Smile On Me
    3. White Summer
    4. Tinker, Tailor, Soldier, Sailor
    5. Glimpses
    6. Drinking Muddy Water
    7. No excess Baggage
    8. Stealin', Stealin'
    9. Only The Black Rose
    10. Little Soldier Boy
    The Yardbirds
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Offramp Offramp Quick View

    $25.99
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    Offramp

    This 1982 recording by the Pat Metheny Group represented a crossroads for the guitarist, a creative expansion from his original concept in terms of acoustic and electric instrumentation, folksy roots material and modern jazz influences, American and third world sources. Having thus marked out the territory for a decade's worth of experimentation and growth, the Metheny Group cemented its standing on the cutting edge of contemporary jazz with Offramp. Lyle Mays' harmonica-like synth theme, Metheny's soaring, vocalized synth-guitar lead, some rich orchestral touches, and an easygoing blend of backbeat and chord changes made Are You Going with Me? one of Metheny's most enduring arrangements. Still, for every gentle, alluring set piece, such as the tangolike Au Lait or the rural vistas of James, there was a visceral, emotive free-for-all like the title track, where Metheny unleashed wild, wailing synth guitar elisions over a loose, abstract pulse--anticipating the energy of the guitarist's collaboration with free jazz guru Ornette Coleman some four years hence on Song X. --Chip Stern
    1. Barcarole
    2. Are You Going With Me?
    3. Au Lait
    4. Eighteen
    5. Offramp
    6. James
    7. The Bat Part II
    Pat Metheny
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Transatlanticism: 10th Anniversary Edition Transatlanticism: 10th Anniversary Edition Quick View

    $27.99
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    Transatlanticism: 10th Anniversary Edition


    Reissued For Its 10th Anniversary After Being Out Of Print For Years.


    Comes With 12-page Full-color Booklet


    As musical lunacy goes, things have gotten as crazy as it gets for Death Cab for Cutie since 2002's You Can Play These Songs with Chords compilation. A wildly successful tour with Dismemberment Plan, a collaboration for singer Ben Gibbard with emo-electronic guru Dntel under the Postal Service moniker, and a whole new legion of fans swooning to Gibbard's lyrics as if he were a modern day answer to Kiss Me-era Robert Smith have all amassed considerable hype around Transatlanticism.


    But the group proves themselves more than equal to the task, answering the call and proving the cynics wrong with their most focused and most mature work in their entire catalog. Transatlanticism wastes absolutely no time and dives in head first with The New Year, one of the most melodramatic openings to an album since the Smashing Pumpkins' Tonight, Tonight from Mellon Collie and the Infinite Sadness. The mellow, mixed-meter percussion and dense atmosphere of Lightness is a brilliant lead into the pop-happy Expo '86 and The Sound of Settling before setting up the climatic and intensely dramatic title track. Unconsciously taking a page from Blur's Sing, the hypnotic drumming and guitar call and responses through the eight-minute climax of the album are backed with a singalong finale that unquestionably will have every audience on the next tour singing along and holding up their lighters.


    And while most albums would be left exhausted after such a track, the group keeps things moving, albeit at a much slower pace than compared to the anthems that packed the first half. Gibbard seamlessly makes the transition between songs that full out rock to songs that are comparable to Elliott Smith's finest hour with great ease. But it's Gibbard's poetic lyrics and signature introspection that remain a bench mark for Death Cab; and it's the group's maturity as musicians as well as songwriters that make Transatlanticism such a decadently good listen from start to finish. The band has never sounded more cohesive, the track sequencing is brilliant, and it caps off a triumphant year for not only Gibbard, but a band whose time and greater recognition is finally due.


    - Rob Theakston (All Music Guide)

    LP 1
    1. The New Year
    2. Lightness
    3. Title And Registration
    4. Expo '86
    5. The Sound Of Settling
    6. Tiny Vessels


    LP 2
    1. Transatlanticism
    2. Passenger Seat
    3. Death Of An Interior Decorator
    4. We Looked Like Giants
    5. A Lack Of Color

    Death Cab For Cutie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Opening Opening Quick View

    $18.99
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    Opening

    For years, I've imagined the work I do in music, photography, and video all coming into one space, says music-tech guru Christopher Willits from his home in San Francisco. It's an ambition that many musicians have aspired to, but nonetheless seems especially befitting of a worldly polymath like Willits. I believe that sound and light, when used intentionally, have the power to transform and inspire our imaginations, he continues. I believe that art has an ability to awaken our connection to everything. And that is exactly what he has set out to do with OPENING, the veteran Ghostly artist's immersive new audio-visual project.


    Across seven tracks of widescreen ambient music, 45 minutes of visuals shot over four years in multiple countries, seven bespoke photographs, and a multi-sensory live performance, Willits has conceived and produced something which might better be thought of as an experience than a simple album. Of course, OPENING does feature Willits' latest music since Ancient Future, his 2012 collaboration with Japanese pianist Ryuichi Sakamoto, and the vibrant, enveloping sounds we've come to expect from him are on full display. The quiet majesty of Vision ushers us into the sacred world Willits created, a living universe which billows and heaves in the corners of slow-grooving songs like CLEAR and CONNECT or the
    textural minutiae and harmonic subtleties in GROUND. Closing out the album, WIDE and RELEASE o!er the listener a gentle comedown through 15 cumulative minutes of transcendent audio, with Willits' delicate guitar manipulations breathing life into the aether of prickly atmospheres and soft-glowing synths.


    The other integral facet to the experience of OPENING is Willits' visual work. After building a library of footage and images from his travels around California, Hawaii, Japan, and Thailand, Willits will unveil for the first time a portion of his videos as an abstract film, the seven scenes of which each correspond with a song and photo from the album. The
    45-minute piece uses music and a first-person perspective to tell what Willits calls a very ambiguous story, much in the vein of ground-breaking experimental films Koyaanisqatsi and Baraka. Taken as a whole, OPENING is unlike anything Willits has accomplished before, and maybe that's because the audio-visual project is about expanding one's mind to become something new. Or, as Willits puts it, OPENING is about transformation, the experience of changing oneself to be more of who you know you can be, and, ultimately, the joy that comes with that change.

    1. Vision
    2. Clear
    3. Ground
    4. Now
    5. Connect
    6. Wide
    7. Release
    Christopher Willits
    $18.99
    Vinyl LP - Sealed Buy Now
  • What's Going On (Pure Pleasure) What's Going On (Pure Pleasure) Quick View

    $34.99
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    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.



    This title is not eligible for discount.

    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)
    The Dirty Dozen Brass Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Love Devotion Surrender (Speakers Corner) Love Devotion Surrender (Speakers Corner) Quick View

    $34.99
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    Love Devotion Surrender (Speakers Corner)

    For some, Love Devotion Surrender is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of Love Supreme, Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition Naima is performed in a flowing and inspired manner by the duo on their acoustic guitars.



    The arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song Let Us Go Into The House, they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form.



    Musicians:



    • Mahavishnu John McLaughlin (guitar, piano)

    • Carlos Santana (guitar)

    • Larry Young (organ)

    • Doug Rauch (bass)

    • Armando Peraza (conga)

    • Billy Cobham, Don Alias, Jan Hammer, Mike Shrieve (drums)



    Recording: 1973 by Glen Kolotkin

    Production: Mahavishnu John McLaughlin & Carlos Santana



    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.


    This title is not eligible for discount.

    1. A Love Supreme
    2. Naima
    3. The Life Divine
    4. Let Us Go Into the House of the Lord
    5. Meditation
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To Legends Of Indian Music Rough Guide To Legends Of Indian Music Quick View

    $19.99
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    x

    Rough Guide To Legends Of Indian Music

    India's classical music is deeply bound to the country's mystical ancient traditions. Stretching back through time to the Vedic period musical historians encounter the Rigveda, an ancient collection of Sanskrit hymns, and the Sama Veda, a text which begins to discuss the origin of seven shruti (notes) from the sounds of nature. The practice of combining tones in certain sequences and the notation system that was developed during this era is connected to the development of the Indian classical raga form. 'Raga' literally translates as a 'hue' of colour and is a musical method of constructing melody through prescribed conventions. Ragas are linked to different moods and times of the day. Amjad Ali Khan's 'Raga Chhaya Nat' is in the Hindustani (North Indian) chhayanat mode and illuminates his crystalline prowess on the sarod, a stringed lute that is played with a plectrum. Uppalapu Srinivas' song 'Sankari Sankuru' is played on his mandolin in saveri raga, which is said to bring about the mood of pity and was originally composed by one of Carnatic (South Indian) music's greatest figures Syama Sastri (1762-1827). Indian Classical Legends Shivkumar Sharma, Hari Prasad Chaurasia and Brij Bhushan Kabra are heard delicately delivering a Hindustani bhairav raga on 'Ahir Bhairav'. This raga is related to Sikh tradition from northern India and appears in the Guru Granth Sahib (the central religious text of Sikhism). Ravi Shankar's radiant sitar shines bright on the fast-paced track 'Devgiri Bilawal Dhun'. Shankar's name and ascendant international career is now synonymous with Indian classical music. Widely regarded as a musical sage or pandit, his definition of raga touched upon its vast and complex nature, describing it as a 'scientific, precise, subtle and aesthetic melodic form'. Another sitar scholar, Vilayat Khan is heard on 'Dhun Punjabi Ang'. The Khan musical lineage traces all the way back to the court musicians of the Mughal Empire. Father and son duo Allah Rakha and Zakir Hussain enter into percussive playoff on the live track 'Ek Taal'. Tabla virtuouso Zakir Hussain remains grounded by the musical discipline and natural flair he inherited from his father who he regarded as 'a spirit who was created to work for music by God'. Carnatic vocalist Dr M. Balamuralikrishna's marvellously melodic instrument sparkles on 'Sadhathava Pada'. His formidable range and versatile tone mark him out as a legendary singer. He is also credited with popularising the jugulbandi concept in Indian classical music - when two soloists of equal skill perform together. Riverboat Records artist Jyotsna Srikanth contributes 'Annapoorne', a work crafted by the famous Carnatic composer, Muttuswami Dikshitar. The subject matter concerns Annapoorne, the Hindu goddess of nourishment. The raga used is sama, one that denotes peace. Uncover the mystery and beauty of India's verdant classical tradition on this excellent introduction to one of the world's most valuable musical repertoires.
    1. Ravi Shankar: Devgiri Bilawal Dhun
    2. Allah Rakha & Zakir Hussain: Ek Taal (Live)
    3. Shivkumar Sharma, Hari Prasad Chaurasia & Brij Bhushan Kabra: Ahir Bhairav
    4. Bismillah Khan & Vilayat Khan: Thumri Bhairavin
    5. U. Srinivas: Sankari Sankuru
    6. Vilayat Khan: Dhun Punjabi Ang
    Various Artists
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Amigos (Speakers Corner) Amigos (Speakers Corner) Quick View

    $34.99
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    Amigos (Speakers Corner)

    Santana's music is like the game of Mikado - a tight bundle of pieces in various styles that is difficult to handle, even for experienced musicians. No whether the sticks are labelled funk, jazz, rock, R & B, or folk: when you try to pick out just one of these, the whole lot vibrates alongside.



    It seems relatively simple (and is often attempted) to try and sort out track lists according to more or less commercially oriented compilations. And having fastidiously set up the ranking and astutely discussed it in your circle of friends, you can sit back and enjoy the brilliant guitar sound of such blockbusters as Caravanserai or Welcome - quality rules the day!



    In his seventh album the guitar guru is once again surrounded by numerous freshly recruited supporting musicians and the star producer David Rubinson. The latter watches carefully over the development of this project, which is highly reminiscent of the early Santana sound. A perceptible infatuation with the vocals, or the wealth of buzzing, pulsating, clattering, clicking rhythms, or yet again the inimitable bubbling, frothy guitar solos: a Santana LP is simply unthinkable without all this. Why then should one try to pick out the various styles, genres or consumer groups when this record belongs to his best and most important six, seven - or maybe even eight? At the end of the day, we all remain amigos with Santana.



    Musicians:



    • Devadip Carlos Santana (guitar, vocals, percussion, conga)

    • Tom Coster (keyboards)

    • Ndugu Leon Chandler (drums, percussion, conga)

    • Armanda Peraza (conga, percussion, vocals)

    • David Brown (bass)

    • Greg Walker (vocals)




    Recording: 1976 at Wally Heider Recording Studios, San Francisco, by Fred Catero and David Rubinson

    Production: David Rubinson & Friends, Inc.




    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.


    This title is not eligible for discount.

    1. Dance Sister Dance (Baila Mi Hermana)
    2. Take Me with You
    3. Let Me
    4. Gitano
    5. Tell Me Are You Tired
    6. Europa (Earth's Cry Heaven's Smile)
    7. Let It Shine
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Love From With The Dead Love From With The Dead Quick View

    $29.99
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    x

    Love From With The Dead

    With the Dead - Love From With the Dead


    Doom is all around us. The optimism of a new millennium has steadily disintegrated. The light at the end of the tunnel turned out to be a burning tower block and the powers-that-be are dancing in the smouldering ruins. Humanity is eating itself and we're all terminally fucked. As a result, it makes perfect sense that the emergence of British doom metal mavens With The Dead would strike a dissonant chord with so many people. Formed in 2014 by former Cathedral/Napalm Death frontman and Rise Above Records boss Lee Dorrian and ex-Electric Wizard/Ramesses bassisit/guitarist Tim Bagshaw, the band coalesced in a monetary burst of spontaneity and shared fury, resulting in the release of their eponymous debut album in 2015: one of that year's most widely acclaimed releases and a welcome shot in the arm for fans of merciless, unrelenting sonic despair.


    "We were very happy with the way the first album was received," says Lee. "To be honest, there were no real expectations with the first LP. It's hard to explain. We just got together and did it. There was no big anticipation. We knew it was going to be well received by certain people, just because of the sheer heaviness of it, but we didn't think it would get the reaction it did. It sold really well and got a good response all around. It came together so strangely and so fast. We hadn't gone round, sweating in the clubs, although we've all done that previously. The record came out on Rise Above so it was easy and there were no demands from anyone except ourselves. The important thing is, we didn't want it to be seen as some novelty project band."


    Hell-bent on staking a further claim to be doom metal's most intense and remorseless practitioners, With The Dead have now completed work on their second album, Love From With The Dead. Comprising tracks recorded during two separate sessions with celebrated studio guru Jaime Gomez Arellano, the new material represents the first fruits of the band's recently retooled line-up. Joining Lee and Tim are bassist Leo Smee and drummer Alex Thomas, who replaces the departed Mark Greening. As Lee explains, the band's new incarnation generated great chemistry from the start.


    "Tim came over from New Jersey, where he still lives, and we booked four nights' rehearsals with Leo and Alex to see how it was going to work. Literally, on the first night, they had the whole set nailed within three or four hours. It sounded better than ever before, too. So the next three nights were pointless and we didn't need them, so we spent the time going over ideas for new songs and by the end we had four brand new songs. It was crazy. Then we thought 'While Tim's over, let's go in the studio and record them ' Luckily, Gomez was free and we went over to his studio and recorded the four new tracks, they're the last four on the album, and it was all done just like that. The other three tracks were recorded nearly a year later, again with just one night's rehearsal. It was all done super quick."


    For those who flinched at the sheer, unforgiving brutality of With The Dead's first record, the songs on Love From With The Dead are liable to cause major emotional trauma. Darker, denser, more despondent and sickeningly heavy in numerous senses of the word, this is an album that re-establishes doom as a genre that embraces the extreme and not just some cosy, nostalgic reimagining of the early '70s. From opener Isolation's slithering howl of torment and the crushing, schizophrenic barrage of Egyptian Tomb through to the expansive, drone-driven horrors of the closing CV1 (a mournful lament to Lee Dorrian's home city of Coventry that features a guest appearance by home-town comrade and electro-noise maverick Russell Haswell), Love From With The Dead grimly extinguishes the light of hope and hammers home the hatred and futility that plagues our brief and brittle lives.


    "The thinking was that the first LP was meant to be the heaviest we could possibly make, but then what do you next?" Lee muses. "Well, the only thing you can do is make the next one even heavier. So that was the ambition and the intention, to make it even more crushing. But to be able to do that you have to be crushed yourself. This last couple of years have been quite soul-destroying. There's been a lot of personal shit going on, and during this whole process so much fucking bad shit has happened in my personal life and other people's personal lives. Everything you hear on this LP, the angst is very real. I've never felt so disillusioned with life and the world around me, not since the first Cathedral album!"


    Irrefutable evidence that With The Dead are a formidable and substantial proposition, the quartet's second album could hardly provide a more apposite soundtrack to the deeply fucked up and irrevocably dysfunctional state of the world in 2017. Both a fine example of the simple, savage power of the riff and an authentic outpouring of anger, bitterness, bile and vivid existential dread, it is the living, breathing, screaming embodiment of heaviness itself. Cometh the hour, cometh the bringers of doom


    "I'm 50 next year and you're supposed to mellow out when you get older, but why?" Lee asks. "I don't feel like mellowing out. The world's getting worse, the atmosphere is getting heavier, people treat each other like shit and there's so much negativity, how are you supposed to chill out when all that's going on? I'm in a privileged position to be able to be in a band like this, so why fuck around? The band's called With The Dead and it's a doom band, why would you want to mellow out? It's got to be pure nihilism or nothing."


    Dom Lawson, July 2017.

    1. Isolation
    2. Egyptian Tomb
    3. Reincarnation of Yesterday
    4. Cocaine Phantoms
    5. Watching the Ward Go By
    6. Anemia
    7. CV1
    With The Dead
    $29.99
    Vinyl LP - Sealed Buy Now
  • Condolences (Gray w/Black Splatter) Condolences (Gray w/Black Splatter) Quick View

    $29.99
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    Condolences (Gray w/Black Splatter)

    Pressed On Gray Vinyl With Black Splatter


    A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.


    "All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"


    After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.


    MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.


    Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.


    "It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."


    In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.


    "The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."


    Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.


    "It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"

    1. Last Rites
    2. What The Night Brings
    3. Cadaverous
    4. Blood Sick
    5. Good Riddance
    6. You Breathe, I Kill
    7. Omen Amen
    8. Cruel To You
    9. Eulogy XIII
    10. Prey For Me
    11. Lonesome Road To Hell
    12. Condolences
    13. Death Infinity
    Wednesday 13
    $29.99
    Colored Vinyl LP - Sealed Buy Now
  • Wake Up... It's Tomorrow Wake Up... It's Tomorrow Quick View

    $24.99
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    Wake Up... It's Tomorrow

    A VAULT OF VINTAGE PSYCHEDELIA on 180 Gram Vinyl!


    The Strawberry Alarm Clock's unique sound-full of beautiful, day-glo pop surrounding jagged, fuzzy guitars and organs, among other garage-rock influences-is explored through a number of dreamlike gems contained in these three volumes, all presented as originally issued! Their smash "Incense and Peppermints," which reached #1 in late 1967 and remained in the Billboard pop chart for 16 weeks, is included on The Best of Strawberry Alarm Clock, and Wake Up...It's Tomorrow and The World In A Sea Shell contain fan favorites (and '60s psych gold) like "Love Me Again," "Sea Shell," "Barefoot in Baltimore," "Sit With the Guru," and many more-all mastered from the stereo UNI reels in definitive 180 gram editions!


    Wake Up...It's Tomorrow, The Strawberry Alarm Clock's second album, is what many fans consider the most ambitious musical statement of the band's career. Includes "Tomorrow," "Sit with the Guru," and the haunting "Pretty Song from Psych-Out," theme of the cult-classic film of the same name, on 180 gram vinyl.

    1. Nightmare of Percussion
    2. Soft Skies, No Lies
    3. Tomorrow
    4. They Saw the Fat One Coming
    5. Curse of the Witches
    6. Sit With The Guru
    7. Go Back (You're Going the Wrong Way)
    8. Pretty Song from Psych Out
    9. Sitting on a Star
    10. Black Butter, Past
    11. Black Butter, Present
    12. Black Butter, Future
    The Strawberry Alarm Clock
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Best Of The Strawberry Alarm Clock The Best Of The Strawberry Alarm Clock Quick View

    $24.99
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    The Best Of The Strawberry Alarm Clock

    A VAULT OF VINTAGE PSYCHEDELIA on 180 Gram Vinyl!


    The Strawberry Alarm Clock's unique sound-full of beautiful, day-glo pop surrounding jagged, fuzzy guitars and organs, among other garage-rock influences-is explored through a number of dreamlike gems contained in these three volumes, all presented as originally issued! Their smash "Incense and Peppermints," which reached #1 in late 1967 and remained in the Billboard pop chart for 16 weeks, is included on The Best of Strawberry Alarm Clock, and Wake Up...It's Tomorrow and The World In A Sea Shell contain fan favorites (and '60s psych gold) like "Love Me Again," "Sea Shell," "Barefoot in Baltimore," "Sit With the Guru," and many more-all mastered from the stereo UNI reels in definitive 180 gram editions!


    The Best of Strawberry Alarm Clock is a vintage collection from 1970 that includes key tracks from all four of the band's albums-"Incense and Peppermints" among them-plus the rarely heard non-LP singles "Desiree" and "Starting Out the Day," now on 180 gram vinyl.

    1. Incense & Peppermints
    2. Tomorrow
    3. Sit With the Guru
    4. Miss Attraction
    5. Desiree
    6. Pretty Song From Psych-Out
    7. Good Morning Starshine
    8. Barefoot in Baltimore
    9. Seashell
    10. Birds in My Tree
    11. An Angry Young Man
    12. Starting Out the Day
    The Strawberry Alarm Clock
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The World In A Sea Shell The World In A Sea Shell Quick View

    $24.99
    Buy Now
    x

    The World In A Sea Shell

    A VAULT OF VINTAGE PSYCHEDELIA on 180 Gram Vinyl!


    The Strawberry Alarm Clock's unique sound-full of beautiful, day-glo pop surrounding jagged, fuzzy guitars and organs, among other garage-rock influences-is explored through a number of dreamlike gems contained in these three volumes, all presented as originally issued! Their smash "Incense and Peppermints," which reached #1 in late 1967 and remained in the Billboard pop chart for 16 weeks, is included on The Best of Strawberry Alarm Clock, and Wake Up...It's Tomorrow and The World In A Sea Shell contain fan favorites (and '60s psych gold) like "Love Me Again," "Sea Shell," "Barefoot in Baltimore," "Sit With the Guru," and many more-all mastered from the stereo UNI reels in definitive 180 gram editions!


    World In A Sea Shell: More gentle grooves and soaring voices! An adventurous mixture of psychedelia and lush pop, The World In A Sea Shell includes "Love Me Again," a nod to their earlier, harder sound, plus "Sea Shell," "Barefoot in Baltimore" and other day-glo psych masterpieces on 180 gram vinyl.

    1. Sea Shell

    2. Blues for a Young Girl Gone
    3. An Angry Young Man
    4. A Million Smiles Away
    5. Home Sweet Home
    6. Lady of the Lake
    7. Barefoot in Baltimore
    8. Wooden Woman
    9. Heated Love
    10. Love Me Again
    11. Eulogy
    12. Shallow Impressions
    The Strawberry Alarm Clock
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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