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ResolutionsMost audiences will recognize Dave Hause as the guitar player of Paint It Back or as the front man of the the influential punk band The Loved Ones. Since the disbandment of The Loved Ones, Dave has been busy crafting Resolutions. Resolutions is raw and emotional, and is already becoming a staple "must have" album in the adult punk rock community.1. Time Will Tell
3. C'mon Kid
4. Pray For Tucson
6. Prague (Revive Me)
7. Heavy Heart
8. Years From Now
9. Rankers & Rotters
10. Meet Me At The Lanes$14.99Vinyl LP - Sealed Buy Now
Bury Me In Philly
Ultra Clear Vinyl
Dave Hause has a new album on the way: 'Bury Me In Philly' will be released via Rise Records.
The album was co-produced by The Hooters' Eric Bazilian ("a childhood local hero"), and William Wittman, who's previously worked on albums by Mick Jagger, Cyndi Lauper, and others.1. With You
2. The Flinch
3. My Mistake
4. The Mermaid
5. Shaky Jesus
6. Divine Lorraine
7. Dirty Fucker
8. The Ride
9. Helluva Home
10. Wild Love
11. Bury Me In Philly$18.99Colored Vinyl LP - Sealed Buy Now
Blue Colored Vinyl
The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as three chords and the truth. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair. In January of 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.
Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong. But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock, Sink Or Swim (2007), The '59 Sound (2008) and American Slang (2010), Fallon needed a change of pace, a change of scenery.
And so, in January of 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energized, renewed and ready to make a full-tilt rock 'n' roll record again.
After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up, he says with a laugh. The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single 45, which received it's world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60's soul, '70's stadium rock, '80s hardcore and '90's grunge into eleven white-knuckle, blue-collar everyman anthems. Fallon likens its incandescent electrical storms to Tom Petty songs (being) played by Pearl Jam. Put more simply, it's a supercharged American rock 'n' roll classic.
We've taken everything we do and gone to 10 with it, explains Fallon. This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again. I think these songs are the closest thing to what we should have always sounded like, adds guitarist Alex Rosamilia. We just hadn't figured out yet how to play it right.
Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible. Brendan taught us a ton about songwriting and recording as a band, Fallon notes. The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good.
The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana, all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticized vignettes of star-struck lovers disappearing into the great wide open, Handwritten is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. Now I am no angel but I got nothing to hide, the singer rasps on the brooding grunge-noir of Too Much Blood. Can you say the same thing for yourself tonight?
It's supposed to be a letter to whoever is listening, says Fallon. Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it. We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident.
And it's no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready. I've always been ready for arenas, Fallon smiles. I've just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it.1. 45
3. Here Comes My Man
4. Mulholland Drive
6. Too Much Blood
8. Biloxi Parish
11. National Anthem$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Mozart: Mass in C Minor (Speakers Corner) (Pre-Order)
It is not often that incomplete works enjoy great popularity. And it is even rarer that a torso should exercise such great importance in music history, but this is the case with Mozart's Great Mass, K. 427. The C minor Mass is always spoken of as if it were complete: it is spoken of with reverence, eyes looking towards Heaven, lost in the beauty of the music, transported to celestial heights. Mozart combines the compositional style of the Baroque masters with the more modern style of the Viennese Classic. Lofty arioso sections alternate with tremendous choral sections for up to eight parts whose splendid and spectacular timbre broke the bounds of tradition and set new standards for the genre.
This Mass is, of course, not merely performed but celebrated, as the Berlin RSO under its Principal Conductor Ferenc Fricsay has so admirably demonstrated in this recording. Precise entries, strict tempi, a polished orchestral timbre and vocal soloists so brilliant one might think they were standing in one's own front room lend this recording top marks for musical quality and repertoire value.
- Maria Stader
- Hertha Töpper
- Ernst Haefliger
- Ivan Sardi
- The Berlin Radio Symphony Orchestra
- Ferenc Fricsay (conductor)
Recording: September/ October 1967 at the Haus des Rundfunks, Berlin by Werner Wolf
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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
Cursing The Sea (Out Of Stock)Ships takes their fuzzy garage pop and colors it several shades darker, resulting in an ominous amphetamine-fueled dirge full of screeching guitars, metronomic basslines, and cooly detached vocals. The Girls' pare down their sound to its steely core on Ships, using angular guitar work to sharpen their sunniest melodies to a bleeding point, making this the most thrilling music they've released in their short existence." (Pitchfork)
Cursing The Sea, the debut album from Ireland's September Girls, is a dark kaleidoscope of echoey drums, buzzsaw bass, angular guitars and reverb-drenched vocals that blends garage rock and post-punk to extraordinary effect. Paula (Bass/Vocals), Caoimhe (Guitar/Vocals), Lauren (Keys/Vocals), Jessie (Guitar/Vocals) and Sarah (Drums) draw inspiration from the likes of Phil Spector, The Velvets, The Cure, MBV and The Jesus And Mary Chain and play reverb-soaked noise-pop of the finest order. Formed in Dublin in 2011, the band quickly began booking gigs in Ireland and the UK, before releasing a handful of well-received limited edition singles on various cassette and 7" labels around the world, most recently on the Haus of PINS cassette label run by their kindred spirits PINS, with whom the band have also toured. This release, for the song "Ships", gave the band their biggest press to date, with a glowing review on Pitchfork. With four different songwriters and singers, each song begins with a secret life of its own, only to be unified by the distortion-drenched harmonies and hazy pop stylings of the band.
Whirling around in a tornado of fuzz, dazzling harmonies, disarming lyrics and dizzying excitement, Cursing the Sea is awash with enough attitude and great songs to see September Girls safely to shore. Huge amount of UK Press including NME, Uncut, Sunday times, The Guardian, The Observer, Clash and many more.1. Cursing The Sea
2. Another Love Song
3. Left Behind
5. Green Eyed
10. Someone New
11. Secret Lovers
12. Sister$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Don't Blame Me (Out Of Stock)Europe`s Best Jazz Singer in concert 1958-1962: Ten unreleased concert recordings and two live recording sessions of Inge Brandenburg (1929-1999), voted for "Europe`s best female jazz singer" at the festival of Juan-Le-Pins 1960. The singer live in Berlin and Frankfurt with piano trio, combo or
orchestra, featuring Rolf LÜttgens Trio, RIAS Orchestra/ Werner MÜller, RIAS combo and Dieter von Goetze trio. Soulful vocal jazz including S`Wonderful, Lover Come Back To Me, Secret Love or Summertime. Limited vinyl LP, carefully restored and remastered in 2014, comes with unreleased archive photos and new sleeve notes.
Inge Brandenburg (1929-1999) was the most important German jazz singer of the 50s and 60s, blessed with creative spontaneity, unique vocal timing and great artistic expression. Her vocal style was unique and with her dark timbre she celebrated the real blues. This CD and LP presents a survey of the singer`s completely unknown or rare live recordings, taped 1958-1962 in Berlin and Frankfurt am Main, at the peak of her short and tragic career as a jazz artist. Her performance at the sixth German Jazz Festival in 1958 was considered to be her breakthrough. Three tracks out of twelve were recorded
at this concert. Inge Brandenburg was accompanied there by the excellent trio of pianist Rolf LÜttgens, featuring legendary bassist Peter Trunk and Rudi Sehring, one of the best German drummers of the post-war period.
Largely ignored by the German public during her final years, only seven people showed up at the funeral of Inge Brandenburg in 1999. Twelve years later, however, for the premiere of the first documentary film about her life (Sing, Inge, Sing), many hundreds of people crammed into a large hall. The crowd in Berlin's Haus der Kulturen der Welt was so great that the organizers had to offer an additional public viewing in the lobby cafe. The rediscovery of a German jazz heroine was celebrated at the glittering event - the "best European jazz singer in 1960", voted as such at the festival in Juan-Les-Pins, Southern France. Her inability to take control of her life is mirrored in the film, with the "broken dream" of Inge Brandenburg as a collection of bad occupational prospects, missed opportunities and private disasters. She was a highly talented artist with the right idea at the wrong time and in the wrong place.1. S'Wonderful
2. Lover Come Back To Me
3. Give Me The Simple Life
4. Pennies From Heaven *
5. Secret Love
6. Don't Blame Me
7. That Old Black Magic
8. Lover Man
9. Dancing On The Ceiling
11. There'll Never Be Another You*
All tracks previously unreleased, except *$29.99Vinyl LP - Sealed Temporarily out of stock