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Ranked 8/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Recorded in 1979 in London, which was then wrenched by surging unemployment and drug addiction, and released in America in January 1980, the dawn of an uncertain decade, London Calling is 19 songs of apocalypse, fueled by an unbending faith in rock & roll to beat back the darkness. Produced with no-surrender energy by legendary Seventies studio madman Guy Stevens, the Clash's third album skids from bleak punk (London Calling) to rampaging ska (Wrong 'Em Boyo) and disco resignation (Lost in the Supermarket).
The album was made in dire straits too. The band was heavily in debt and openly at war with its record company. Singer-guitarists Joe Strummer and Mick Jones wrote together in Jones' grandmother's flat. Joe, once he learned how to type, would bang the lyrics out, Jones said. Then I'd be able to bang out some music while he was hitting the typewriter. Strummer, Jones, bassist Paul Simonon and drummer Topper Headon spent nearly three months rehearsing and demoing songs in a garage in the Pimlico section of London - with one light and filthy carpet on the walls for soundproofing, recalled Strummer in 1989. We felt that we were struggling, he said, about to slide down a slope or something, grasping with our fingernails. But Stevens was on hand for inspiration. He threw chairs around the room if he thought a track needed zapping up, according to Strummer. The album ends with Train in Vain, a rousing song of fidelity (unlisted on the back cover because it was added at the last minute) that became the sound of triumph: the Clash's first Top 30 single in the U.S. - Rolling StoneLP 1
1. London Calling
2. Brand New Cadillac
3. Jimmy Jazz
5. Rudie Can't Fail
6. Spanish Bombs
7. Thr Right Profile
8. Lost In The Supermarket
10. The Guns Of Brixton
1. Wrong 'Em Boyo
2. Beath Or Glory
3. Koka Kola
4. The Card Cheat
5. Lover's Rock
6. Four Horsemen
7. I'm Not Down
8. Revolution Rock$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
NOW That's What I Call HalloweenPressed On 2x 180-Gram Orange & Purple Vinyl
NOW That's What I Call Music!, the world's best-selling multi-artist album series, is pleased to announce the upcoming release of NOW Halloween!, the NOW brand's spooktacular first foray into the tricks and treats of Halloween-themed rock and pop music, ranging from TV (True Blood) and movie themes (Halloween, The Exorcist, Beetlejuice) to novelty smashes (Monster Mash, Werewolves of London) to radio perennials (Season of the Witch, Don't Fear the Reaper, I Put a Spell on You).
NOW Halloween! showcases 18 Halloween-themed classic hits from a variety of artists including director John Carpenter's Theme from Halloween, Rob Zombie's Dragula, Saint Louis Symphony Orchestra & Chorus' O Fortuna, Mike Oldfield's Tubular Bells/Theme from The Exorcist, Blue Oyster Cult's (Don't Fear) The Reaper, INXS's Devil Inside, Jace Everett's Bad Things/Theme from True Blood, Warren Zevon's Werewolves of London, The Specials' Ghost Town, Oingo Boingo's Dead Man's Party, Bobby Boris Pickett and the Crypt-Keepers' Monster Mash, The Citizens of Halloween's This is Halloween, Donovan's Season of the Witch, Nina Simone's I Put A Spell On You, Danny Elfman's Beetlejuice: Main Title/End Title, Run-D.M.C.'s Ghostbusters, DJ Jazzy Jeff & The Fresh Prince's A Nightmare On My Street and Rockwell's Somebody's Watching Me.
The premium content--by the original artists--selected for NOW Halloween! has never been available on one collection until the release of this special anthology.
NOW That's What I Call Music! debuted in the U.S. in 1998, following 15 years of multi-platinum international success. The series has generated sales exceeding 250 million albums worldwide, including more than 96 million in the U.S. alone. All 55 previous releases in NOW's numeric U.S. series have reached Billboard's Top 10, and 19 volumes have reached No. 1.LP 1
1. John Carpenter - Halloween Theme
2. Rob Zombie - Dragula
3. Saint Louis Symphony Orchestra & Chorus - O Fortuna
4. Mike Oldfield - Tubular Bells (Theme From The Exorcist)
5. Blue Oyster Cult - (Don't Fear) The Reaper
6. INXS - Devil Inside
7. Jace Everett - Bad Things (Theme from True Blood)
8. Warren Zevon - Werewolves of London
9. The Specials - Ghost Town
10. Oingo Boingo - Dead Man's Party
1. Bobby Boris Pickett and the Crypt-Kickers - Monster Mash
2. The Citizens of Halloween - This is Halloween
3. Donovan - Season Of The Witch
4. Nina Simone - I Put A Spell On You
5. Danny Elfman - Beetlejuice: Main Title/End Title
6. RUN-D.M.C. - Ghostbusters
7. DJ Jazzy Jeff & The Fresh Prince - A Nightmare On My Street
8. Rockwell - Somebody's Watching Me$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Calendar GirlJazz critic Will Friedwald has stated that Julie London's records were so popular in the 1950s mainly because she looked so drop-dead gorgeous on the album covers. The marketing hook behind Calendar Girl may just be the main example for those critical of London's musical career, since its sleeve has made it a prized collector's item. The famous wraparound cover depicts cheesecake shots of London posed for every month of the year, while original issues of the album included a more-than-suggestive insert photo of the singer stretched out in bed. While Friedwald's correct about London's physical beauty, he's wrong in suggesting that the vocalist didn't have the talent to go along with her looks. Like Chet Baker, Julie London had an extremely limited vocal range but she did the most with what she had, possessing a special knack for torch songs that cast her in the role of a woman constantly being destroyed by love in general and by men in particular. The cover concept of Calendar Girl is carried over from the concept album, which features a narrative of romance lost and found for each month of the year before ending with one final tune called The Thirteenth Month (which is illustrated by that insert picture of London in bed). Since there aren't quality standards for every month of the year, one of Calendar Girl's pleasures can be found in the numbers written especially for the album, particularly those penned by Bobby Troup, London's husband. The jazz-oriented Troup hit pay dirt with such fine compositions as Route 66, Daddy, and The Meaning of the Blues, but too few of his smart, witty songs have been widely recorded. Calendar Girl is a fun, if often bittersweet, ride and a must-have for fans of classic vocal pop and lounge music.
- Nick Dedina (All Music)1. June In January
2. February Brings The Rain
3. Melancholy March
4. I'll Remember April
5. People Who Are Born In May
6. Memphis In June
7. Sleigh Ride In July
8. Time For August
9. September In The Rain
10. This October
11. November Twilight
12. Warm December
13. The Thirteenth Month$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Combat Rock (Awaiting Repress)
Newly Remastered By The Clash From Original Tapes To Audiophile Quality
All Artwork Recreated From Original Release Including Replicated Fully Printed Inner Sleeves With An Exclusive Pennie Smith Photo Print
On the surface of things, Combat Rock appears to be a retreat from the sprawling stylistic explorations of London Calling and Sandinista! The pounding arena rock of Should I Stay or Should I Go makes the Clash sound like an arena rock band, and much of the album boasts a muscular, heavy sound courtesy of producer Glyn Johns. But things aren't quite that simple. Combat Rock contains heavy flirtations with rap, funk, and reggae, and it even has a cameo by poet Allen Ginsberg -- if this album is, as it has often been claimed, the Clash's sellout effort, it's a very strange way to sell out. Even with the infectious, dance-inflected new wave pop of Rock the Casbah leading the way, there aren't many overt attempts at crossover success, mainly because the group is tearing in two separate directions. Mick Jones wants the Clash to inherit the Who's righteous arena rock stance, and Joe Strummer wants to forge ahead into black music. The result is an album that is nearly as inconsistent as Sandinista!, even though its finest moments -- Should I Stay or Should I Go, Rock the Casbah, Straight to Hell -- illustrate why the Clash were able to reach a larger audience than ever before with the record.
- Stephen Thomas Erlewine (All Music Guide)1. Know Your Rights
2. Car Jamming
3. Should I Stay Or Should I Go?
4. Rock The Casbah
5. Red Angel Dragnet
6. Straight To Hell
7. Overpowered By Funk
8. Atom Tan
9. Sean Flynn
10. Ghetto Defendant
11. Inoculated City
12. Death Is A Star$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Abnormally Attracted To SinAbnormally Attracted To Sin, Tori Amos' tenth studio album, is yet another innovative chapter in the artists trailblazing story. The album was produced by Amos and features longtime contributors Matt Chamberlain on drums, Jon Evans on bass, and Mac Aladdin on guitars. Once again she is joined in the studio by Mark Hawley and Marcel Van Limbeek who recorded and mixed the album at Martian Engineering in Cornwall, England. Abnormallly Attracted To Sin is sure to be regarded by fans and critics as another innovative chapter in the artists trailblazing career.
With more than 12 million albums sold, and commanding a significant and uniquely loyal audience from the rock, pop, alternative, and under-the-radar regions of the musicworld, Ms. Amos has influenced a new generation of artists in a myriad of platforms. Most recently, she was the catalyst for a one-of-a-kind anthology chronicling her career, the 500 page Graphic Novel, Comic Book Tattoo, featuring stunning visual interpretations of her songs by more than 80 artists, (including an introduction by friend and creative influence artist Neil Gaiman, creator of the Sandman series).
Her genre-shattering breakthrough in the early 1990s, including 1991s Me And A Gun EP, and 1992s masterwork, Little Earthquakes, single-handedly revived the piano-singer motif in rock music. Little Earthquakes went on to sell more than 3 million albums worldwide, with subsequent Grammy nominated albums such as Under The Pink (1994), 1996s Boys For Pele, 2001s Strange Little Girls and 2002s Scarlets Walk continuing to explore broader themes.
Nominated for multiple awards, including ten Grammys, Ms. Amos has been working on a musical for London's British National Theatre called The Light Princess tentatively scheduled to debut in 2010.1. Give
2. Welcome To England
3. Strong Black Vine
5. Not Dying Today
6. Maybe California
7. Curtain Call
8. Fire To Your Plain
9. Police Me
10. That Guy
11. Abnormally Attracted To Sin
12. 500 Miles
13. Mary Jane
15. Fast Horse
17. Lady In Blue$34.99Vinyl LP - 2 LPs Sealed Buy Now
The Rocky Horror Picture Show Soundtrack
Back In Print On Red Vinyl
For the 1975 film version of The Rocky Horror Picture Show, American producer Lou Adler wisely mixed the best of the London and Los Angeles stage versions, shooting the movie in England with Tim Curry and several of the other original cast members, plus Meatloaf (years before Bat Out of Hell), and Americans Barry Bostwick and Susan Sarandon as the innocent couple Brad and Janet. Adler also brought back original London stage musicians in place of the slick studio musicians who had marred the L.A. cast album. The film version resequenced the songs and reassigned some of the vocals, with Brad's song Once in a While dropped. But it all worked out fine. The strings that were added to ballads like Science Fiction/Double Feature only improved them; the rockers rocked out; Bostwick and Sarandon proved to be the best Brad and Janet ever; the original cast members, especially Curry, reveled in the opportunity to immortalize their portrayals; and Rocky Horror's potential as a witty parody of cheap movies, rock & roll, and sexual mores was fully realized. The film soundtrack album became the definitive version of the score, despite lacking the songs Planet Shmanet Janet and The Sword of Damocles. The Rocky Horror Picture Show was not successful in its initial theatrical run, but then a strange thing happened. In 1976, the Waverly Theater in New York's Greenwich Village began showing the film at midnight on Fridays and Saturdays. Soon, a cult of repeat viewers began turning up every week; they began to dress like the characters, call out their own comments at strategic moments, sing along, and add their own theatrical effects. The phenomenon spread across the U.S., with fans rivaling Trekkies and Deadheads for loyalty and eccentricity, and The Rocky Horror Picture Show took on a life Richard O'Brien never could have anticipated.
- William Ruhlmann (All Music Guide)1. Science Fiction/Double Feature
2. Dammit Janet
3. Over at the Frankenstein Place
4. Time Warp
5. Sweet Transvestite
6. I Can Make You a Man
7. Hot Patootie - Bless My Soul
8. I Can Make You a Man (Reprise)
9. Touch-A, Touch-A, Touch Me
11. Rose Tint My World
12. I'm Going Home
13. Super Heroes
14. Science Fiction/Double Feature (Reprise)$16.99Colored Vinyl LP - Sealed Buy Now
London SceneFela's London Scene, released in 1972, is another top-notch affair, made with a smaller band but one that punches above its weight. There is no tenor guitarist and no call-and-response choir, though sing-along vocals are a feature of "Egbe Mi O" ("please carry me"). Throughout, Fela's electric piano is gym-ripped and razor sharp, and Igo Chico turns in three stirring tenor solos. "Buy Africa," written in 1970, was one of Fela's first politically-informed songs. The lyric was written in support of a government campaign to encourage local industry. At this point, Fela remained open to accommodation with the state, on occasions when he deemed it to be in the Nigerian and pan-African interest. He even invited government sponsorship for "Buy Africa," but was rudely rebuffed by the politician he approached with the idea. The incident proved to be an important moment in shaping Fela's future relationship with the authorities. From 1972, he would no longer release accommodationist songs. From there on in, he would identify the status quo as the fundamental problem-a problem that could not be solved by government campaigns, but only by the complete overhaul, if not overthrow, of the government itself. "J'Ehin J'Ehin" ("eat teeth eat teeth") is along similar lyric lines as "Shakara." This time Fela is lampooning people who are so greedy that they eat their own teeth. (A more amiable Yoruba expression describes people who are so hungry that once they have finished their food they eat the plate). In "Who're You," Fela channels James Brown's vocal style over an angular funk groove. "Fight To Finish" draws on Yoruba folklore to offer advice: once you have started something, be prepared to finish it.1. J'Ehin-J'Ehin
2. Egbe Mio
3. Who're You
4. Buy Africa
5. Fight to Finish$19.99Vinyl LP - Sealed Buy Now
Give My Love To LondonLegendary British singer Marianne Faithfull will celebrate her storied career's 50th anniversary later this fall with the release of Give My Love to London.
As Marianne Faithfull's 20th studio album, Give My Love To London is the latest installment in an outstanding musical career. A characteristically far-reaching and eclectic offering, Give My Love To London is an album of emotional extremes.
Produced by Rob Ellis and Dimitri Tikovoi and mixed by Flood, it features an impressive roll call of studio collaborators including Adrian Utley
(Portishead), Brian Eno, Ed Harcourt, Warren Ellis and Jim Sclavunos (The Bad Seeds). Songwriting contributors and co-conspirators - with Faithfull
penning the majority of the lyrics - include Nick Cave, Roger Waters, Steve Earle, Tom McRae and Anna Calvi.
While featuring a stellar supporting cast, it is Marianne Faithfulls voice which proves the main attraction. These are songs sung from the heart and soul
and from the perspective of someone who has seen and done it all. Over a fifty year career, she has proved utterly fearless in her music and everything
else besides. Five decades on, Marianne Faithfull remains a unique and compelling musical figure: adventurous in her life, adventurous in her art.1. Give My Love To London (Marianne Faithfull/Steve Earle)
2. Sparrows Will Sing (Roger Waters)
3. True Lies (Marianne Faithfull/Edward Harcourt - Dimitri Tikovoi)
4. Love More Or Less (Marianne Faithfull/Tom McRae)
5. Late Victorian Holocaust (Nick Cave)
6. The Price Of Love (Donald Everly/Phil Everly)
7. Falling Back (Marianne Faithfull/Anna Calvi)
8. Deep Water (Faithfull - Cave/Cave/Cave)
9. Mother Wolf (Marianne Faithfull/Patrick Leonard)
10. Going Home (Leonard Cohen/Patrick Leonard)
11. I Get Along Without You Very Well (Hoagy Carmichael)$21.99Vinyl LP - Sealed Buy Now
SalutationsConor Oberst will release a new album, Salutations, on Nonesuch Records.
The album is a companion piece to 2016's lauded Ruminations. When Oberst wrote and recorded the songs on Ruminations, entirely solo-with just voice, piano, guitar and harmonica-he intended to ultimately record them with a full band. In the midst of putting together that band-upstate New York's The Felice Brothers plus the legendary drummer Jim Keltner (Neil Young, Jackson Browne, George Harrison, Bob Dylan, John Lennon, and many more)-the passionate responses Oberst was getting to those first solo recordings, from friends and colleagues, encouraged him to release the songs as-is, in their original sparse form, as his seventh solo album: Ruminations, which was released in October 2016. The Sunday Times of London called it the rawest album yet from the forever troubled one-time voice of a generation and political and very, very personal, saying Oberst is one of the best songwriters around.
Meanwhile, Oberst simultaneously moved ahead with his plans to record with the band, heading to the famed Shangri-la Studios in Malibu to record Salutations-co-produced with Keltner and engineered by long-time musical compadre Andy LeMaster. Guest contributions come courtesy of Jim James, Blake Mills, Maria Taylor, M Ward, Gillian Welch, Gus Seyffert, Pearl Charles, Nathaniel Walcott, and Jonathan Wilson.
Salutations includes full-band versions of the ten songs from Ruminations, plus seven additional songs, some from an additional session at Five Star Studios in Echo Park in fall 2016.
Oberst says of the Salutations sessions: Jim was really the captain of the ship and the spiritual leader of the project. We leaned heavy on his fifty-plus years of musical insight to get us to where we needed to be. He brought such depth and dignity to the proceedings that made everyone else involved rise to the occasion. It was a true stroke of luck that he got involved when he did.LP 1
1. Too Late to Fixate
2. Gossamer Thin
5. Next Of Kin
7. Mamah Borthwick (A Sketch)
8. Till St. Dymphna Kicks Us Out
1. Barbary Coast (Later)
3. Empty Hotel by the Sea
4. Anytime Soon
5. Counting Sheep
6. Rain Follows the Plow
7. You All Loved Him Once
8. A Little Uncanny
9. Salutations$26.99Vinyl LP - 2 LPs Sealed Buy Now
WARB-NON-8273xAmadou & Mariam
Welcome To MaliWelcome to Mali, the second Nonesuch effort from Malian duo Amadou & Mariam has already garnered rapturous reviews from critics in Europe, where it was released in late 2008. The album appeared on many year-end best-of lists; Londons Sunday Mirror declared, African pop doesnt get more effervescent and joyful than the sound of this blind couple dueling together and sending their message of love around the globe. Simply wonderful.
American audiences were introduced to the married pair, who met at a Malian school for the blind, with its Nonesuch debut Dimanche à Bamako, produced by the Paris-based world-music provocateur Manu Chao. With Chao behind the wheel, the album was like an exhilaratingly bumpy taxi ride straight into the heart of the Malian capital; cacophonous sounds of the streets mixed in with the spare, propulsive rhythms of the songs, making it all sound thrillingly immediate. Amadou & Mariam, already into the second decade of their overseas career, attracted an impressively wide-ranging state side audience, from world music stalwarts to clubgoers to indie rockers.
Welcome to Mali, recorded in Bamako, Dakar, Paris and London and produced with longtime manager Marc-Antoine Moreau, is less high-concept travelogue than straightforward set, yet it proves to be even more adventurous and exuberantly rocking. Damon Albarn briefly joins the pair, co-producing and co-writing the opening track Sabali, as ingeniously arranged as the best of his work with the Gorillaz and featuring Mariams almost otherworldly vocals over swirls of disco-style keyboards. Amadou has long spoken of his affection for classic rock and it shows in his playing; Londons Independent calls Welcome to Mali a rock album with an African Heart. Theres a bit of Yardbirds-era swinging London, keyboard arrangements that wouldnt be out of place in a Parisian disco, hip hop breaks from Toronto-based Somalian rapper Knaan and the occasional garage-rock riff, as well as traditional touches courtesy of fellow Malian Toumani DiabatÉ and his magical kora playing. A deep undercurrent of the blues, an arguably indigenous Malian sound that migrated to the Mississippi delta, runs through the disc. Says Uncut, Amadous slithering, grinding guitar riffs sound dark and spiky, the missing link between Ali Farka TourÉ and Steve Cropper.1. Sabali (prod. Damon Albarn)
2. Ce Nest Pas Bon (w/ Damon Albarn)
6. Je Te Kiffe (feat. Juan Rozoff)
7. Masiteladi (feat. M)
8. Africa (feat. Knaan)
9. Compagnon de la Vie
10. Unissons Nous (feat. Keziah Jones)
12. I Follow You (Nia Na Fin)
13. Welcome to Mali
15. Sebeke$24.99Vinyl LP w/ CD - 2 LPs Sealed Buy Now
Girl TalkSpeaking about her album Girl Talk, Kate Nash says, I worked with my girl band and the great producer Tom Biller. My friend Jeff Ellis engineered the record. I mixed the record at EastWest on Sunset Boulevard, I made four music videos and flew back to London. In London I recorded and released a song called 'Under-estimate The Girl' which caused an explosion online that was fun to watch. Then I went on tour. I have since been continuing to write and record and have started to plan releasing some of this new music. I'm going to be releasing this record on my own record label 'have 10p' which is exciting/scary/new/etc. but ultimately something I'm really pleased about. This has been a significantly important and challenging year for me, I have absolutely poured my heart, soul, brain, guts and mind into this record.1. Part Heart
3. Death Proof
4. Are You There Sweetheart?
6. O My God
8. All Talk
9. Conventional Girl
11. Rap for Rejection
12. Cherry Pickin'
14. You're So Cool, I'm So Freaky
15. Lullaby for an Insomniac$24.99Vinyl LP - Sealed Buy Now
Scream Above The SoundsTwenty years after their debut 'Word Gets Around' and six #1 albums later, Stereophonics are set to release their new album 'Scream Above The Sounds' on Parlophone Records.
Their 10th studio album, 'Scream Above The Sounds' follows 'Keep The Village Alive' which went straight to #1 when it was released in 2015 - their sixth chart-topper after 'Performance and Cocktails' (1999), 'Just Enough Education To Perform' (2001) 'You Gotta Go There To Come Back' (2003), 'Language. Sex. Violence. Other?' (2005) and 'Pull The Pin' (2007).
Stereophonics consists of founding members Kelly Jones (vocals/guitar) and Richard Jones (bass) along with Adam Zindani (guitar) and Jamie Morrison (drums). Long-term keyboardist Tony Kirkham joins the band for live shows.
Kelly said of the songwriting process that he began to write "big, anthemic songs that are rallying against those anxious feelings that have flooded through cities. Every song offers a sense of release," he says. "Even when there's nostalgia, fear or anxiety, they're still all offering hope and room to manoeuvre."
The first single 'All In One Night' represents the band's affection for the melancholy. Set to a consistent mid-paced rhythm which evokes a nocturnal motorway drive, it finds the narrator's life taking a dramatic turn as night brightens to day. Influenced by the Sebastian Schipper film 'Victoria', it's a song that had an unusual genesis - Kelly started it when the band had an unscheduled day's stay in China before he finished it back home in London. Even the atmospheric call of the chorus was fortuitous, being an adaptation of a vocal exercise he was using.
'Scream Above The Sounds' was primarily recorded in the band's HQ in west London with a further session at RAK Studios. Created with the help of regular collaborator Jim Lowe, it's an album in which creative sonic touches add to the band's emphasis on songwriting and melody.1. Caught By The Wind
2. Taking A Tumble
3. What's All The Fuss About?
5. All In One Night
6. Chances Are
7. Before Anyone Knew Our Name
8. Would You Believe?
9. Cryin' In Your Beer
10. Boy On A Bike
11. Elevators$21.99Vinyl LP - Sealed Buy Now
The Royal Philharmonic Orchestra Plays The Music Of RushPurple Pyramid Records, a division of Cleopatra Records, will release The Royal Philharmonic Orchestra Plays The Music Of Rush on November 13. Nearly sixty musicians and thirty vocalists transform nine of Rush's greatest hits into even more intricate, soaring orchestral works.
The Royal Philharmonic Orchestra covers the best-known classics, from Working Man, the self-titled debut album track that launched Rush's career in the U.S. to Subdivisions from Signals, the album that proved electronic rock could reside in the top ten. The band's most successful record, Moving Pictures, is represented by rousing versions of Tom Sawyer and Red Barchetta. Special guest guitarists include Steve Rothery of Marillion on Working Man and Adrian Smith of Iron Maiden on Red Barchetta. The Windrush Choir provides backing vocals and solos.
The Royal Philharmonic Orchestra, formed in 1946 and based in London, has been called the nation's favorite orchestra. It has had internationally known maestros like Andre Previn and Louis Clark, and has toured the world. The RPO is a best-selling and adventurous recording entity as well. In 1969, it recorded a concerto for Deep Purple, composed by the band's organist Jon Lord. It earned a top ten U.S. single in 1982 with Hooked On Classics. Over the years, RPO has orchestrally arranged Pink Floyd, Oasis, Queen, R.E.M., Madonna and ABBA.
The orchestra was recorded at the legendary Abbey Road Studios in London, conducted by BAFTA Award-winning musician and composer Richard Harvey. Harvey performed with the prog rock group Gryphon and as an accomplished multi-instrumentalist (specializing in mediaeval and Renaissance periods), worked with many folk and rock musicians such as Richard and Linda Thompson, Kate Bush and Sweet. He has toured and recorded with John Williams, and has performed and composed film/TV soundtracks for more than thirty years. The album was produced by James Graydon and Richard Cottle, who also arranged all the music.1. 2112 Overture
2. The Spirit Of Radio
3. Tom Sawyer
4. Red Barchetta (feat. Adrian Smith)
6. Fly By Night
7. Closer To The Heart
9. Working Man (feat. Steve Rothery)$18.99Vinyl LP - Sealed Buy Now
InsidesJon Hopkins is a musical shape shifter: a composer, pianist and a self-taught studio wizard. He makes big, bold electronic music using walls of synths, twinkling melodies and amorphous bass rumbles. As such his two albums have seen him labeled by the likes of ambient patriarch Brian Eno as an electronic innovator while an impressive sweep of artists from Herbie Hancock to David Holmes, not to mention contemporary choreographer Wayne McGregor, lo-fi folkster King Creosote and musical blue bloods Coldplay, have all called upon the 28-year-old Londoner's handiwork as a producer and composer.
On Insides, his Domino debut, Hopkins showcases an intriguing musical aesthetic to brilliant effect. Insides is about juxtaposition: natural, arcane textures welded to pulsing, hypnotic rhythms, beautiful acoustic melodies set against jarring bass. The music is reminiscent of the beautiful melodies and harsh dirty beats of other British artists like Four Tet, Squarepusher, Burial and Aphex Twin. Above all, Insides is an audacious album which boasts a magical aura all of its own.
Hopkins' talents caught the ears of Brian Eno, who enlisted him to work on his Another Day on Earth album and most recently on Coldplay's Viva la Vida. In fact, Coldplay were so taken with Hopkins' music, the band asked him to rework the track Light Through the Veins (from Insides) to bookend their album. The pairing eventually led to an invitation to Hopkins to join the band on its 2008 USA, European and Japanese tour, both as an opening act and pre-show DJ.1. The Wider Son
5. Colour Eye
6. Light Through The Veins
7. The Low Places
8. Small Memory
9. A Drifting Up
10. Autumn Hill$21.99Vinyl LP - Sealed Buy Now
WARB-NON-9544xDavid Zinman, Dawn Upshaw, London Sinfonietta
Henryk Gorecki: Symphony No 3One of the most affecting works of the late 20th century, Symphony No. 3, featuring the London Sinfonetta and soprano Dawn Upshaw, proved spellbinding to a diverse international audience. TIME calls it "a transcendental meditation on mortality and redemption."1. I. Lento - Sostenuto Tranquillo Ma Cantabile
2. II. Lento E Largo - Tranquillissimo
3. III. Lento - Cantabile-Semplice$24.99Vinyl LP - Sealed Buy Now
SPCO-SPE-2196xPeter Maag with London Symphony Orchestra
Mozart: Notturno for Four Orchestras (Speakers Corner)
Bad weather in Salzburg, particularly during the dark and wet months of December and January, placed a large role in the creation of Mozart's Notturni. Domestic music-making offered the upper classes a little cheer during the dreary winter months. Serenades by the Salzburg maestro were performed for entertainment and greatly influenced chamber and symphonic music.
The Overture to Lucio Silla is from an opera which tells the story of the bloody political dispute of the Roman general Lucio Silla. This highly developed work deviated from the norms of compositions, and this was perhaps the reason why it was not as popular in Milan as Mozart's other works with the result that he receoved no more commissions from Italian opera houses.
The music written for the historical drama Thamos, König von Ägypten was unique for Mozart, although this kind of music was not unusual for its day. The so-called entr'actes served to fill the time between scenes or acts.
Peter Maag and the London Symphony Orchestra stage an excellent performance with their exquisite tone, exemplary dynamics and shaping of this wonderful music which reveals the splendidly colourful scores of one of the greatest musical phenomena: Wolfgang Amadeus Mozart.
Recording: December 1959 at Kingsway Hall by Kenneth E. Wilkinson / Production: Erik Smith
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. Andante
2. Allegretto garzoso
5. Minuetto, Rondo
6. Molto Allegro
8. Molto Allegro
12. Allegro vivace assai$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MultiviralCalle 13 have come a long way since their 2005 debut, when they were a smartass pair of twentysomethings from Trujillo Alto, Puerto Rico, riding the international reggaeton boom with a club-minded mix of sex talk and political invective. With their fifth record, frontman Residente and his halfbrother Visitante have made as ambitious a hip-hop album - if that's not too narrow a term - as any in any language. Beginning with an incantatory intro delivered by Uruguayan author Eduardo Galeano, the album ramps up through Respira El Momento, where Residente breathlessly escalates his Eminem-ish flow over dark piano, orchestral swells and choral drama. El Aguante pays tribute to human endurance, calling out a laundry list of dubious leaders (among them Hitler, Idi Amin, Stalin/Bush, Truman, Ariel Sharon) over a pennywhistle stomp owing to both Gogol Bordello and the Pogues. And on the title track, driven forward by Middle Eastern vocals and guest Tom Morello's strafing guitar, controversial WikiLeaks founder Julian Assange - who recorded his spoken-word part in the basement of the Ecuadorian embassy in London - salutes the power of people armed with the truth. The song, like the entire LP, is an object lesson in just that.
- Will Hermes (Rolling Stone)LP 1
1. Intro - El Viaje
2. La Vida (Respira el Momento)
3. Interludio - Un Buen Día para Morir
4. El Aguante
5. Ojos Color Sol
7. Cuando los Pies Besan el Piso
1. Interludio - Stupid Is as Stupid Does
2. Los Idiotas
3. Fuera de la Atmósfera del Cráneo
5. Gato Que Avanza, Perro Que Ladra
6. Me Vieron Cruzar
7. Así de Grandes Son las Ideas$30.99Vinyl LP - 2 LPs Sealed Buy Now
Sabbath Bloody SabbathSabbath Bloody Sabbath is the fifth studio album by English heavy metal band Black Sabbath, originally released in December 1973. It was produced by the band and Tom Allom and recorded at Morgan Studios in London in September 1973.
For the first time in their career, the band began to receive favourable reviews in the mainstream press, with Rolling Stone calling the album an extraordinarily gripping affair, and nothing less than a complete success. Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a masterpiece, essential to any heavy metal collection, while also displaying a newfound sense of finesse and maturity. The album marked the band's fifth consecutive platinum selling album in the United States.1. Sabbath Bloody Sabbath
2. A National Acrobat
4. Sabbra Cadabra
5. Killing Yourself To Live
6. Who Are You
7. Looking For Today
8. Spiral Architect$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Do What You Want To, It's What You Should Do"Flowers' early gigs have shown heaps of promise" - NME
"A little Jesus And Mary Chain, a lot of Black Tambourine, and one hell of a voice." - DoNYC
"The trio blasted the stage with their sprawling guitars, booming percussion and epic vocals" - PREFIX MAG (Artist to Watch)
Often it's the moments of silence that hit you hardest. - This is Fake DIY
"A radiant, warm and endearingly amateurish talent. THE FADER
"Steeped in indie lore, in a charming, self-effacing way of translating emotion into sound" CLASH MUSIC
London based trio Flowers ends their live shows with singer Rachel Kenedy utterly still, accompanying herself on a one string bass guitar, soul laid bare. It is a stark and quiet moment in comparison to what came before, which can be characterized by Sam Ayres blur of kinetic energy on guitar and Jordan Hockley's urgent and precision drumming all performed with a sense of minimalism and brevity. It is this minimalist approach that best characterizes the fourteen deceptively simple pop songs that comprise Flowers debut, Do What You Want To, It's What You Should Do.
Produced by Bernard Butler, Flowers' genius is in their ability to convey a remarkable amount of emotion with minimal instrumentation. Rachel possesses one of those beautiful pop voices to die for, with echoes of Elizabeth Fraser (Cocteau Twins), Hope Sandoval (Mazzy Star) and Harriet Wheeler (The Sundays). Haunting, mesmerizing and intense, Do What You Want To, It's What You Should Do is an impressive calling cared from a sensational new band.1. Young
2. Forget the Fall
3. Drag Me Down
4. Worn Out Shoes
7. If I Tell You
9. I Love You
10. All Over Again
12. Be With You
13. Plastic Jane
14. Stuck$16.99Vinyl LP - Sealed Buy Now
My Aim Is True (Awaiting Repress)180 Gram Vinyl
Elvis Costello's phenomenal debut release is available on 180 gram vinyl re-mastered from the original master
tapes. The album includes the standout ballad "Alison," "(The Angels Wanna Wear My) Red Shoes," "Watching The Detectives," and "Less Than Zero" among others
The history behind My Aim Is True is as rich as the songs. Before landing at then-fledgling English indie label Stiff Records, Costello had been laboring as a computer operator housed next door to a lipstick factory. The conditions couldnt be riper for the cynical blue-collar observations and fierce humor that pierce tracks like Welcome to the Working Week and Less Than Zero. Costello took inspiration from London subway rides, venomous politics, and surrounding vanity.
Having been rejected by what he estimated amounted to every other label in the city, Costello began calling in sick to his day job in order to record material for what become My Aim Is True. Made for just 1000 pounds and over the course of four six-hour sessions, the experience found Costello recording his parts in a room the size of a telephone booth. His backing bandClover, not the Attractions (save for on Watching the Detectives, left off the original UK release)rounded out the slinky, melodic songs with spare details such as fuzztone pedal steel guitar and organ. The minimal budget ensured that nothing extra or fancy was employed. Overdubs werent really an option; what was played is basically what you hear.1. Welcome To The Working Week
2. Miracle Man
3. No Dancing
4. Blame It On Cain
6. Sneaky Feelings
7. (The Angels Wanna Wear My) Red Shoes
8. Less Than Zero
9. Mystery Dance
10. Pay It Back
11. I'm Not Angry
12. Waiting For The End Of The World
13. Watching The Detectives$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Seven DialsRoddy Frame, founder of Aztec Camera, has a new album called Seven Dials. The 10-track album, the fourth under his own name and his first since 'Western Skies' in 2006, was recorded at West Heath Studios in London and co-produced with Seb Lewsley.1. White Pony
3. Into The Sun
4. Rear View Mirror
5. In Orbit
6. Forty Days Of Rain
7. English Garden
8. On The Waves
9. The Other Side
10. From A Train$25.99Vinyl LP + CD - Sealed Buy Now
The Other IBella Union are thrilled to announce the release of The Other I, the new album from 2:54.
Even before Colette and Hannah Thurlow wrote their new album, the London-based sisters' atmospheric, imaginative and thrilling vein of rock music under the name 2:54 was already a force to be reckoned with. But the events that tested their commitment and resilience have upped the ante, to produce the magnificent drama and beauty of The Other I. From the expansive, tempo-shifting opener 'Orion', and the pining roots of 'The Monaco' to the ambient haunts of 'Tender Shoots' and the shape-shifting tour de force of 'Raptor', the album significantly widens the net beyond the achievements of 2:54's self-titled debut. The Other I is all the stronger for Hannah and Colette's hands-on approach to production while Colette's lead vocals show a striking versatility. The album's emotional terrain has been carved from circumstances out of their control but equally their sisterly bond.
As Colette explains, the album's title was inspired by a favourite poet, Percy Shelley, "a rousing romantic, politically charged, a proto-punk of sorts. He called his friend and muse Elizabeth Hitchener the 'sister of my soul, my second self.' These lines kept returning to me last year and from there I arrived at 'The Other I'. The Other I is an enquiry into the duality of the human experience - the division between the self that pounds on like a juggernaut in your head, and the self you present to the world. The idea extends to Hannah and I, to our sisterhood. We know intrinsically what the other thinks and feels, music is just another language we use to communicate."
Written in Paris and London, the album was recorded at Bella Union's East London studio before the Thurlows and Alex Robins decamped to North London's Fish Factory to complete it alongside co-producer and mixer James Rutledge, who's worked with the likes of Radiohead and Fever Ray. 'In The Mirror' and 'Sleepwalker' are cited as key entry points to the album's core values, while lyrically 'Orion' sets the scene for the album's adventures. 'Raptor' is the album's brilliant finale, with its simmering intro, hypnotic flow, thrilling coda and rallying mantra: "Calling, I'm calling, I'm calling, I can hear it / You don't know us / One more turn and then I'll go / The end, the end, the end is close."1. Orion
3. In The Mirror
4. No Better Prize
6. Tender Shoots
7. The Monaco
11. Glory Days
12. Raptor$22.99Vinyl LP - Sealed Buy Now
Right Thoughts, Right Words, Right ActionThe multi-Grammy winning, million selling four-piece Franz Ferdinand release their fourth studio album titled Right Thoughts, Right Words, Right Action.
This exuberant, unencumbered record is the first from the Glasgow band since 2009's Tonight. They seem to have rediscovered the imagination, vitality and fun found on their classic, era-encapsulating debut Franz Ferdinand.
Recorded over the last year at Kapranos's Scottish studio and McCarthy's Sausage Studios in London, the LP cements their status as a unique and adventurous British band: emboldened by a decade's undreamt-of worldwide success, but still daring and defiant. It's an ecstatic rejection of the drab conventions often accompanying that level of attention and expectation.
When asked for a quote, Kapranos came back with: "The Intellect Vs The Soul, played out by some dumb band."* God knows what that means, but the lyrics do seem more poetic this time. There were a few interesting collaborations, but more of that later
The ten songs that make up Right Thoughts, Right Words, Right Action take what propelled Franz Ferdinand from the incestuous Glasgow Art School world to, well, the entire world - painterly lyrical detail, heavyweight hooks, precise aesthetic vision and that uncanny ability to marry arch artistic sensibility with pop punch - and push it even further. The breadth of influence, musicality and invention on show here is enormous. If this is unmistakably a Franz Ferdinand record, it is as much by virtue of its sonic daring and perfectly patch-worked eclecticism as the timeless songwriting flair that has long been their calling card.
Franz Ferdinand are still Alex Kapranos, Nick McCarthy, Bob Hardy and Paul Thomson. There's still no one like them.1. Right Action
2. Evil Eye
3. Love Illumination
4. Stand On The Horizon
5. Fresh Strawberries
7. Treason! Animals.
8. The Universe Expanded
9. Brief Encounters
10. Goodbye Lovers & Friends$19.99Vinyl LP - Sealed Buy Now
AcrobatsNew album. New sound. On Acrobats London's Peggy Sue has put down the acoustic guitars, this time opting instead for buzzing guitars and crackling amps. Recorded with producer of the moment John Parish --known for his extensive work with PJ Harvey, Sparklehorse and EELS -- Acrobats keeps the propulsive energy of their former work, but this time the sonics back up the mood. Songwriters Rosa and Katy, and drummer Olly called upon early influences like Sonic Youth and The Breeders when conceiving Acrobats which, coupled with recently acquired electric guitars and a new practice space, released the ferocity that had always been swimming just beneath the surface of the band's music. Parish successfully harnesses this newly minted electricity, resulting in the fulfillment of several albums and EP's worth of musical innuendo. Acrobats is certainly still Peggy Sue, but this time we see that behind the wry smile lies a mouthful of sharp, dirty teeth.1. Cut My Teeth
2. Song & Dance
3. Funeral Beat
4. Changed & Waiting
5. Parking Meter Blues
6. All We'll Keep
11.There Always Was$17.99Vinyl LP - Sealed Buy Now