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  • Never Say Die! Never Say Die! Quick View

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    Never Say Die!

    Never Say Die! is the eighth studio album by British heavy metal band Black Sabbath, released in September 1978. It was the final Black Sabbath studio album to feature vocalist Ozzy Osbourne prior to his departure from the band in 1979.


    At the time of the recording of Never Say Die! the members of Black Sabbath were all heavily involved in drug and alcohol abuse. Prior to the recording of the album, vocalist Osbourne quit the band and was briefly replaced by former Savoy Brown and Fleetwood Mac vocalist Dave Walker. Some songs were written with Walker, and the new group even performed an early version of Junior's Eyes with different lyrics on the BBC programme, Look Hear. Osbourne eventually rejoined the band, refusing to sing any of the songs written with Walker. These particular songs were rewritten, including Junior's Eyes, rewritten to be about the then-recent death of Osbourne's father.


    We had a few internal problems, Osbourne admitted to Sounds. My father was dying, so that put us out for over three months with the funeral and everything. I left the band for three months before we got back together to record it.
    The album was recorded at Sounds Interchange Studios in Toronto. We went to Toronto to record it, and that's when the problems started said Tony Iommi. Why Toronto? Because of the tax, really. The studio was booked through brochures because people thought it might be a good one. We got there and it had a dead sound - totally wrong. We couldn't get a real live sound. So what we had to do was rip the carpet up and try to make it as live as we could. They were okay about it, but it took time to get it exactly right. There were no other studios available. Closing track Swinging The Chain features lead vocals from drummer Bill Ward, necessitated by Osbourne's frequent absences from the studio and inability to perform due to substance abuse.


    It's a combination of what we've all been through in the last ten years, said Osbourne. It's a very varied album. Like, we started out playing in blues clubs, because British blues - like John Mayall and early Fleetwood Mac - was the thing at the time. We were into a twelve-bar trip and early Ten Years After-style stuff. So it's part of that sort of trip. Then there's the heavy thing and the rock thing. It's not just steamhammer headbanging stuff all the way through We got rid of all our inner frustrations: what each of us individually wanted to put down over the years but couldn't because of the pressures of work. So we put a lot of painstaking hours into developing this album.

    1. Never Say Die
    2. Johnny Blade
    3. Junior's Eyes
    4. A Hard Road
    5. Shock Wave
    6. Air Dance
    7. Over To You
    8. Breakout
    9. Swinging The Chain
    Black Sabbath
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Light That Never Dies A Light That Never Dies Quick View

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    A Light That Never Dies

    On his second album A Light That Never Dies which will be released in North America via Forty Below Records, KaiL Baxley has returned with a hard hitting, lush and beautifully haunting collection of songs. Co-produced with Producer/Engineer Eric Corne whose recording credits include Lucinda Williams, Glen Campbell, Kim Deal and John Mayall, the album was recorded over the last year in three different cities.


    "We used a lot of really old gear on this one to capture that warm analog sound and preserve its truth," says KaiL about the album. "I'm proud of what Eric and I got out of the studio and I'm eager to get out on the road and share it with people."


    Hailing from the small backwater town of Willison-Elko - a town so small that most people in South Carolina don't even know where it is, much less the rest of the world. It's only claim to fame is soul legend James Brown, with whom Baxley shared an unlikely friendship as a child. Perhaps this was one of the leading influences in Baxley's soul-drenched music or perhaps it was the similar circumstances in which they were raised that fuels such deep emotion in an individual.


    Abandoned by both his mother and father as a small child Baxley was raised by his grandfather Woody until age 12. When he passed away, KaiL bounced from one living situation to another, rarely living in one place for more than a year at a time. It was in this constant migration that he found escape in a pair of old RCA headphones.


    "It wasn't all bad really," he recalls. "I got to know quite a bit of music from all different genres during that time period. I'd stay with my uncle for a while and pick up some Van Morrison; my auntie gave me the Stones;friends parents turned me on to gospel. Then I discovered hiphop and it was all over. I was hooked."


    This is the very apparent source of inspiration in KaiL Baxley's genre-bending music that also blends blues, indie rock, soul, gospel, and syncopated hiphop-style beats into a most exquisite and easily drinkable cocktail of sound - a sound that he has dubbed "Soul Swagger".


    KaiL's debut effort, Heatstroke/The Wind and the War, was presented as a double EP which displayed the yin and yang of his musical range. A surprise nominee for NPR's Album Of The Year, it received critical acclaim, including a debut at SXSW, where Baxley was tapped as, "One of NPR's top new artists" by All Songs Considered.


    "His voice falls somewhere between Joe Cocker and Bill Withers with a husky authority. The guy is a whiz-bang folkie-turned-soul-rocker and has a voice which can make you dance or which melts butter, depending upon the tune."

    - Frank Gutch Jr. / Segarini

    1. Light That Never Dies
    2. Mr. Downtown
    3. Tell the Falling Sun
    4. The Ballad of Johnny Steel
    5. Morning Light
    6. Better FeelN' Better Days
    7. Owe
    8. Still Wonder (Interlude)
    9. Troubled Souls
    10. Chasing James Dean
    11. Mirrors of Paradise
    Kail Baxley
    $18.99
    Vinyl LP - Sealed Buy Now
  • Do Make Say Think (Awaiting Repress) Do Make Say Think (Awaiting Repress) Quick View

    $29.99
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    Do Make Say Think (Awaiting Repress)


    • 1998 Debut Album Issued On Vinyl For The First Time


    • Includes Screenprinted Jacket With Die-cut Window And Art Poster Insert


    Do Make Say Think self-recorded its self-titled debut album in Toronto in 1996-1997 and self released the record on CD. It made its way to Constellation's stereo in spring 1998, just as the label was getting off the ground; we immediately fell in love with its blend of space rock, dub, jazz, psych and motorik influences, and with the fact that it was such a great-sounding and fully realized DIY recording. Constellation re-released the album in more extensive and elaborate bespoke CD packaging in early 1999 and Do Make Say Think became the label's fifth release (and the first from a non-MontrÉal band).


    This terrific debut remained one of the very few titles on Constellation that was never issued on vinyl, as the label's limited resources in the early years, along with DMST's continuing output (they already had most of a sophomore record in the can when the debut got its CST release) conspired against a 2xLP pressing at the time. This historical aberration is now being remedied by a lovely deluxe double 180-gram edition of the album, with the CD's unique window-cut artwork and packaging translated to glorious 12-inch dimensions.


    One of the first groups to define a newly genre blending aesthetics and collective/collaborative ethics of (post-) rock experimentation in the Toronto scene, Do Make Say Think also presaged the city's wider indie music reawakening in the early 2000s. The band has released a superb, dynamic and continually inventive series of instrumental rock albums since their auspicious debut (in one of numerous testaments to their quality and consistency, the group's subsequent four albums received ratings of 7.9, 8.1, 8.1 and 7.8 by Pitchfork). DMST's debut album brims with twilight atmosphere, a rich sonic tapestry that weaves a traditional rock configuration, dual drummers and analog synth through a mixing-desk sensibility informed by dub, electronic music, hip-hop and psychedelia. Song titles like "Highway 420", "Dr. Hooch" and "Disco & Haze" nod to the preferred states of altered consciousness that presumably prevailed in the studio, but the results are far from shambolic, hazy or indulgent. The album's long form instrumental excursions are marked by a focus on methodically deployed structures, transitions, flourishes and details that succeed in feeling natural, unlaboured, supplely rhythmic and enchantingly levitational.


    Do Make Say Think has remained defiantly independent, uncompromising and artistically focused within a Toronto scene that's often tended towards hyperbolic fanfare and dubious careerism as the years wear on, continuing to be self-managed and self-produced throughout their long history. The band regrouped in late 2012(following a 3-year hiatus) to play Constellation's 15th Anniversary shows in Europe, where they absolutely killed. They have kept on with select festival performances and mini-tours in 2013. In celebration of the band's return to action - and to commemorate the 15th anniversary of Constellation's 1998 release of the debut CD - we couldn't be prouder to present Do Make Say Think on vinyl for the first time.

    1. 1978
    2. Le'espalace
    3. If I Only...
    4. Highway 420
    5. Dr. Hooch
    6. Disco & Haze
    7. Onions
    8. The Fare To Get There
    Do Make Say Think
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Stand For Something Or Die For Nothing (Pre-Order) Stand For Something Or Die For Nothing (Pre-Order) Quick View

    $20.99
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    Stand For Something Or Die For Nothing (Pre-Order)

    Release Date: June 22, 2018*


    Boston. Titletown. The Cradle of Liberty. Beantown. From popular neighborhoods like Jamaica Plain and Davis Square to the more hardscrabble quarters like Mattapan and Roxbury, Boston is a complex fabric of people, cultures, and viewpoints. None more Boston are punk rock outfit, Street Dogs. From the air they breathe and the food they eat to the communities they serve-frontman Mike McColgan is a Boston Fire Department 911 Dispatcher and drummer Pete Sosa is an honorary member of the City of Boston-and the values they uphold, Street Dogs exemplify their city and what it has to offer the world. Across the group's storied 16-year career, they've hit hard, spoke the truth, and walked the walk. New album, Stand for Something or Die for Nothing, is proof the Bostonians continue to live and be empowered by their punk rock, tell-it-like-it-is ethos.


    "Anyone who has ever listened to our group knows we are Bostonians to the bone," says bassist Johnny Rioux. "We all love the city. It's our home. I think our fans abroad get a window into our city and what it is like to grow up here and live here through a multitude of different life experiences [from our music]."


    Indeed, Sicut Patribus Sit Street Dogs Nobis. But the primary motivator to pick up where 2010's lauded self-titled left off wasn't to continue waving the sky blue at the Boston Common, but to sound the alarm that our leadership and the affluent are taking advantage of society. The wedge is being driven between classes, deeper and deeper, where the rich get richer and the poor are afforded fewer choices in life, like education, opportunity, and the pursuit of a good life, respected liberties, and unquestionable happiness. This gift, as it were, has given the Street Dogs have plenty to write about eight years after their Hellcat Records' swansong.


    "The dumbing down of America is a reason to write songs in 2018," Rioux asserts. "People need to wake the fuck up and realize the rich won't drain the swamp or look after the working man and woman. [So] we hit on familiar turf and we go outside our zone as well on Stand for Something or Die for Nothing. It's tough to contain my excitement for this record and our fans are going to love it. Everyone stepped way up."


    If there's one thing that sets the self-titled apart from Stand for Something or Die for Nothing it's the songwriting. Tracks like "Other Ones," "Angels Calling," "Working Class Heroes," and "Never Above You, Never Below You" show Street Dogs at their finest: loud, abrasive, confrontational, and unifying. In fact, there's not one track on the group's sixth full-length that doesn't convey brotherhood, common values, and the ability to stand together against anyone with aims to disfigure or disband their raised fist.


    "On Stand for Something or Die for Nothing, we took our time making sure everything was worked out as well as it possibly could be with multiple re-writes of songs and painstaking takes," says Rioux. "The band wrote this record together as a unit. This is the most full-band record we have ever made with everyone contributing. It's our best record. I really believe that and all the hard-painstaking work we put in people will hear and feel. With respects to the self-titled record we were moving at very quick and prolific pace back then. That record came together fast and is special."


    Recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studios with Rioux in the producer's chair, mix master Sean Cahalin at the desk, and mastering ace Jeff Lipton navigating, Stand for Something or Die for Nothing is a punk rock album for the new era. Rioux was careful to balance the DIY tenets of punk with the professional requirements of recording an album. The result was hard won, but Stand for Something or Die for Nothing is a punk rock triumph, with tracks like "The Comeback Zone," "Lest We Forget," and the title track delivering modern-day anthems that kick ass and take names.


    "Other than Sean being a total professional and super-proficient, there aren't really any specific stories to Stand for Something or Die. I've always has had a hand in the production of our records and I can be demanding in the studio! That all said, I think we have our best sounding record to date. It has all the energy of our live shows in it. Fans will immediately tell it's us when they hear it."


    While the definition of punk rock has its divisions, Street Dogs are, no doubt, part of the genre's proud history. Stand for Something or Die is undoubtedly punk rock. Using Rioux's definition (or not): "What's punk to me is people living how they want to not how they are told to."


    Amen, brother.


    *Please note that release dates are subject to change.

    1. Stand For Something Or Die For Nothing
    2. Other Ones
    3. The Comeback Zone
    4. Angels Calling (feat. Slaine)
    5. These Ain't The Old Days
    6. Working Class Heroes
    7. Lest We Forget
    8. The Round Up
    9. Mary On Believer Street
    10. Never Above You, Never Below You
    11. Torn And Frayed
    Street Dogs
    $20.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Goonies Soundtrack Goonies Soundtrack Quick View

    $19.99
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    Goonies Soundtrack

    Goonies never say die! The soundtrack to the 1985 adventure film, featuring Cyndi Lauper's fan favorite theme The Goonies 'R' Good Enough plus exclusive tracks by The Bangles, REO Speedwagon and Luther Vandross. It's the perfect treasure for vinyl fans!
    1. The Goonies 'R' Good Enough (Cyndi Lauper)
    2. Eight Arms To Hold You (Goon Squad)
    3. Love Is Alive(Philip Bailey)
    4. I Got Nothing (The Bangles)
    5. 14k (Teena Marie)
    6. Wherever You're Goin' (It's Alright) (REO Speedwagon)
    7. She's So Good to Me (Luther Vandross)
    8. What A Thrill (Cyndi Lauper)
    9. Save The Night (Joseph Williams)
    10. Theme from the Goonies (Dave Grusin)
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • 13 13 Quick View

    $24.99
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    13

    Black Sabbath's new studio album, one of the most anticipated metal releases of the year, already has a title. It will be called 13, so it is only fitting that the heavy metal band announced it today, on January 13th. We know now that it will be released this June (the exact date will be revealed later). The band also revealed what everyone wanted to know: who was the drummer that joined the recording sessions for the new album.


    The original Black Sabbath line-up, Ozzy Osbourne (vocals), Tony Iommi (guitar) and Geezer Butler (bass), recorded the album primarily in Los Angeles and were joined at the sessions by drummer Brad Wilk of Rage Against The Machine fame.


    13 was produced by Rick Rubin and the album will be released on Vertigo (worldwide) and Vertigo/Republic in the US. The new studio album also marks the band's return to Vertigo, their original label, apart from being the group's first studio album together since 1978s Never Say Die.

    1. End Of The Beginning
    2. God Is Dead?
    3. Loner
    4. Zeitgeist
    5. Age Of Reason
    6. Live Forever
    7. Damaged Soul
    8. Dear Father
    Black Sabbath
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dog Beats EP Dog Beats EP Quick View

    $14.99
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    Dog Beats EP

    One of the most legendary and sought-after albums to ever come out of Detroit in the last 30 years, Dog Beats returns to record bins everywhere this spring! Representing the very first official release from the group that would become INSANE CLOWN POSSE, Dog Beats was released when the group were still in their teens and calling themselves Inner City Posse. This EP was sold on the streets of Detroit and original cassette copies now fetch an average of $2,000 on eBay. Despite a mail-order-only CD reissue around 2000, Dog Beats has been out of circulation ever since and has NEVER BEFORE BEEN RELEASED NATIONALLY! This is truly a historic piece of Midwest hip-hop that shows the humor, rap skills, and never-say-die enthusiasm that would eventually catapult INSANE CLOWN POSSE (the band changed their name shortly after the release of Dog Beats) into the worldwide pop culture and underground icons they are today. This is where the story of ICP begins ... and is a MUST OWN for all hip-hop fans!
    1. Ghetto Zone
    2. Wizard of the Hood
    3. Life At Risk
    4. Dog Beats
    Insane Clown Posse
    $14.99
    180 Gram Audiophile Virgin Vinyl 12 EP - Sealed Buy Now
  • And Hell Will Follow Me And Hell Will Follow Me Quick View

    $22.99
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    And Hell Will Follow Me

    Includes CD


    A Pale Horse Named Death is the brainchild of Brooklyn, NY native Sal Abruscato, and sounds like Alice in Chains mysteriously sneaking up behind Type O Negative with a butcher knife while being filmed for a future episode of Law & Order. Sals partner in crime on And Hell Will Follow Me is Matt Brown, sound engineer extraordinaire and guitarist of fellow NY band Seventh Void.


    The chemistry between me and Matt is unique and flawless, very rare in todays music. We are the murdering evil version of Lennon and McCartney. says Abruscato. Brown adds, Sal asked me if I would help to take these songs to the next level. I took on this project for my friend, to find some closure in rough times. The music is just an extension of our friendship and our passion for creativity.


    The album artwork was done by Sam Shearon aka Mr. Sam, who has previously done work for Rob Zombie, Fear Factory and Cradle of Filth to name a few, and features a 20 page booklet with artwork for each individual song. Additionally, the Double LP version will feature a never before heard bonus track called Pick Up Truck.


    To top that all off, Life of Agonys Keith Caputo lent background vocals to four tracks and Lou Reeds saxophonist Ulrich Krieger guests on Die Alone. Bobby Hambel from Biohazard, who also plays with the band live, played the guitar leads on three tunes.

    1. And Hell Will Follow Me

    2. As Black As My Heart
    3. To Die In Your Arms
    4. Heroin Train
    5. Devil in The Closet
    6. Cracks in the Walls
    7. Bad Dream
    8. Bath In My Blood (Schizophrenia In Me)
    9. Pill Head
    10. Meet The Wolf
    11. Serial Killer
    12. Pickup Truck (Bonus Track)
    13. When Crows Descend Upon You
    14. Die Alone
    A Pale Horse Named Death
    $22.99
    Vinyl LP - 2LPs Sealed Buy Now
  • Noctunes Noctunes Quick View

    $24.99
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    Noctunes

    Willis Earl Beal was born on the South Side of Chicago. He would never consider it home. An odd kid, he spent a lot of his youth talking with his grandmother, who would entertain his endless questions about the universe and encourage his love of drawing. He developed an obsession with Batman that would last well into his teenage years, when he enlisted in the U.S. Army as a form of vigilante training. Willis Earl Beal died on an army base in Fort Leonard Wood, Missouri. While in boot camp he was plagued with physical and mental abuse, health complications (which would later require surgery and the removal of large portions of his intestine) forced his discharge. He moved back home. "When that all broke down," Beal says. "I lost a piece of myself." Willis Earl Beal was born in Albuquerque, New Mexico. After a stint of homelessness there, he worked odd jobs and rented a studio apartment. Though he'd never learned to play any instruments, he began to record raw, lo-fi albums with hand-drawn covers that he'd leave at coffee shops around town alongside flyers seeking a girlfriend with his phone number written on them. Those artifacts would eventually find their way to the cover of Found magazine, then to Jamie-James Medina at XL Recordings. Beal signed with XL's Hot Charity imprint in 2012. Willis Earl Beal died in New York City. Despite the release of two critically well-received albums on XL-Acousmatic Sorcery, a collection of his early home recordings, and a fully orchestrated studio album he recorded in Amsterdam called Nobody Knows-he was a mess. "I'd drink myself into stupors," he says. "I'd walk around in the daytime, crying, then I'd go downtown. The police would bring me home in the morning." Willis Earl Beal was born on a lake twenty miles outside Olympia, Washington. After ending his contract with XL, Beal went to live in the woods, and began an artistic transformation entirely of his own design, from rough-edged outsider-art provocateur to the kind of mysterious crooner one might expect to haunt the outskirts of Twin Peaks. "People had all these ideas about what I was supposed to be," he says. "I had only ever wanted to make lullabies." Beal's development played out over two self-released EPs and a full-length album, and then Beal built the patient, ambient-leaning Noctunes. The album's twelve songs are moving and meditative, thoroughly soaked with mournful synth strings and simple lyricism that Beal says is intentionally minimalistic. "I wanted to create this persona that could say everything perfectly with very little," Beal says. "The record, to me, is a perfect record. I listen to that thing a lot, and it helps me." Willis Earl Beal has yet to be born. Critics and publicists defined him before he'd had a chance to define himself. Their expectations were inextricably linked with race and gender, two concepts Beal thoroughly rejects. Now, two extremely productive years removed from the spotlight, Beal doesn't feel pressure to define himself against anything. His new music is shockingly original, utterly confident, and as ephemeral as Beal himself. He levitates above definition, concerned only with self-discovery and truth-seeking. "I know it sounds falsely altruistic," he says. "But I think a simple voice like mine can serve as an example of some kind of freedom."
    1. Under You
    2. Flying So Low
    3. Like a Box
    4. Lust
    5. No Solution
    6. Stay
    7. Say the Words
    8. Love Is All Around
    9. Able to Wait
    10. Survive
    11. Start Over
    12. 12 Midnight
    Willis Earl Beal
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • House Arrest House Arrest Quick View

    $13.99
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    House Arrest


    Sure The Doldrums and Worn Copy had some hits and humdingers on them, but Ariel Pink's 2002 album House Arrest never lets up. Its hit after hit after hit. Sorta like if you listened to your friends boom box mix tape from Top 40 radio around 1985.


    Think you've heard enough Ariel Pink? Well our favorite omnivorous media junkie from LA still has a few tricks left up his sleevelike the left-of-center House Arrest. Sure The Doldrums and Worn Copy had some hits and humdingers on them, but House Arrest never lets up. It's hit after hit after hit. Sorta like if you listened to your friend's boom box mix tape from Top 40 radio around 1985. Some people might think that sounds like a recipe for disaster. We say bring on the Doritos.


    Originally released in 2002 as part of a split double-CD set, then re-released with a couple of bonus tracks (including the multipart epic Netherlands) in 2006, House Arrest, much like every other Ariel Pink release so far, provides a small sampling of Ariel Rosenberg's self-recorded compositions, laid down on a trusty eight-track at home. Unlike so many warbling troubadours who seem to think the recorded-in-a-bedroom approach means a license to be maudlin, Rosenberg brings an exuberant joy to his work, finding something that a full band recording might actually kill the spirit of. The queasy tones and gently distanced verses of the opening Hardcore Pops Are Fun is instant put-a-smile-on-your-face stuff, helping to set the tone for the whole collection. The demented synth pop merriment of Flying Circles suggests an '80s nugget swathed in psychedelic haze, a gentle breeziness apparent on many other songs like the giddy Every Night I Die at Miyagis or the nervous funk of Alisa, easily one of the best songs on the album thanks to some exquisite vocals in particular. Though his connection to personal hero R. Stevie Moore is often mentioned, Rosenberg's role model here often seems to be Andy Partridge instead -- check out the distinctly XTC-like hiccupping on Gettin' High in the Morning, not to mention the quick herky-jerk arrangements. Rosenberg's preference to add layers of echo on his voice means sometimes his lyrics only emerge in fits and starts, but when they do they often are wryly witty or amusingly theatrical -- it fits with the amusing rock pose on the back cover, a knowing embrace of a trope. So when he sings about how West Coast calamities are worth more than the East Coast variety or how he's one of those egomaniacs who just want to siiiing, who's to deny how he plays around with the ideas?

    1. Hardcore Pops Are Fun

    2. Interesting Results

    3. West Coast Calamities

    4. Flying Circles

    5. Gettin' High In the Morning

    6. Helen

    7. Every Night I Die At Miyagis

    8. House Arrest

    9. Alisa

    10. Almost Waiting

    Ariel Pink's Haunted Graffiti
    $13.99
    Vinyl LP - Sealed Buy Now
  • The Beginning The Beginning Quick View

    $34.99
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    The Beginning

    While the title of The E.N.D. was a play on words (standing for The Energy Never Dies), the Black Eyed Peas new album's title, The Beginning, refers to what is actually happening in the world right now, says will.i.am. The Beginning is symbolic of adopting new technologies, such as augmented reality, 3D, and 360 video. It's also about being experimental and taking songs we've liked from the past and playing around with sick, crazy beats. The first single from The Beginning, The Time (Dirty Bit), is as Fergie puts it, a celebration of this amazing time in our lives.
    1. The Time (Dirty Bit)
    2. Light Up the Night
    3. Love You Long Time
    4. XOXOXO
    5. Someday
    6. Whenever
    7. Fashion Beats
    8. Don't Stop the Party
    9. Do It Like This
    10. The Best One Yet (The Boy)
    11. Just Can't Get Enough
    12. Play It Loud
    Black Eyed Peas
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Nonagon Infinity (Awaiting Repress) Nonagon Infinity (Awaiting Repress) Quick View

    $19.99
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    Nonagon Infinity (Awaiting Repress)

    Pressed On Splattered Vinyl (Dark Vinyl With Light Splatters)


    "Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It's exactly the kind of ambitious vision that prompted Rolling Stone to dub the band "one of the most compelling collectives of art-rock experimentalists in recent years." But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.


    The roots of 'Nonagon Infinity' stretch back to 2014, when King Gizzard recorded their critically acclaimed album "I'm In Your Mind Fuzz," which was hailed by Pitchfork as "dense, intricately crafted, and most importantly, powerful."


    "We actually wanted to do this with 'Mind Fuzz,' but it just didn't work," explains Mackenzie. "We ended up writing songs that needed to be on that record but didn't connect to the others, so we had to abandon the idea, but the seeds were sown."


    To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed 'Mind Fuzz' with two more records in 2015, 'Quarters'-described by The Guardian as "the neon intersection of DIY psych and 1960s beach pop"-and the stripped-down 'Paper Mache Dream Balloon,' which earned praise from NPR to Stereogum. The truth, though, was that King Gizzard was honing in on the 'Nonagon Infinity' material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic.


    "We really wanted to focus on things that felt good live," says Mackenzie. "We'd grab a little riff here or a little groove there, and we'd jam on them and form songs out of them, which was the opposite of 'Paper Mache,' where we were making songs in an acoustic, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn't just a song, it was part of a loop, part of this whole experience where it feels like it doesn't end and doesn't need to end."


    Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path.


    "I wanted it to feel like a horror or sci-fi movie," explains Mackenzie of the album's dark overtones. "The lyrics came as a stream of consciousness, all of these elements just falling out of my head as it was happening."


    "Big Fig Wasp" references a particularly macabre insect that must kill itself in order to perpetuate the species, while "Gamma Knife," with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and "People-Vultures" plays like a sinister film soundtrack. Album opener "Robot Stop" pulls more directly from the band's recent experiences, inspired in part by their relentless work ethic and tour schedule, which has included festival performances at Bonnaroo, Glastonbury, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA, UK, Europe and Australia.


    "That song's about feeling overworked, like a bit of a robot that's just going to crash and die or something," he says with a laugh. "But you get yourself up and do it again and you robot on and you're alright. It was one of the early ones we wrote for the record, and I think when that song came together, everybody started to feel like were going to actually be able to pull off this never-ending album idea."


    To say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album's final track.


    "In the Australian desert, in the outback, there are what's called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long," he explains. "They drive on the road really, really fast, and they're deadly, with these bars in the front to kill kangaroos and anything else in their path."


    'Nonagon Infinity' has opened the door for King Gizzard & The Lizard Wizard, and they're barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.

    1. Robot Stop
    2. Big Fig Wasp
    3. Gamma Knife
    4. People-Vulture
    5. Mr. Beat
    6. Evil Death Roll
    7. Invisible Face
    8. Wah Wah
    9. Road Train
    King Gizzard & The Lizard Wizard
    $19.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Universal Breakdown Blues Universal Breakdown Blues Quick View

    $18.99
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    Universal Breakdown Blues

    Universal Breakdown Blues is a modern urban blues/rock offering that reflects the soul of blues mastermind Popa Chubby. The album features 12 brand new tracks that capture the fire and energy of his live shows. It represents an entirely new level of his tempestuous, soulful playing. Popa puts it all into the simple language of music and invites us all to the party!


    'This is the blues now. It's the people's blues. The blues belongs to the people and I get to sing it. If there's one thing I want people to know about me, it's that I'm a survivor, says Popa Chubby. 'Here's my story: My dad died when I was seven. I was abandoned and raised myself. I moved to New York City when I was 18 and started playing music. I got a huge heroin habit and ended up strung out on the streets until I was in my early twenties. I started playing again and got away from drugs and never went back, and then I got into the New York blues scene of the early '90s, and here I am today.'


    Universal Breakdown Blues is a monumental blues album fueled by the veteran Popa Chubby.

    1. I Don't Want Nobody
    2. I Ain't Giving Up
    3. Universal Breakdown Blues
    4. The Peoples Blues
    5. Rock Me Baby
    6. 69 Dollars
    7. Over The Rainbow
    8. I Need A Lil' Mojo
    9. Danger Man
    10. Goin' Back To Amsterdam (Reefer Smokin' Man)
    11. The Finger Bangin' Boogie
    12. Mind Bender
    Popa Chubby
    $18.99
    Vinyl LP - Sealed Buy Now
  • I'm Not The Devil I'm Not The Devil Quick View

    $24.99
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    I'm Not The Devil

    Cody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."


    Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."


    His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"


    Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
    There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."


    "All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
    One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."


    "No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."


    With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."


    It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."


    Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."


    It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."

    1. The Same
    2. I'm Not the Devil
    3. No Guarantees
    4. No Words
    5. Give All You Can
    6. She's All Mine
    7. The Way I Am
    8. Chase That Song
    9. Heavy Load
    10. Grey
    11. Church at Gaylor Creek
    12. Vampires
    13. Hand Me Down
    Cody Jinks
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Last Spire The Last Spire Quick View

    $37.99
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    The Last Spire

    Import


    And lo, Lee Dorrian, mouthpiece of Cathedral for 23 years, doth solemnly intone the death rites of this mighty British metal Titan. Born in the dying days of Thatcher's Britain, bonding over then-unfashionable, obscure names like Saint Vitus, Pentagram, Trouble and Dream Death, Cathedral's sole ambition was to record a demo tape. In fact they revolutionised doom metal, first pushing their influences into new avenues of grinding extremity, then pioneering groovier forms of '70s-indebted stoner doom.


    They've remained a reassuring and singular presence in our lives, building a rabid following worldwide with their wholly distinctive blend of rollicking British heavy metal, true doom, 70s hard rock, psych-folk, mad prog and spiky crust-punk. There was a worrying hiatus between 2005 and 2010 when some dared to wonder if Cathedral were coming back at all - but they re-emerged with 'The Guessing Game', an overflowing treasure chest of weird and wonderful goodies exploring new, bold variations on their craft. So when news came that Cathedral really were approaching the Endtyme, it was a shock.


    Personally speaking, this is the album I've been waiting to do since the first one (their landmark 1991 debut, Forest of Equilibrium), it almost feels like we made our second album last in some respects. We actually recorded a lot more material but decided to sacrifice many of the tracks to make the overall album feel more complete in its nihilism. I don't like happy endings, I never have. So many good films are ruined by happy endings and I didn't want that to be the case with Cathedral, it was my dream to bring everything full circle. Says Lee Dorrian.


    Clearly there was new impetus for reconnecting with that early spirit of doleful abjection, of sinister obsessions and lamented desires; on 'The Last Spire' Cathedral are literally doomed. We are commiserating the celebration, and in what thrilling style.

    1. Entrance to Hell
    2. Pallbearer
    3. Cathedral of the Damned
    4. Tower of Silence
    5. Infestation of Grey Death
    6. An Observation
    7. The Last Laugh
    8. This Body, Thy Tomb
    Cathedral
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Last Spire The Last Spire Quick View

    $29.99
    Buy Now
    x

    The Last Spire

    And lo, Lee Dorrian, mouthpiece of Cathedral for 23 years, doth solemnly intone the death rites of this mighty British metal Titan. Born in the dying days of Thatcher's Britain, bonding over then-unfashionable, obscure names like Saint Vitus, Pentagram, Trouble and Dream Death, Cathedral's sole ambition was to record a demo tape. In fact they revolutionised doom metal, first pushing their influences into new avenues of grinding extremity, then pioneering groovier forms of '70s-indebted stoner doom.


    They've remained a reassuring and singular presence in our lives, building a rabid following worldwide with their wholly distinctive blend of rollicking British heavy metal, true doom, 70s hard rock, psych-folk, mad prog and spiky crust-punk. There was a worrying hiatus between 2005 and 2010 when some dared to wonder if Cathedral were coming back at all - but they re-emerged with 'The Guessing Game', an overflowing treasure chest of weird and wonderful goodies exploring new, bold variations on their craft. So when news came that Cathedral really were approaching the Endtyme, it was a shock.


    Personally speaking, this is the album I've been waiting to do since the first one (their landmark 1991 debut, Forest of Equilibrium), it almost feels like we made our second album last in some respects. We actually recorded a lot more material but decided to sacrifice many of the tracks to make the overall album feel more complete in its nihilism. I don't like happy endings, I never have. So many good films are ruined by happy endings and I didn't want that to be the case with Cathedral, it was my dream to bring everything full circle. Says Lee Dorrian.


    Clearly there was new impetus for reconnecting with that early spirit of doleful abjection, of sinister obsessions and lamented desires; on 'The Last Spire' Cathedral are literally doomed. We are commiserating the celebration, and in what thrilling style.

    1. Entrance to Hell
    2. Pallbearer
    3. Cathedral of the Damned
    4. Tower of Silence
    5. Infestation of Grey Death
    6. An Observation
    7. The Last Laugh
    8. This Body, Thy Tomb
    Cathedral
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pete Townshend's Classic Quadrophenia Pete Townshend's Classic Quadrophenia Quick View

    $25.99
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    Pete Townshend's Classic Quadrophenia

    As a leading icon of the British music revolution of the 1960s, Pete Townshend made his name by creating the power chord, smashing guitars onstage, and penning anthems of teenage rebellion like My Generation.


    Now, at almost 70 years old and half a century after he penned the archetypal rock lyric Hope I die before I get old , Townshend has created a classical version of one of The Who s landmark albums Quadrophenia for a symphony orchestra, opera singer and choir.


    The new symphonised version of Quadrophenia, an album originally released by The Who in 1973, was orchestrated by Rachel Fuller, a professional composer, orchestrator and singer-songwriter in her own right and also the partner of Pete Townshend.


    It will be released by the Deutsche Grammophon label, internationally renowned for its repertoire of classical and opera music, and launched next summer with a world premiere concert at the Royal Albert Hall, performed by the Royal Philharmonic Orchestra and London Oriana Choir.


    The project is the latest chapter in Townshend s lifelong mission to break the three-minute mould of the traditional pop song and take rock music to a higher artistic level. In the 1960s he defined the concept of the rock opera with Tommy, taking it a stage further with Quadrophenia.
    Conceived and written by Townshend in 1973, Quadrophenia went on to become a feature film and a theatre production, and was performed in its entirety on The Who s most recent live tour. For the last three years Townshend has worked closely with Rachel Fuller on brand-new arrangements for orchestra, soloists and choir.


    Recorded with the Royal Philharmonic Orchestra in October 2014 at London s legendary Air Studios, the new incarnation of this classic rock opera is conducted by Robert Ziegler and features popular British tenor Alfie Boe on vocals, with Townshend himself on electric guitar and performing cameo vocal roles. Townshend will reprise his roles at the live world premiere at the Royal Albert Hall in London on 5 July 2015, alongside the RPO, Ziegler, Boe and other star guests.


    The rock superstar began work on the project as part of his plan to leave a legacy of all his work arranged for orchestra as sheet music, for future generations to enjoy. Townshend hopes the new work will go on to become a regular part of the orchestral repertoire and boost attendance at classical concerts.


    A lot of major symphony orchestras are in trouble because their audience is getting old and the younger audiences prefer softer stuff, such as film soundtrack music, he explains. I think that Quadrophenia would reinvigorate their audiences and bring in people who might not otherwise go to see a symphony orchestra perform without lights and fireworks and a movie screen.


    Rachel Fuller, who was born in the year Quadrophenia was first released, admits she had never heard The Who s album until several years after she first met Townshend in a London recording studio, while he was rehearsing for The Who s 1996 tour of that album and she was working with Ute Lemper.


    I loved it as soon as I heard it about ten years ago, she says. For me it's been an act of love to orchestrate it for Pete. It's also been a joy to work on because it is very orchestral by nature, even as a rock album, so it was very easy to arrange for an orchestra. And I've remained really faithful to the original tracks because he's the composer and I want to honour his work.

    1. I Am The Sea
    2. The Real Me
    3. Quadrophenia
    4. Cut My Hair
    5. The Punk And The Godfather
    6. I'm One
    7. The Dirty Jobs
    8. Helpless Dancer
    9. Is It In My Head?
    10. I've Had Enough
    11. 5:15
    12. Sea And Sand
    13. Drowned
    14. Bell Boy
    15. Doctor Jimmy
    16. The Rock
    17. Love Reign O'er Me
    Pete Townshend
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blood Sweat And Tears (Pure Pleasure) Blood Sweat And Tears (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Blood Sweat And Tears (Pure Pleasure)

    Winner of 3 Grammys in 1970 (Album of the Year, Best Arrangment for Spinning Wheel and Best Contemporary Instrumental Perfomance for Variations On A Theme By Erk Satie) this absolutely mind-blowing album peaked at #1 on the US Charts, staying there for seven weeks, going double platinum by the end of 1969 and stayed on the top 40 for 66 weeks. It's actually in the 13th place of the best selling albums from all time in the US with about 3 millions copies sold.


    Arguably, the Blood, Sweat & Tears that made this self-titled second album - consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas - was really a different group from the one that made Child Is Father To The Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people.


    Kooper was even still present as an arranger on two tracks, notably the initial hit You've Made Me So Very Happy. But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles - You've Made Me So Very Happy, Spinning Wheel, and And When I Die - but the whole album, including an arrangement of God Bless The Child and the radical rewrite of Traffic's Smiling Phases, was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album.

    Musicians:



    • David Clayton Thomas (vocal)

    • Steve Katz (guitar, harmonica, vocal)

    • Dick Halligan (organ, piano, trombone, flute, vocal)

    • Fred Lipsius (alto saxophone, piano)

    • Lew Soloffm Chuck Winfield (trumpet, fluegel horn)

    • Jerry Hyman (trombone)

    • Jim Fielder (bass)

    • Bobby Colomby (drums, percussion, vocal)



    Recording: August and October 1968 by Roy Halee and Fred Catero

    Production: James William Guerico



    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.


    1. Variations On A Theme By Erik Satie
    2. Smiling Phases
    3. Sometimes in Winter
    4. More and More
    5. And When I Die
    6. God Bless The Child
    7. Spinning Wheel
    8. You've Made Me So Very Happy
    9. Blues - Part II
    10. Variations On A Theme By Erik State
    Blood, Sweat And Tears
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Abandoned Abandoned Quick View

    $19.99
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    Abandoned

    Boston's most devoted and steadfast hardcore band, Defeater knows what it takes to remain credible in a scene where fans demand both unapologetic, in-your-face power and intense emotional honesty. For Defeater and their die-hard fans, this honesty is key, and with their Epitaph debut Abandoned, Derek Archambault (vocals) and fellow band members have created their masterpiece. Carrying on the narrative thread they have built across four previous albums, Abandoned is the band's most powerful and uncompromising album to date, powered by a renewed sense of artistic ambition and a plot twist no one could have expected. Defeater has never sounded more bleak and intense. The seething black-hole hardcore songs that served as finales "Cowardice" and "Bled Out" on Travels and Letters Home just barely touch the full-throated primal desperation on display in the first track here, and the momentary respite halfway through on "Borrowed And Blue" only makes the utter collapse that follows more punishing. This is the first album where the entire band was involved from the ground up, says Archambault, and that let Defeater push itself to a new level of discipline and depth.
    1. Contrition
    2. Unanswered
    3. December 1943
    4. Spared In Hell
    5. Divination
    6. Borrowed & Blue
    7. Penance
    8. Remorse
    9. Pillar Of Salt
    10. Atonement
    11. Vice & Regret
    Defeater
    $19.99
    Vinyl LP - Sealed Buy Now
  • That's It (Pure Pleasure) That's It (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    That's It (Pure Pleasure)

    A very distinctive tenor with a hard, passionate tone and an emotional style that was still tied to chordal improvisation, Booker Ervin was a true original. He was originally a trombonist, but taught himself tenor while in the Air Force (1950-1953). After studying music in Boston for two years, he made his recording debut with Ernie Fields' R&B band (1956). Ervin gained fame while playing with Charles Mingus (off and on during 1956-1962), holding his own with the volatile bassist and Eric Dolphy. He also led his own quartet, worked with Randy Weston on a few occasions in the '60s, and spent much of 1964-1966 in Europe before dying much too young from kidney disease. Ervin, who is on several notable Charles Mingus records, made dates of his own for Bethlehem, Savoy, and Candid during 1960-1961, along with later sets for Pacific Jazz and Blue Note.



    Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on this quartet set. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. In addition to Poinciana and Speak Low, Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is Booker's Blues.




    Musicians:



    • Booker Ervin (tenor saxophone)

    • George Tucker (bass)

    • Horace Parlan (piano)

    • Al Harewood (drums)




    Recording: January 1961 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    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.



    and that the lacquer discs are newly cut.


    1. Mojo
    2. Uranus
    3. Poinciana
    4. Speak Low
    5. Bookers Blues
    6. Boo
    Booker Ervin
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart Requiem (Speakers Corner) Mozart Requiem (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart Requiem (Speakers Corner)

    Among all those sacred compositions that deal with the end of life, Mozart's Requiem penetrates one's heart and soul like no other apocalyptic work. One reason for this is surely the rather mysterious story surrounding its composition, a mixture of truth and legend, which arose during the arduous last months of the ailing Salzburg composer. Although the various developmental stages and the extent to which Mozart's pupils participated in the composition may never be fully clarified, the mystical power of the enigmatic fragments remains constant to this day.



    Sir Colin Davis lends an immediate relentlessness to the sounds of despair that is already apparent in the tense, pulsating opening bars, and which is taken to the very limits of playability in the climactic Dies irae. While the swift tempi might appear rather surprising, they serve to dampen any sort of opera-like sentimentality of which many recordings are guilty. The consolatory timbre in the vocal parts make them come across as oases of calm in the prevailing atmosphere of biting cold, fearsome drama, and flickering hope, all of which breathes musical life into this mass for the dead.



    Musicians:



    • Soloists

    • The John Alldis Choir

    • The BBC Symphony Orchestra

    • Sir Colin Davis (conductor)





    Recording: September 1967 at Watford Town Hall, London, by Martin Vos

    Production: Harold Lawrence




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Introitus
    2. Kyrie
    3. Sequentia
    4. Offertorium
    5. Sanctus
    6. Benedictus
    7. Agnus Dei
    8. Communio
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Meditations Meditations Quick View

    $24.99
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    Meditations


    Pressed On Clear Vinyl With Black Splatter


    For over a quarter century the monumental vessel of KATAKLYSM has overwhelmed the world with immense, powerful, death metal. Since their formation in 1991, they have uprooted influence in everything from ancient human history to the basic instincts surrounding mortal emotion. Part of what has kept KATAKLYSM not just surviving, but thriving for such a long period of time, is their incredible ability to explore the darkest chasms and most intricate paths of fleshly nature through music. With no end in sight, KATAKLYSM has culminated their most recent inspirations into their upcoming creation, Meditations, set for release via Nuclear Blast Records.


    The building of the record began surrounding the recent 25-year milestone as the band members found themselves in an era of re-creation. KATAKLYSM's sound has always been incredibly diverse and attracted a wide variety of fans. Frontman Maurizio Iacono feels that the time has come to truly immerse the band in those origins of being naturally unique: "We've never really belonged to one thing, we were never really a follower of one style of music; we were a hybrid. It confused people a little bit, I think we were an outsider band regarding that... not part of anything." This philosophy has naturally led to the beginning of an Outsider Movement, a "vast majority" of uniqueness amongst the masses of the metal world.


    As the band approaches this new era, they remain true to their root sound while developing an even more melodic dynamism. The title, Meditations, mirrors the emotional elements of these robust and vigorous sounds, while the incredible artwork (designed by artist Suzy Iacono) visually reflects the emotional torment and sonic release that the songs on the album portray. With KATAKLYSM's classic symbol reflecting the clouds in the sky, a human face is seen struggling from inside the roots of a tree; screaming and struggling to escape. The washy colors set the tone for an intense and effective batch of musical measures. Strong songs like 'Guillotine' and 'Outsider' are sure to be die-hard fan pleasers with their classic KATAKLYSM sound and as they "are very intertwined with KATAKLYSM's message," says Iacono.


    This album cycle also consisted of a slightly different recipe in terms of the recording process. Guitarist JF Dagenais, who has always been involved in the band's recording, set out to do the entirety of Meditations with the band's newest member, drummer Oli Beaudoin, by his side. Dagenais & Beaudoin recorded the album in the depths of the Canadian forest at the studio the band built specifically for JF's recordings. The production process was also taken in an entirely different direction this time with the hiring of fellow Canadian Jay Ruston who more commonly works with bands like STONE SOUR and ANTHRAX. "It's a risk when you're in a very tunnel vision industry," says Iacono. "We wanted something out there, with a different kind of production [and] we were very impressed with his sound."


    Meditations is a refreshing representation of both the roots and foundations of KATAKLYSM. It represents the duality of various essences in the realm of truly existing as an Outsider. It is something which will electrify consistent KATAKLYSM fans, welcome new ones, and reawaken old ones. KATAKLYSM is: Maurizio Iacono (Vocals), JF Dagenais (Guitars), Stephane Barbe (Bass) and Oli Beaudoin (Drums).

    1. Guillotine
    2. Outsider
    3. The Last Breath I'll Take Is Yours
    4. Narcissist
    5. Born To Kill And Destined To Die
    6. In Limbic Resonance
    7. ...And Then I Saw Blood
    8. What Doesn't Break Doesn't Heal
    9. Bend The Arc, Cut The Cord
    10. Achilles' Heel
    Kataklysm
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Terry Riley: In C (Pure Pleasure) Terry Riley: In C (Pure Pleasure) Quick View

    $34.99
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    Terry Riley: In C (Pure Pleasure)

    If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous--even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again.


    This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music -- ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music -- that can, and will, change your life.



    Musicians:



    • Terry Riley (conductor, saxophone, organ)

    • Margaret Hassell, Lawrence Singer (oboe)

    • Darlene Reynard (bass)

    • Jon Hassell (trumpet)

    • Jerry Kirkbride (clarinet)

    • David Shostac (flute)

    • Stuart Dempster (trombone)

    • Edward Burnham (vibraphone)

    • Jan Williams (marimba)



    Recording: 1968 at Columbia's 30th Street Studio, New York, by Fred Plaut and Russ Payne

    Production: David Behrman

    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.

    1. In C
    Terry Riley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Psychic Temple II Psychic Temple II Quick View

    $19.99
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    Psychic Temple II

    It may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.


    Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.


    "I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.


    "It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."


    Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."


    Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.


    Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.


    Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."


    Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.


    Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."


    Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.

    1. Seventh House
    2. The Starry King Hears Laughter
    3. Solo In Place
    4. Bird In The Garden
    5. 'Til I Die
    6. She Is The Golden World
    7. Steppin' Out
    8. All I Want Is Time
    9. Sofa No. 2
    10. NO TSURAI
    11. Hyacinth Thrash Quarter
    Chris Schlarb
    $19.99
    Vinyl LP - Sealed Buy Now
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