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Out To Lunch'
Out to Lunch (Awaiting Repress)
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Out To Lunch! was Eric Dolphy's only recording for Blue Note Records as a leader and today is considered one of the premiere albums in the label's
history as well as one of the top avant garde jazz albums of the 1960s. Featuring five Dolphy originals - including the Thelonious Monk tribute "Hat and
Beard," Out To Lunch! includes the artistry of Dolphy on alto sax, flute and bass clarinet along with Freddie Hubbard on trumpet, Bobby Hutcherson on
vibes, Richard Davis on bass and Anthony Williams on drums. Out To Lunch was newly-remastered for vinyl by Alan Yoshida at Dunning-Kruger in Los
Angeles as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.1. Hat And Beard
2. Something Sweet, Something Tender
4. Out To Lunch
5. Straight Up And Down$19.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
Paradise & Lunch (Speakers Corner)A good 20 years have passed since a band with ancient musicians from Cuba - the Buena Vista Social Club - took the world by storm. Behind the project, in the wings yet right in the midst of this unheard-of music, was Ry Cooder, who regarded this encounter as the greatest musical event of his entire life. The bottleneck guitar hero had always been very interested in the music from the other Americas ever since the solo albums he made in his early years, in which he told the story of the American folk and blues in a multitude of styles. The LP Paradise And Lunch is no exception and begins with gospel-like grooves that smell of native soil. The faint smell of a wooden church from pioneering days wafts out of the processional antiphonal song Jesus On The Mainline and a healthy 12-bar blues paints a picture of what silent witnesses could tell if they could (If Walls Could Talk). Cooder and his sidemen felt themselves perfectly at home when adventuring further afield and this is testified to in the laid-back calypso rhythm of It's All Over Now and the clip-clop of Mexican Divorce.
This wonderful album is highly recommended for each and every number, but if you want a tip for a very special track, then just listen to the ragtime piano rolls in Bo Diddley's Ditty Wah Ditty.
- Ry Cooder (guitar, mandolin, bass, vocal)
- Ronnie Barron (piano, organ)
- Earl Hines (piano)
- Plas Johnson (alto saxophone)
- Oscar Brashear (cornet)
- Red Callender (bass)
- John Duke (bass)
- Russ Titelman (electric bass)
- Chris Ethridge (electric bass)
- Milt Holland (drums, percussion)
- Jim Keltner (drums)
Recording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg
Production: Lenny Waronker & Russ Titelman
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. Tamp 'Em Up Solid
3. Married Man's a Fool
4. Jesus on the Mainline
5. It's All Over Now
6. Fool for a Cigarette/Feelin' Good
7. If Walls Could Talk
8. Mexican Divorce
9. Ditty Wah Ditty$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Big WorldListening to San Francisco East Bay s Happy Diving it s hard to believe that they ve only been together since 2013. A year ago, friends Matt Berry, Samuelito Cruz, Mikey Rivera, and Matt Yankovitz decided to form a band after previous projects fell apart. Since then they ve released a self-titled EP in late 2013 that fans of Tony Molina, Connecticut s Ovlov and early Weezer can appreciate. Their debut full-length, Big World, out worldwide on October 21, 2014, was recorded over a whirlwind two days at The Atomic Garden in East Palo, CA, with the help of producer Jack Shirley (Deafhaven, Joyce Manor, Whirr). Big World sees the band channeling the energy first displayed on their Self-Titled EP, as well as their deafening and vivacious live shows, into ten concise, sludgy pop songs. We recommend you listen to this album while road tripping across the country, but if you don t have the time to pack up your cares and get away, Big World fits perfectly into a 30 minute lunch break.1. Small World
2. Space Ooze
3. Weird Dream
4. Big World
5. Sad Planet
6. Mikey's Rules
8. Always Noon
10. 10$14.99Vinyl LP - Sealed Buy Now
Why Love NowPissed Jeans have been making gnarly noise for 13 years, and on their
fifth album, Why Love Now, the male-fronted quartet is taking aim at
the mundane discomforts of modern life-from fetish webcams to
office-supply deliveries. Rock bands can retreat to the safety of what
rock bands usually sing about. So 60 years from now, when no one
has a telephone, bands will be writing songs like, 'I'm waiting for her
to call me on my telephone.' Kids are going to be like, 'Grandpa, tell
me, what was that?' I'd rather not shy away from talking about the
internet or interactions in 2016, says frontman Matt Korvette.
Pissed Jeans' gutter-scraped amalgamation of sludge, punk, noise,
and bracing wit make the band-Korvette, Brad Fry (guitar), Randy
Huth (bass) and Sean McGuinness (drums)-a release valve for a
world where absurdity seems in a constant battle trying to outdo
itself. Why Love Now picks at the bursting seams that are barely
holding 21st-century life together. Take the grinding rave-up The Bar
Is Low, which, according to Korvette, is about how every guy seems
to be revealing themselves as a shithead. It seems like every guy is
getting outed, across every board of entertainment and politics and
music. There's no guy that isn't a total creep.
The lyrics on Why Love Now are particularly pointed about gender
relations and the minefield they present in 2016. 'It's Your Knees' is
about the endless, unrequested, commenting on if you'd fuck a girl.
'My great aunt won a cooking contest.' 'Oh, that's pretty hot. I'd hit
that,' says Korvette. On Love Without Emotion Korvette channels
Nick Cave's guttural side while bemoaning his detachment over
cavernous guitars. Ignorecam twists the idea of fetish cam shows-
where the woman just ignores you and watches TV or eats macaroni
and cheese or talks on the phone-into a showcase for Korvette's
rancid yelp and his bandmates' pummeling rock.
As they did on their last album, 2013's Honeys, Pissed Jeans offer a
couple of fuck that shit type songs about the working world. And the
startling I'm A Man, which comes at the album's midpoint, finds
author Lindsay Hunter (Ugly Girls) taking center stage, delivering a
self-penned monologue of W.B. Mason-inspired erotica-office small
talk about pens and coffee given just enough of a twist to expose its
filthy underside, with Hunter adopting a grimacing menace that
makes its depiction of curdled masculinity even more harrowing.
No Wave legend Lydia Lunch shacked up in Philadelphia to produce
Why Love Now alongside local metal legend Arthur Rizk (Eternal
Champion, Goat Semen). I knew she wasn't a traditional producer,
Korvette says of Lunch. I like how she's so cool and really intimidating.
She ended up being so fucking awesome and crazy. She was
super into it, constantly threatening to bend us over the bathtub. I'm
not really sure what that entails, but I know she probably wasn't
joking." The combination of Lunch's spiritual guidance and Rizk's
technical prowess supercharged Pissed Jeans, and the bracing Why
Love Now documents them at their grimy, grinning best. While its
references may be very early-21st-century, its willingness to state its
case cement it as an album in line with punk's tradition of turning
norms on their heads and shaking them loose.1. Waiting On My Horrible Warning
2. The Bar Is Low
4. Cold Whip Cream
5. Love Without Emotion
6. I'm A Man
7. (Won't Tell You) My Sign
8. It's Your Knees
9. Worldwide Marine Asset Financial Analyst
10. Have You Ever Been Furniture
12. Not Even Married$19.99Vinyl LP - Sealed Buy Now
PhonographyPhonography was lo-fi legend R. Stevie Moores first vinyl release only 100 copies were pressed in 1976. The album (including a slightly larger 1978 pressing) barely earned the artist lunch money. But Phonography has since become the cornerstone of the Do-It-Yourself movement, while establishing Moore as the Granddaddy of home recording. Both Rolling Stone and Spin have proclaimed it one of the most influential independent releases of the past 50 years. Phonography was recorded by a self-taught control-freak, using cheap, malfunctioning analog equipment. Robert Steven Moore was born in 1952, in Nashville. His dad, veteran bassist/producer Bob Moore, taxied between sessions for major stars (including Elvis Presley). But Stevie preferred Brit Invasion, Zappa, Brian Wilsons idiosyncratic arrangements, and outliers like the Shaggs. At the urging of his supportive uncle, Harry Palmer, he moved to New Jersey in 1976.
The Phonography material was recorded by this one-man virtual band at home between 1974 and 1976 with a pair of analog open-reel stereo decks and no multi-tracking equipment. Moore built songs starting with a rhythm track (e.g., played on drums, furniture, or boxes), upon which he layered instrumental and vocal tracks in a primitive sound-on-sound technique. Multiple generations of sound caused frequency loss and sonic distortion the embodiment of lo-fi but these are charming artifacts that dont obscure the brilliance of the compositions and Moores masterful music eccentricities. Moore and Palmer culled the top-tier songs, which were interspersed with spoken word, audio veritÉ, and radio snippets to create a program effect. The song styles were eclectic, reflecting Stevies omnivorous music appetite: hard rock, sweet ballads, Britpop, guitar raves, glam, and Zappa-esque weirdness. The album laid the foundation for Moores four-decade underground career.
He has self-released hundreds of albums on each successive eras format du jour (cassette, LP, CD, digital download). Hes had vinyl and CD compilations produced worldwide on two dozen indie labels. For a songwriter with a massive catalog of prime material, Moores revenue stream has barely afforded him the luxury of replacing gear plagued by worn-out switches. Yet most of the surviving labels who turned deaf ears to R. Stevie Moore are now, like him, struggling to make a buck on their catalogs. Their corner-office execs come and go. R. Stevie Moore is still here. And Phonography is back.1. Melbourne
2. Explanation of Artist
3. Goodbye Piano
4. Explanation of Listener
5. California Rhythm
6. I've Begun to Fall in Love
7. The Spot
8. I Want You in My Life
9. I Wish I Could Sing
10. Theme From A.G.
11. The Voice
12. Showing Shadows
13. She Don't Know What to Do With Herself
14. The Lariat Wressed Posing Hour
15. I Not Listening
16. Mr. Nashville
17. Moons$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Meet Me At The End Of The WorldVinyl pressing of this EP from the New York-based singer/songwriter. Malin is best known as the frontman for alt-rock outfit D-Generation. Malin began his music career at the age of 12, as the frontman for the seminal New York City hardcore band Heart Attack. The band auditioned at CBGBs but were denied because they wouldn't bring in a drinking crowd to the bar. Following the demise of that band in 1984, Jesse worked on several other projects, including the band Hope, before joining glam punk band D Generation for which he was the lead singer for eight years. As one of New York City's most noted bands of the 1990s, D Generation released three albums, including No Lunch, before eventually disbanding in April 1999. Malin has since carved out a critically successful solo career.1. Meet Me at the End of the World
2. Fox News Funk
3. Revelations / Thirteen
4. London Rain$10.9912 Vinyl EP - Sealed Buy Now
Sunday DinnerKeath Mead would like to invite you to Sunday Dinner. The
25-year-old South Carolina native's debut album is as pleasurable
as a drive along the coast, as comforting as a day out with
friends, and as sweet as pie after lunch. Steeped in the classic
sounds of '60s and '70s pop singer-songwriters, Mead is just as
influenced by contemporary artists such as The Shins' James
Mercer and Jack White. "Waiting" opens the record with a warm
bed of synths and Mead sings, "One day you're gonna land/ in a
place that you never planned/ in your life to see." An optimistic
song about potential? Maybe. But it's definitely a song about
regret. Mead has that timeless ability to make songs that seem
to say one thing, but move us to feel many things. With Sunday
Dinner, Mead aspired to achieve a songwriting ideal: If a song
doesn't hold up with one person singing and playing a single
instrument, then it's probably not that good of a song, he says.
The album was recorded in only eight days-over the span of
nine months-with the help of Chaz Bundick (Toro Y Moi, Les
Sins). Bundick hosted Mead in his Berkeley, Calif., home studio
for the recording. Mead's guitar and vocal tracks came first,
then Bundick on bass, before the pair took turns on drums and
synthesizers. The collaborative process lent an improvisational
aspect to the album, with the pair playing music until they found
a passage they both liked. The live playing and "happy
accidents" of the recording process add to the easy-going vibe
of the LP.
Though recording the album was relatively short, the songs
were written over three years. The primary theme of the record is
the anxiety induced by the rapid changes brought on by coming
of age. Mead also contemplates isolation, loss of innocence,
and angst associated with maturation.1. Waiting
2. Grow Up
3. She Had
5. Setttle For Less
7. Where I Wanna Be
8. Quiet Room
10. Polite Refusal
11. So Close$14.99Vinyl LP - Sealed Buy Now
Late Night Tales: BADBADNOTGOOD (Unmixed) (Awaiting Repress)Canadian quartet BadBadNotGood take on creating the ultimate "late night" selection of tracks from their record collections.
The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, with whom they made 2015's Sour Soul. Their last album, the critically-acclaimed IV, turned heads and their collaborators continue to multiply: Snoop Dogg, Kaytranada and Kendrick Lamar among them.
"We were really excited to have the chance to put together a LateNightTales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people.
Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf. These artists, as well as many, many others, have influenced us to create, and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation."
- BADBADNOTGOOD May 2017
You can even hear little bits of BadBadNotGood through this mix, as though they are transmitting parts of themselves through the music they select. Perhaps the keys on Admas' hilariously expensive 'Anchi Bale Game', maybe, or the arrangements on Delegation's mighty Britsoul tune 'Oh Honey' or the groove from 'Vida Antiga', Erasmo Carlos' Brazilian classic. As Janis almost sang, take another little piece of my art.
This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.
Finally, there's the no-small-matter of the Late Night Tales cover version, in which BadBadNotGood take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.
Badbad, indeed: so good they said it twice.LP 1
1. Boards Of Canada - Olson
2. Erasmo Carlos - Vida Antiga
3. Gene Williams - Don't Let Your Love Fade Away
4. The Chosen Few - People Make The World Go Round
5. Esther Phillips - Home Is Where the Hatred Is
6. Delegation - Oh Honey
7. Velly Joonas - KÄes on aeg
8. Stereolab - The Flower Called Nowhere
9. Kiki Gyan - Disco Dancer
10. Admas - Anchi Bale Game
1. Francis Bebey - Sanza Nocturne
2. Thundercat - For Love I Come
3. River Tiber Ft. Daniel Caesar - West
4. Charlotte Day Wilson - Work
5. The Beach Boys - Don't Talk (Put Your Head On My Shoulder)
6. Donnie & Joe Emerson - Baby
7. Les Prospections - Lido
8. Grady Tate - And I Love Her
9. Badbadnotgood - To You (Exclusive Andy Shauf cover version)
10. Steve Kuhn - The Meaning Of Love
11. Lydia Lunch - You, Me and Jim Beam (Exclusive Spoken Word Piece)$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Pop CrimesRowland S. Howard started playing in teenage bands in late
70s Melbourne. Whilst still a callow youth he wrote "Shivers," an
undisputed classic, (quietly ignoring the fact that Rowland perhaps
doesn't see it that way and approaches the song as if it was written
by someone else). The song was recorded by his band The Boys Next
Door who mutated into the Birthday Party and then relocated to
Europe to wage a guerrilla campaign against the trivialities of the
80s, until they turned their fire upon themselves and disintegrated
Whilst his former associates have moved on to weekend colour
supplement acceptability, Rowland has commonly been perceived
as the banished wastrel prince... exiled to a squalid garret on the
colder edges of the kingdom, accompanied only by his dreams and
inclinations. His demeanour (pale, gaunt, stick thin, sickly, dark
humoured, fatalistic) has perhaps inadvertently added far too much
credence to this interpretation of events. The shadow of this myth
has seemingly obscured the sheer volume of his creativity and the
singularity of his musical vision.
Always respected by his peers, a scan through Rowland's
catalogue of work sees him allied with the likes of Lydia Lunch,
Thurston Moore, Wim Wenders, Barry Adamson, The Gun Club, Nikki
Sudden, the Beasts Of Bourbon, the Hungry Ghosts and HTRK.
Rowland's own ensemble These Immortal Souls gun their engines
in the ill-lit background and the legacy of his work with The Birthday
Party scores the skin of successive generations of musicians and
But it's a history Rowland would gleefully put a match to. With or
without it Rowland S. Howard would make tense, beautiful music,
would deliver us his personal vision of the world, would create Pop
Long-time faithful friends Mick Harvey (who played with Rowland
for over 30 years), JP Shilo (Hungry Ghosts) and producer Lindsay
Gravina make for a formidable backline. Out front the guitar playing
couldn't be any one else but Rowland S Howard and his weary,
almost journalistic vocal delivery dispassionately sits amidst the
sweaty panic of the music, adding to the ill ease.
The band lurch in to Pop Crimes as if dragging a rain soaked body
across a muddy field. The ghosts of Lee Hazlewood, Snatch, Sergio
Leone, The Shangri-Las and nameless guys from a never known chain
gang watch on. Within the first few breaths Rowland references
Stalin, Calvary and genocide, whilst razoring guitar lines the current
crop of post-punk revisionists could only fantasize about.
"Shut Me Down" is Rowland at his most romantic, though
inevitably it's shot through with loss and longing. If only Dusty
Springfield were alive to revel in its drama. Talk Talk's 'Life's What
You Make It' is re-imagined as if it had risen from the grind of a
Detroit auto plant's assembly line. '(I Know) A Girl Called Johnny'
sees Jonnine D from HTRK sidle up to the microphone for a duet
that will melt even the coldest of hearts. It's a glorious missing link
between the New York girl group sound and the street smarts of
Suicide. Townes Van Zandt's "Nothin" is given a chilling tenement
building transformation. "Wayward Man" has the band wailing like
alarm sirens before Rowland emerges at his most contemplative
with the gorgeous, fragile build of "Ave Maria." Final track "The
Golden Age Of Bloodshed" takes the album out on a swaggering,
swashbuckling epic, with salvation slipping through the narrator's
fingers.1. (I Know) A Girl Called Jonny
2. Shut Me Down
3. Life's What You Make It
4. Pop Crimes
5. Nothin '
6. Wayward Man
7. Ave Maria
8. The Golden Age Of Bloodshed$17.99Vinyl LP - Sealed Buy Now
Legion (Original Television Series Soundtrack)Lakeshore Records presents LEGION (Original Television Series Soundtrack) by Jeff Russo.
When I first started working on LEGION, the showrunner Noah Hawley gave me some great feedback regarding the tonal palate, he suggested I read neurologist Oliver Sacks Hallucinations, said Russo. It was a fascinating read and it really did help inspire. It is all about the way that our mind can change our perception of reality and what that says about our brains. It was something that directed me right to where this amazing show was going.
LEGION, based on the Marvel Comics by Chris Claremont and Bill Sienkiewicz, is the story of David Haller (Dan Stevens) - a troubled young man who may be more than human. Diagnosed as schizophrenic as a child, David has been in and out of psychiatric hospitals for years. Now in his early 30s and institutionalized once again, David loses himself in the rhythm of the structured regimen of life in the hospital: breakfast, lunch, dinner, therapy, medications, sleep. David spends the rest of his time in companionable silence alongside his chatterbox friend Lenny (Aubrey Plaza), a fellow patient whose life-long drug and alcohol addiction has done nothing to quell her boundless optimism that her luck is about to change. The pleasant numbness of David's routine is completely upended with the arrival of a beautiful and troubled new patient named Syd (Rachel Keller). Inexplicably drawn to one another, David and Syd share a startling encounter, after which he must confront the shocking possibility that the voices he hears and the visions he sees are the result of him being a mutant.
I used many esoteric synths from the 70s including something called a 'synthi,' described Russo of his approach to the score. That along with a traditional cinematic orchestral sound makes up most of the sound of the score. I also used a lot of bowing metals...springs, and different kinds of metal percussion.
EMMY® and Grammy®-nominated musician, Jeff Russo has become a prominent composer, songwriter and arranger in the film and television industry. Russo received two Emmy nominations for his memorable music on FX's Emmy and Golden Globe-winning series, Fargo. He is currently scoring the third season of the show, as well as Starz's hit drama Power. Russo's music was recently heard on HBO's hit Golden Globe-nominated miniseries The Night Of.1. Young David
2. David in Clockworks
3. 174 Hours
4. Seeing Things Hearing Things
7. The Shift and Cascade
8. The Caper 2
9. Legion Main Title
10. 87 Days
12. Almost Legion
15. Chaos and Madness
16. David and Syd
17. Choir and Crickets
18. Tea and Memory
19. David Redux
20. Darkness (Full Suite)$34.99Vinyl LP - 2 LPs Sealed Buy Now
Drive Soundtrack (Gold Vinyl) (Out Of Stock)Gold Colored Vinyl
Various Artists with Original Motion Picture Score by Cliff Martinez. A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.
The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (''Nightcall''), The Chromatics (''Tick of the Clock''), Desire (''Under Your Spell''), College featuring Electric Youth (''A Real Hero''), and Riziero Ortolani featuring Katyna Ranieri (''Oh My Love''). Rolling Stone Magazine named Drive the No. 1 movie of 2011.
The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD.
''One thing that was unique for me about this project was having songs exert such a strong influence on the score,'' said Martinez. ''That helped to create a unified, one-size-fits-all, style of soundtrack... the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.''
This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band.
Martinez has since received compositional credit on many of Steven Soderbergh's projects including Kafka, The Limey, Solaris, Gray's Anatomy, Schizopolis, Traffic (which earned four Oscars and earned Martinez a Grammy nomination), and the upcoming film Contagion. He also composed the music for Espion(s) and A L'Origine, two French films released in 2009 - the latter earned a Cesar Award nomination for best original score. His other credits include Pump Up The Volume, Wicker Park, Wonderland, and The Lincoln Lawyer.LP1
1. Nightcall - Kavinsky & Lovefoxxx
2. Under Your Spell - Desire
3. A Real Hero - College feat. Electric Youth
4. Oh My Love - Riz Ortolani feat. Katyna Ranieri
5. Tick of the Clock - The Chromatics
6. Rubber Head - Cliff Martinez
7. I Drive - Cliff Martinez
8. He Had a Good Time - Cliff Martinez
9. They Broke His Pelvis - Cliff Martinez
10. Kick Your Teeth - Cliff Martinez
1. Where's The Deluxe Version? - Cliff Martinez
2. See You in Four - Cliff Martinez
3. After The Chase - Cliff Martinez
4. Hammer - Cliff Martinez
5. Wrong Floor - Cliff Martinez
6. Skull Crushing - Cliff Martinez
7. My Name on a Car - Cliff Martinez
8. On The Beach - Cliff Martinez
9. Bride of Deluxe - Cliff Martinez$29.99Vinyl LP - Sealed Temporarily out of stock