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  • King Push - Darkest Before Dawn: The Prelude King Push - Darkest Before Dawn: The Prelude Quick View

    $22.99
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    King Push - Darkest Before Dawn: The Prelude

    King Push - Darkest Before Dawn: The Prelude is the second studio album by American hip hop recording artist Pusha-T. It features the singles Untouchable, M.F.T.R. featuring The-Dream and Crutches, Crosses, Caskets.


    The album serves as a prelude for his third album King Push, which has been scheduled to be released in 2016.


    King Push - Darkest Before Dawn: The Prelude received widespread acclaim from critics, who highly praised its unique lyricism and experimental production.

    1. Intro
    2. Untouchable
    3. M.F.T.R. (Feat. The-Dream)
    4. Crutches, Crosses, Caskets (prod. by Diddy)
    5. M.P.A. (Feat. Kanye West, A$AP Rocky & The-Dream) (prod. by J. Cole)
    6. Got Em Covered (Feat. Ab-Liva)
    7. Keep Dealing (Feat. Beanie Sigel)
    8. Retribution (Feat. Kehlani)
    9. F.I.F.A.
    10. Sunshine (Feat. Jill Scott)
    Pusha-T
    $22.99
    Vinyl LP - Sealed Buy Now
  • Push Pull Push Pull Quick View

    $19.99
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    Push Pull

    Ten million albums sold worldwide, countless top-notch chart positions and a hit that seems as fresh as ever: when newcomers Hoobastank released their second album / smash hit The Reason in 2003, the rock world held its breath in awe. Nowadays, Hoobastank are still going strong as one of the biggest American rock acts of our time, and are set to release their most varied and thrilling effort so far: their sixth full length Push Pull, lovingly fine-tuned by legendary producer Matt Wallace (Faith No More, Maroon 5). The feather-light hooks of 'More Beautiful' will have you enamored in seconds, whilst the compelling chorus of 'True Believer' pulls you in for a tight embrace. The title track is brimming with pop goodness and displays the band`s versatility, while 'We Don`t Need The World', with its balladesque undertones, plays Hoobastank`s iconic trump card and rounds off an album that easily is one of the strongest of this much-praised hit factory!
    1. Don't Look Away
    2. Push Pull
    3. More Beautiful
    4. Head Over Heels (Tears For Fears cover)
    5. True Believer
    6. Just Let Go (Who Cares If We Fall)
    7. Better Left Unsaid
    8. We Don't Need The World
    9. Buzzkill (Before You Say Goodbye)
    10. Fallen Star
    11. There Will Never Be Another
    Hoobastank
    $19.99
    Vinyl LP - Sealed Buy Now
  • Horehound Horehound Quick View

    $24.99
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    Horehound

    White Stripes and Raconteurs leader Jack White won¹t rest. Pairing with
    Kills vocalist Alison Mosshart, the analog champion¹s latest quartet plays
    psychedelic blues and stark rock that¹s moody, atmospheric, and hypnotic. Tinged with swampy vibes and ominous emotions, this is a supergroup that lives up to the names and pedigrees of its impressive roster of members.

    In addition to White and Mosshart, The Dead Weather brings together Queens Of The Stone Age guitarist Dean Fertita and Raconteurs bassist Jack Lawrence. A veritable jack of all trades, White has turned his attention to the drums, leaving the guitar fireworks to Fertita. Most importantly, the quartet's iniitial batch of songs leaves nothing to be desired.


    Steeped in mythology, dripping with trashy promise, and soaked in an aptly humid atmospherics, Horehound is a modern marvel--a full-band effort that pools the best of White's other bands into an utterly distinctive whole. The push-pull interplay between White and Mosshart is alone worth exploring; such tension, drive, and edginess inform the proceedings, which span funk, sleazy blues, greasy boogies, and fuzz-drenched rock. Call it an update on not only blues' traditions but those of film noir, where White is ensared by Mosshart's femme-fatale allure and the band plays the soundtrack while the devil marches in and takes control.


    Recorded in just three weeks at White's newly constructed Nashville studio, Horehound has the sonics to match the excellent tunesmithship. Quickly becoming renown as one of the most analog-minded producers around, White worked to capture every nuance, texture, and note on this richly detailed album, which like the White Stripes' work, was intended to be heard on vinyl. Fertita's organ work and Lawrence's melodically distorted bass lines are not only heard but felt as they contribute to an ambience that's at once haunted and mesmerizing. You will not be disappointed at the results.


    Maybe the guy keeps such an insane work schedule because he's afraid idle hands are the devil's workshop. So while Meg White prepares to become Patti Smith's daughter-in-law, Jack keeps busy with this brilliant new band, tangling with Alison Mosshart of the Kills for an excellent album of sex sweat, bourbon breath, gun smoke and guitar sleaze. Advantage: devil! --Rob Sheffield, Rolling Stone, July 13, 2009

    1. 60 Feet Tall
    2. Hang You from the Heavens
    3. I Cut Like a Buffalo
    4. So Far from Your Weapon
    5. Treat Me Like Your Mother
    6. Rocking Horse
    7. New Pony
    8. Bone House
    9. Three Birds
    10. No Hassle Night
    11. Will There Be Enough Water?
    The Dead Weather
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Funky Was The State Of Affairs Funky Was The State Of Affairs Quick View

    $14.99
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    Funky Was The State Of Affairs

    Fergus and Geronimo's leap between their early R&B-influenced singles and their first wildly diverse record was so daring, many music writers and fans were forced to reconsider the pigeonhole to which they had already damned them. Happily damned them, since, after all, those early tracks went over exceptionally well. But observers and admirers were also left doing something not many get to experience in this dime-a-dozen singles renaissance: scratching their heads concerning what this group would do next. After a first record that was such a departure, not only did they wonder, they actually cared.



    Founding member Andrew Savage is very conscious of the risks the band took, the changes that were made in order to avoid being marginalized. Says Savage: "Jason (Kelly) and I had no interests in becoming lost in the indie rock/garage rock milieu. The nature of those early singles was that they were instantaneously gratifying, and we both wanted to make a record that was ultimately gratifying, but not necessarily instantaneous."



    Now we have an idea of how far Fergus and Geronimo are continuing to take their gradually conceptual ambitions, in the form of their second full-length record, Funky Was The State of Affairs.



    Like some of history's most well-regarded and oft-reissued acts, the group is doing exactly what they are compelled to do: making an album that actually plays like a cohesively complete statement. "I feel like bands aren't really making albums anymore. By that I mean, a start to finish concept meant to be listened to in its entirety. Labels are more interested in singles, which is in a tail-wags-dog sort of way.



    And yet the record is entirely unpredictable, even as it tackles reoccurring themes, which Savage says include, "aliens, technology, intergalactic dating/hooking up, the Roman Empire, and the earthling resistance movement." At times the story seems filtered through the earthling point of view; in the next, extraterrestrials listen to phone-tapped conversations by some understandably paranoid humans.



    Though at times it sounds like fairly serious subject matter, the group employs a sharp-tongued attack with the same sort of gallows humor cracked wise by the likes of their equally Doubting Thomas inspirational figures, everyone from the Mothers of Invention to Devo. Within the first few minutes, the tone is set; the bright, spiky, opening track over a Krautrock rhythm, "No Parties," contains a line summarizing the restlessness caused by the alienation of modern habits, sung in a mock-English accent: "Collecting devices, you're paying the prices/Of over consumption, with mental destruction."



    "Basically, its a dystopian sound-scape of our civilization's collapse," says Savage. Indeed, those feelings of dread are sometimes instrumentally emphasized by passages of synthesizer static and noise, which Savage attributes to being influenced by groups like Chrome. New members Bob Jones (guitar, bass, analog synth) and Jef Brown (Tenor Sax) also add to the playful chaos. Savage says the original duo added members in order to achieve "the tightness that can only come from recording with a live core," as "musicianship is extremely important to Jason and I."



    Since Brown and Jones both played in the self-explanatory Evolutionary Jass Band, which evolved out of the equally experimental Jackie-O Motherfucker, there is an expansion in the group's improvisational capabilities that wasn't as obvious on past recordings. Yet nothing sounds forced, each interlude is enjoyable, each hip-hop-inspired skit serves a narrative-pushing purpose. The record bounces from Booker T-styled soul ("Wiretapping Muzak I and II") to early '80s New York dance rock ("Marky Move") with an immodest ease.



    "Hi, I'm Heather Strange, and I'm a 23-year-old human earthling female" says a woman between the first and second track. "Really, I'm just looking for a man whose cerebral capabilities haven't been fried by LCD screens yet." Most people reading this might be able to relate to Heather's plight, or worse yet, sink under the weight of being the type of person she's desperately seeking to avoid. But such is the genius of Fergus and Geronimo. They have made all of these variously opposing forces; dark and light, alien and earthling, melody and noise, condemning and being condemned, something that you feel like listening to over and over again. If only to hear what happens next.

    1. Planet Earth is Pregnant for the 5th Time

    2. No Parties

    3. The Strange One Speaketh

    4. Roman Tick

    5. My Phone's Been Tapped, Baby

    6. Roman Nvmerals/Wiretapping Muzak I

    7. Spies
    8. Earthling Men

    9. The Uncanny Valley

    10. Earthling Women

    11. Drones

    12. Wiretapping Muzak II

    13. Off the Map

    14. The Roman Stuff is Where it's At

    15. Marky Move

    16. Funky Was the State of Affairs
    Fergus & Geronimo
    $14.99
    Vinyl LP - Sealed Buy Now
  • England Keep My Bones England Keep My Bones Quick View

    $19.99
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    England Keep My Bones

    Frank Turner is ready. On the other side of the Atlantic in his native U.K., he has had a banner year, seeing his single gI Still Believeh catch fire at radio, nominated for NMEfs Best Solo Artist award, scooping the prestigious 'Spirit Of Independence' award from Kerrang, and headlining a sold]out Brixton Academy show in December.


    Now Frank Turner is set to release his highly anticipated fourth album, England Keep My Bones, with contributions from Hold Steady keyboardist Franz Nicolay, folk singers Emily Barker and Chris T]T, and Unbelievable Truthfs Andy Yorke.


    England Keep My Bones comes on the heels of Frankfs biggest U.S. push so far, a fall tour with Social Distortion, continuing the DIY aesthetic Frank has brought to conquering America: touring with Chuck Raganfs Revival Tour, Gaslight Anthem, and the Offspring, while always taking the opportunity to play at a local record store or living room along the way. Now that he has built a U.S. base one fan at a time, 2011 looks set to be the year of Frank Turner.


    1. Eulogy

    2. Peggy Sang The Blues
    3. I Still Believe
    4. Rivers
    5. I Am Disappeared
    6. English Curse
    7. One Foot Before The Other
    8. If Ever I Stray
    9. Wessex Boy
    10. Nights Become Days
    11. Redemption
    12. Glory Hallelujah
    Frank Turner
    $19.99
    Vinyl LP - Sealed Buy Now
  • Carrier Carrier Quick View

    $20.99
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    Carrier

    • 180-Gram Smoke Vinyl In Gatefold Jacket


    • Recorded At John Vanderslice's Tiny Telephone Studio With Jay And Ian Pellicci (Deerhoof, Matt Pond PA)


    • Featuring Magik Magik Orchestra (Death Cab For
    Cutie, Sting, Nick Cave And The Bad Seeds)


    Meric Long and Logan Kroeber recorded The Dodos new
    album, Carrier, in their hometown of San Francisco. After guitarist Chris Reimer passed away in early 2012, The Dodos reassessed everything about the band - in particular Long's songwriting.


    "Chris was a huge influence on the way I think about guitar, songwriting, and music in general," reveals Long. "Seeing how he could transform and shape sound with an electric guitar inspired me to explore more tones and use those tones to begin writing a song."


    And so, when he began to formulate the tracks that would ultimately comprise Carrier, Long employed two principles he inherited from Reimer: patience to let a song develop and a judgment-free enthusiasm for sound.


    "[T]he melodies are warm and pleasantly rumpled, drummer Logan Kroeber forgoes mundane timekeeping to push and prod Long and in the second half, the two ditch the relative minimalism to hurtle through a breakneck jam of harmonized guitar leads that can be heard as a tribute to a man whose short time with Dodos truly moved them."
    - Pitchfork (on first single "Confidence")

    1. Transformer
    2. Substance
    3. Confidence
    4. Stranger
    5. Relief
    6. Holidays
    7. Family
    8. The Current
    9. Destroyer
    10. Death
    11. The Ocean
    The Dodos
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Differentology Differentology Quick View

    $17.99
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    Differentology

    One of the leading artists in the ragga soca movement, Trinidadian soca superstar Bunji Garlin is also one of the genre's few crossover artists, having made an impact internationally with Major Lazer, the Soul Train Awards, and even the television show Greys Anatomy all in the mix. Born Ian Anthony Alvarez in Sangre Grande, Trinidad, he took his name by combining something flexible (a bungee cord) and forceful (Garlin being a type of gun) and kicked off his career just as a dancehall-influenced strain of soca music was taking hold. Known as ragga soca, the aggressive, digital genre fueled Garlin's 2000 debut, The Chronicles, a thoroughly modern album which also featured soca legend Alison Hinds. The singer would win Trinidad's Ragga Soca Monarch competition that same year, as well as the next, while 2002 saw him win the International Soca Monarch award and release his first album for the VP label, Revelation. In 2006 he made news with his marriage to fellow soca artist Fay-Ann Lyons, while 2007 saw him kick-off his international push with the aptly titled Global, an album that featured guest shots from reggae artists T.O.K. and Freddie McGregor. Bunji avoided releasing another album for years, but many of his singles turned into massive, influential hits, especially the 2013 release Differentology. The anthem was picked up by Major Lazer for a remix, was featured on an episode of the hit TV drama Greys Anatomy, and landed Bunji a nomination for Best International Performance at the 2013 Soul Train Awards.
    LP 1
    1. Red Light District
    2. Carnival Tabanca
    3. Savage
    4. Differentology (Ready for the Road)
    5. Truck On D Road (Remix)
    6. West Indian Jungle


    LP 2
    1. Touchless
    2. Differentology (Ready for the Road) (Major Lazer Remix)
    3. Carnival Tabanca (Viking Remix)
    4. All O' Dem
    5. Stages
    6. Over the Hills
    7. Gi Dem Dey

    Bunji Garlin
    $17.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress) Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress) Quick View

    $28.99
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    Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress)

    Pressed On Clear Pink & Clear Blue Vinyl


    With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.


    Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.


    Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.


    Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.


    "In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."


    Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."


    Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.


    Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."


    Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.


    Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."


    Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."


    Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.


    "I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."

    LP 1
    1. Intro
    2. Midnight City
    3. Reunion
    4. Where The Boats Go
    5. Wait
    6. Raconte moi une histoire
    7. A Train To Pluton
    8. Claudia Lewis
    9. This Bright Flash
    10. When Will You Come Home?
    11. Soon, My Friend


    LP 2
    1. My Tears Are Becoming A Sea
    2. New Map
    3. OK Pal
    4. Another Wave From You
    5. Splendor
    6. Year One, One UFO
    7. Fountains
    8. Steve McQueen
    9. Echoes Of Mine
    10. Klaus I love You
    11. Outro

    M83
    $28.99
    Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • The Age of Fracture (Awaiting Repress) The Age of Fracture (Awaiting Repress) Quick View

    $18.99
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    The Age of Fracture (Awaiting Repress)

    The long-awaited new album from CYMBALS is named after a book by Princeton academic, Daniel T. Rodgers, which addresses the fragmentation of ideas towards the end of the last century and how collective meanings have become uncertain. Singer and guitarist Jack Cleverly writes: It hit me that I often feel paralysed by the feeling that everything is 'too complicated', and that many people I know feel that paralysis. I realised that this way of thinking can be traced through these songs. Produced by Dreamtrak (Swim Deep, Chad Valley, Hot Chip) in his Hackney studio and written collectively over the last 12-months, the group have taken their time to carefully piece the album together, song-by-song, in sequence. The album was completed following a final mix from Daniel Rejmer (Foals, Everything Everything) and the result is testament to the band s attention to detail: a cleaner, brighter sound than their brattier early recordings, edging towards the European sophistication of the end-of-the-century French house Jack grew up around. Singles 'Like An Animal', 'The End' and 'The Natural World' are characterized by an upbeat disco cool and all push the 7-minute mark, whereas Winter 98 , This City , and Call Me are brooding, stark synth-led numbers reminiscent of early-New Order, with some lyrics sung in Jack s native French. The literary inspiration runs further through the album. The track The 5% , more obviously making reference to the themes of the album's namesake, declares Time can be erased, you re stupid if you try and stay in place, over a pulsing bassline and swirling electronics. Like an Animal is inspired by the intellectual and moral confusion of the main character in Thomas Mann's The Magic Mountain. The album has even garnered literary responses of its own by British poet and novelist Joe Dunthorne, author of Submarine. I told Joe about the book and the way the album was kind of a reaction to it, and he threw my rationalisation of it back at me through a short story inspired by the album. says Cleverly. It helped reveal the emotional territory of the songs. He showed me how I had been dividing things up artificially - desires and priorities, getting older and not being able to stop writing music... Through the writing of this album, CYMBALS have inevitably matured. We've never been in it just for a laugh, says Cleverly; but things got confused when we said we wanted to keep it fun we just didn't want to end up bitter, having chased a hollow dream. But this album is less about us; it's more outward looking, more aware of the world at large. Despite the weighty literary influences, the band are keen to separate themselves from the over-earnestness that can sometimes accompany such associations. I hate the whole 'serious earnest-singer-songwriter-thing, says Jack. With this album I really wanted to get away from that and make music that makes people want to dance and feel joy. Neil's kick drum is the most important thing we have to say as a band. Is this all fun? Yes, of course, but at the same time, not just that. Produced by Dreamtrak & mixed by Daniel Rejmer.
    1. Winter '98
    2. The Natural World
    3. You Are
    4. Empty Space
    5. The 5%
    6. The Fracture of Age
    7. Like An Animal
    8. Erosion
    9. This City
    10. The End
    11. Call Me
    Cymbals
    $18.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Heat Is On (Speakers Corner) The Heat Is On (Speakers Corner) Quick View

    $37.99
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    The Heat Is On (Speakers Corner)

    A glance at the discs, which rocked through the charts under the simple name of "Isley Brothers" will give you an idea of how a long-lasting and self-generative family enterprise (The Times) became a true soul factory. After a brisk start with popular rock'n'roll music, similar to that which a large number of black vocal groups turned out in the Fifties, followed a long march from one record company to another - all of whom were hard pushed to equate the dynamic musicality of these brothers with the 'own sound' of their productions. After hopping from one record label to the next, and not even getting a long-lasting break with the potent Motown label Tamla, golden days arrived when they set up their own label - T-Neck.


    Amidst the turmoil created by strong competition from superb studio albums, the Isleys landed a smash hit in 1975 with The Heat Is On, an album which achieved double platinum status with its collection of perfectly written numbers. Powerful, funky volleys (Fight The Power), gyrating riffs as a launch pad for harmonious vocals and a creative solo (The Heat Is On) go their own way, which is also apparent in the bell-like, airy ballads that swing along tastefully - quite without the sugar-sweet strings so popular at that time.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:



    • Ernie Isley (guitar, drums, percussion, vocals)
    • Chris Jasper (keyboards)
    • O'Kelly Isley, Ronald Isley, Rudolph Isley (vocals)
    • Marvin Isley (bass)


    Recording: 1975 at Kendun Recorders, Burbank (CA), by Kent Duncan

    Production: The Isley Brothers



    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. Fight the Power, Pts. 1 & 2
    2. The Heat Is On, Pts. 1 & 2
    3. Hope You Feel Better Love, Pts. 1 & 2
    4. For the Love of You, Pts. 1 & 2
    5. Sensuality, Pts. 1 & 2
    6. Make Me Say It Again Girl, Pts. 1 & 2
    7. Fight the Power, Pts. 1 & 2
    Isley Brothers
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Broken Into Better Shape Broken Into Better Shape Quick View

    $21.99
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    Broken Into Better Shape

    Broken Into Better Shape finds Good Old War pushing their musical boundaries to the limit. Road-weary from two years at sea, the trio (Keith Goodwin, Tim Arnold, Dan Schwartz) set out to write an album full of songs that were not limited to sounding perfect in a live experience. They bunkered down in Goodwin's toddler-toy-filled house and struggled for half a year to find what they were looking for. Around this time, drummer Tim Arnold left the band for Atlanta, where his fiancÉ was pregnant with their first child. Arnold's DNA remains in the band and his fingerprints are still present as a writer on some of the tracks on the record.


    With half of the album's songs now written, Goodwin and Schwartz began experimenting with other writers and producers. In New York City, they dreamed up the ultra-inspirational "Fly Away" with writer Emile Haynie (fun., Bruno Mars). A trip to Los Angeles found them improbably paired in a writing session with Zimbabwe-born urban producer T-Collar, where a hook was crafted that the band were eager to take to the studio. It would become their first single, "Tell Me What You Want From Me."


    Broken Into Better Shape became the record that it is in Nashville, where the band wrote and rounded out songs with producer Jason Lehning (Alison Krause & Union Station, Mat Kearney, Dolly Parton) and with the aid of a terrific group of musicians and writers. Whereas much of the band's earlier work had been written individually, this album would end up being a grand collaboration.


    The result is the band's proudest moment, an album of lush, well-crafted songs with no filler, ten songs whittled down from a pool of over forty.

    1. Tell Me What You Want From Me
    2. Fly Away
    3. Never Gonna See Me Cry
    4. Broken Into Better Shape
    5. Small World
    6. Broken Record
    7. One More Time
    8. I'm The One
    9. Dark Days
    10. Don't Forget
    Good Old War
    $21.99
    Vinyl LP - Sealed Buy Now
  • Negative Qualities Negative Qualities Quick View

    $20.99
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    Negative Qualities


    "Single Mothers might be that band, fusing Americana staples like Bruce Springsteen with wild and raucous punk rock..." - Brooklyn Vegan


    "Ferocious and untamed, few bands give any more of themselves onstage." - Clash


    "Thomson's almost entirely quotable..." - Pitchfork


    "It's honest and it's worth coming back to over and over." - Fader


    While accounts vary, Single Mothers was either founded amidst a nervous breakdown or as a means for payback. What is known, is that it was shakily hatched
    by Drew Thomson in his hometown of London, Ontario in 2008. Having lined up
    shows before he had a band or any music of his own, Thomson would quickly gain a
    reputation as a gifted troubadour; known for his enunciated howl and literary lyrics
    that married poetic penance with vignettes of small town ennui. But he was also an
    incendiary character; firing his band outright in 2009, and at one point having two
    different versions of the band existing at the same time.


    Somehow the right core of characters fell into place, solidifying the band's feral take
    on punk rock; gritty rock 'n' roll sensibilities counterbalanced with hooks, dynamics
    and musicality.


    Released as the S/T EP by Secret Voice in 2012, the first pressing of the 7" would
    sell out in weeks, then sell thousands of copies in the ensuing years.


    Negative Qualities is an unrelenting ten song behemoth of a debut album that was
    two years in the making; written across two provinces, initially started in Los Angeles
    then finished in London, Toronto and Upstate New York. It represents a band pushed
    to their most savage state, it's their pound of flesh slammed down on the counter as
    raw statement. And now, they're looking to collect. But as Thomson rallies "I am who
    I am" on Negative Qualities one can only wonder if this is a declaration of acceptance or a derision of him and his band? As such, the album will either be the first
    of many or the band's final record. Ultimately, it is up to Single Mothers and their
    inherited behavior to decide.

    1. Overdose
    2. Marbles
    3. Womb
    4. Half-lit
    5. Feel Shame
    6. Crooks
    7. Patricide
    8. Ketamine
    9. Blood Pressure
    10. Money
    Single Mothers
    $20.99
    Vinyl LP - Sealed Buy Now
  • You Get What You Play For (Awaiting Repress) You Get What You Play For (Awaiting Repress) Quick View

    $39.99
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    You Get What You Play For (Awaiting Repress)


    Their Mega Platinum 1977 Live Album.... Now On 180 Gram Translucent Blue Vinyl!


    Features The Original Line Up Delivering On Smash Hits Riding The Storm Out Keep Pushing Golden Country & 157 Riverside Avenue


    Mastered Impeccably By Joe Reagoso & Pressed At R.T.I.


    Features Original Gatefold Cover & 12 X 24 Color Poster Insert


    In 1977, REO Speedwagon hit a major home run with their double live album "You Get What You Play For. The extensive live concert album consisted of their hard rock era hits, popular album tracks, along with artist and fan favorites, performed live during their amazing 1977 tour throughout the United States.


    Friday Music being a home to many of REO Speedwagon masterworks like Hi Infidelity and The Hits, we are very honored to announce for the first time anywhere the 180 Gram Audiophile 2 LP Translucent Blue Vinyl release of their much revered concert album "You Get What You Play For."


    The 2 Lp masterpiece features the stunning hard rock line up of Kevin Cronin, Gary Richrath, Neal Doughty, Alan Gratzer and Greg Philbin (Boston) Showcasing a plethora of classic REO Speedwagon music on four sides of audiophile vinyl, the tracks are simply some of the finest from their classic 70's rock era with smash hits like "Ridin' The Storm Out", "Golden Country", "Lay Me Down", "157 Riverside Avenue" and "Keep Pushin'."


    Mastered impeccably by Joe Reagoso (REO Speedwagon/ Foreigner/Chicago), this limited edition REO classic release will be presented in the original stunning gatefold cover art, along with a 12" X 24" poster of this classic superstar act.


    For a very limited time, each LP will be pressed by R.T.I. on beautiful translucent blue vinyl, making our Friday Music audiophile edition of "You Get What You Play For" a highly collectable REO Speedwagon title.


    REO Speedwagon continue to be one of the world's finest gifts to the classic rock world. Their powerful songs, their live show, the audience, their musicianship and unparalleled artistry are second to none. "You Get What You Play For" proves that now and forever.


    Ridin' The Storm Out.....

    LP 1
    1. Like You Do
    2. Lay Me Down
    3. Any Kind Of Love
    4. Being Kind (Can Hurt Someone Sometimes)
    5. Keep Pushin'
    6. (Only A) Summer Love
    7. Son Of A Poor Man
    8. (I Believe) Our Time Is Gonna Come


    LP 2
    1. Flying Turkey Trot
    2. Gary's Guitar Solo
    3. 157 Riverside Ave.
    4. Ridin' The Storm Out
    5. Music Man
    6. Little Queenie
    7. Golden Country

    REO Speedwagon
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Barefoot in the Head Barefoot in the Head Quick View

    $21.99
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    Barefoot in the Head

    They say the only people who know true freedom are musicians and gangsters, Chris Robinson says with a laugh. And Bob Dylan said to live outside the law you must be honest. We're living in these anxiety-filled times, in an era of 'no truth,' but what our music represents is this truly honest way of communicating with people, and that's a really freeing thing.

    If their stellar new album, 'Barefoot In The Head,' is any indication, freedom suits the Chris Robinson Brotherhood well. The band is in the midst of one of their most prolific periods to date, with a slew of studio and live records coming out amidst a rigorous tour schedule that only seems to fuel their fire even further. 'Barefoot In The Head' finds the band pushing boundaries and breaking new ground with more joy and wonder than ever before. The album showcases the continued growth of Robinson's songwriting partnership with his bandmates (guitarist Neal Casal, drummer Tony Leone, keyboardist Adam MacDougall, and bassist Jeff Hill), while reveling in the kind of playful adventurousness that can only come from five artists tuned in to the same sonic wavelength.

    The album opens with the Americana funk of Behold The Seer, which sounds like something of a mission statement for the CRB as Robinson sings, If you want to keep your engine humming / Keep your eyes wide ahead and don't look back. On the dreamy She Shares My Blanket, Robinson crafts cinematic scenes from a winter love affair in the mountains, while elegant pedal steel added by special guest Barry Sless on Blonde Light Of Day casts a warm, romantic haze and Blue Star Woman sounds like T-Rex dressed in overalls living on a West Coast commune. Throughout the album, Robinson and the band deftly intertwine country, blues and psychedelia, even channeling freewheeling 60s' folk on Hark The Herald Hermit Speaks, a breakneck stream of consciousness that blurs the lines between fantasy and reality. On the English psych inspired Glow, which Robinson calls one of the most special things I've ever done in the studio, The CRB are joined by the celebrated sarodist Alam Khan (son of the legendary Ali Akbar Khan).

    After six years of solid touring with this band, we can still roll into Fayetteville, AR on a Tuesday night and have the most fun of any musical thing I've ever been a part of, says Robinson. We don't have the weight of responsibility or nostalgia, which means we're in the very psychedelic situation of getting to be totally honest and create everything in the moment. That's freedom.

    1. Behold the Seer
    2. She Shares My Blanket
    3. Hark, the Herald Hermit Speaks
    4. Blonde Light of Morning
    5. Dog Eat Sun
    6. Blue Star Woman
    7. High Is Not the Top
    8. If You Had a Heart To Break
    9. Glow
    10. Good To Know
    Chris Robinson Brotherhood
    $21.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Offering: Live At Temple University (Out Of Stock) Offering: Live At Temple University (Out Of Stock) Quick View

    $59.99
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    Offering: Live At Temple University (Out Of Stock)


    Deluxe 2-LP, Limited-Edition, 180-Gram Vinyl Pressed On 12 LP's At 33-1/3 RPM By Record Technology Incorporated (R.T.I.)


    Hand-Numbered Gatefold By Stoughton Press


    Vibrant Four Panel Insert With Liner Notes By Ashley Kahn


    Special Collector Postcards With Photos By Frank Kofsky


    Mastered By Bernie Grundman


    Offering: Live At Temple University documents a legendary concert by John Coltrane at Temple University in his hometown, Philadelphia, Pennsylvania,
    on November 11, 1966, six weeks after his fortieth birthday and nine months before his untimely death. Offering incorporates a look that is contiguous with the graphic identity of Impulse! Records, Coltrane's exclusive label from 1961
    until the end of his life. This is the first officially sanctioned release of an undiscovered, complete Coltrane performance since 2005. It captures Coltrane in
    exemplary form, navigating the language he had developed during the last phase of his musical path with passion and pellucid logic. Operating at
    equivalent levels of invention and energy are three members of his working quintet of one year's standing his wife, Alice Coltrane, on piano; Pharoah
    Sanders on reeds and flute; and Rashied Ali on drums.


    Offering is emblematic of the efflorescent energies and radical ideas that Coltrane himself had much to do with bringing forth during the seven years after
    1960, when he left the employ of Miles Davis to pursue his vision as a leader. There are versions of Coltrane's 1960 hits "Naima" and "My Favorite
    Things," a transformational reworking of the 1964 ballad "Crescent," a spirit-raising rendering of "Leo," which he had recorded on several previous
    occasions during 1966, and the hymnal "Offering," which he would record on a February 15, 1967 studio session that Impulse! would release during the
    '90s as Spiritual Offering.


    On Offering, Resonance Records achieves the highest possible audio quality, using direct transfers of original master reels from a location recording by
    Temple's WRTI-FM, remastered at 96kHz/24 bit, that were tracked down by Coltrane scholar Yasuhiro Fujioka.
    The immense life-force that animates the proceedings on this November 1966 evening in Philadelphia belies the declining state of Coltrane's health. It is
    still difficult to grasp and to accept that he was firmly in the grip of the liver cancer that would still his voice on July 17, 1967. As co-producer Ashley Kahn
    states in his liner notes, "Coltrane was pointing the way forward for generations of players to come, pushing the music to exhilarating, spiritual heights that
    caught most by surprise. In 1966, that wasn't what jazz performances were about not yet."


    Recorded November 11, 1966

    Mitten Hall, Temple University

    Philadelphia, Pennsylvania


    Featured Artists:

    John Coltrane - soprano & tenor saxophones, flute & vocals

    Pharoah Sanders - tenor saxophone & piccolo

    Alice Coltrane - piano

    Sonny Johnson - bass

    Rashied Ali - drums


    Additional musicians include:

    Steve Knoblauch, Arnold Joyner alto saxophone

    Umar Ali, Algie DeWitt, Robert Kenyatta percussion

    1. Naima
    2. Crescent
    3. Leo
    4. Offering
    5. My Favorite Things
    John Coltrane
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
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