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FreedomRefused came to an end in front of 50 kids at a basement show in a Virginia college town in 1998,
just as their release of the same year, The Shape of Punk to Come, was taking its first steps toward
becoming an acknowledged classic and a massive influence on a generation of bands. Refused Are
Fucking Dead! became the slogan, as kids discovered Shape and its breakout track "New Noise"
only to find their new heroes disbanded.
Refused Are Fucking Alive! After a 2012 invitation to reform for the Coachella festival, Refused followed
its first shows in 15 years with a triumphant tour, as every kid who had discovered them after
death came out to see them reborn. Now comes Freedom, the first album in almost 20 years, on
Epitaph, the label that released The Shape of Punk to Come all those years ago. Freedom explodes
out of the speakers with opening track "Elektra," as frontman Dennis Lyxzen's throat-shredding
declaration that "nothing has changed" catapults Refused into the 21st century. If Shape blasted
apart the constraints of the punk and hardcore worlds with which Refused had long been associated,
Freedom goes a step further by incorporating the wide-ranging influences that have shaped
each band members' personal tastes. Produced by Nick Launay (Gang Of Four, Public Image Ltd.,
Nick Cave, Arcade Fire) with additional work by fellow Swede and longtime Refused fan Shellback,
Freedom is not just a follow-up to Shape, but a living breathing snapshot of a band, alive, now.
"It's not a reunion anymore," Lyxzen insists. "This is one of the most radical things we've ever done,
both musically and lyrically."1. Elektra
2. Old Friends / New War
3. Dawkins Christ
5. Thought Is Blood
6. War On The Palaces
7. Destroy The Man
9. Servants Of Death
10. Useless Europeans$20.99Vinyl LP - Sealed Buy Now
Everlasting EPDespite some personal problems and a general sense of chaos surrounding the band, Refused successfully managed to put together this seven-song EP of classic Swedish hardcore in 1994. Originally released in Europe on Startrec Records, Everlasting eventually hit stores in America on the Equal Vision imprint in 1997. More metallic than earlier releases, this disc has a progressive hardcore sound that bested the band's full-length debut, This Just Might Be the Truth. If the music changed a little, the group's staunch left-wing political outspokenness remained intact as just about every track rails against all things Western, especially cold corporate might and cultural imperialism. Standout tracks like Burn It and The Real stand up to the best American hardcore with their punchy riffs and highly charged, yet intelligent vocals. While much more raw than Refused's most recognized and accomplished effort, 1998's The Shape of Punk to Come, Everlasting is perhaps the group's second-best offering, demonstrating their significant mid-career development.
- Vincent Jeffries (All Music Guide)1. Burn It
3. Sunower Princess
5. I Am Not Me
6. The Real
7. Pretty Face$16.99Vinyl EP - Sealed Buy Now
Years Of RefusalYears of Refusal is Morrissey's first studio album since 2006's U.K. #1 Ringleader of the Tormentors. The late Jerry Finn, who previously worked on 2004's critical and commercial smash You Are the Quarry, produced Years of Refusal which is the last album he worked on. Long time band members Boz Boorer, Jesse Tobias, Matt Walker, and Solomon Walker play on the album, which also features a contribution from Jeff Beck on the track Black Cloud.
Morrissey is often recognized as the most important British musician of his generation. The New York Times recently stated, Morrissey isn't just any singer: he has become one of the defining rock stars of the past few decades by virtue of his grand voice, his grander songs, and his charming habit of playing with melodrama. His influence is felt worldwide through the countless artists that cite him as their primary inspiration. Years of Refusal is a masterful work that finds Morrissey and the band at their best with a muscular sound and the inimitable voice and lyrics of a legend.1. Something Is Squeezing My Skull
2. Mama Lay Softly On The Riverbed
3. Black Cloud
4. Im Throwing My Arms Around Paris*
5. All You Need Is Me
6. When Last I Spoke to Carol
7. Thats How People Grow Up
8. One Day Goodbye Will Be Farewell
9. Its Not Your Birthday Anymore
10. You Were Good In Your Time
11. Sorry Doesnt Help$19.99Vinyl LP - Sealed Buy Now
100th Window (Awaiting Stock)100th Window is the fourth studio album from the Bristol-based trip-hop group Massive Attack. Of the band's original core trio, the album only features Robert Del Naja. Andrew Vowles departed shortly after the release of Mezzanine, and Grant Marshall refused to participate in the making of the record.
Originally released in February 2003, 100th Window was written and produced by Del Naja and Neil Davidge, and features vocals from Horace Andy, SinÉad O'Connor and Damon Albarn (performing as 2D). It is the first album by the band that made no use of samples, and contains none of the jazz or jazz fusion stylings of the Blue Lines or Protection recordings.LP 1
1. Future Proof
2. What Your Soul Sings
4. Special Cases
1. Butterfly Caught
2. A Prayer For England
3. Small Time Shot Away
4. Name Taken
2. Untitled$59.99Vinyl LP - 3 LPs Sealed AWAITING STOCK Buy Now
Make Your Own Danger (Discontinued)Born in Kharkov, Ukraine, Alina Simone came to the US as a daughter of political refugees after her father refused recruitment by the KGB and was blacklisted. Raised in the suburbs of Massachusetts, she moved to Austin, Texas after graduating from art school and started off singing in the doorway of an abandoned bar on Sixth Street. She quickly became known for her sparse instrumentation and raw and powerful delivery. After the release of her debut album, Placelessness (2007), Simone earned both national airplay and critical acclaim. Her 2008 album, Everyone is Crying Out to Me, Beware, covered the music of Yanka Dyagileva, the late Siberian folk-punk icon.
Make Your Own Danger promises to be Alina Simone's lushest and most fully realized work to date, with exotic touches that include flute, autoharp, horns, Brazilian drumming, and vocal loops.1. Beautiful Machine
4. Day Glow Avenue
5. My Love Is A Mountain
6. You Fade Away
7. Just Here To Watch The Show
8. In The House Of Baba Yaga
9. Make Your Own Danger
10. Sun Kissed Slashes
11. Apocalyptic Lullaby
12. Waiting For The Storm$14.99Vinyl LP - Sealed Buy Now
Kapt. Kopter And The (Fabulous) Twirly Birds (Colored Vinyl)Mastered For Vinyl By Kevin Gray At Cohearent Audio
Faithful, Updated Rendering Of Original Art Printed At Stoughton Printing
Limited Edition Of 1,000 150-Gram White Vinyl
Manufactured For Pristine Sound At Quality Record Pressings
Randy Wolfe, better known as Randy California, was a founding member of psychedelic 60s rockers Spirit. As a teenager he played guitar in Jimi Hendrix's band, Jimmy James and the Blue Flames. Hendrix himself gave Randy the stage name to differentiate him from band mate Randy Palmer. 15-year-old California left the Blue Flames when they embarked on a European tour and his parents refused to let him go. Released in 1972, Kapt. Kopter and the (Fabulous) Twirly Birds is California's first solo record. Heavily influenced by Jimi Hendrix, this album is dense and way ahead of its time.
This title is not eligible for discount.1. Downer
3. I Don't Want Nobody
4. Day Tripper
5. Mother And Child Reunion
6. Things Yet To Come
8. Rainbow$29.99Colored Vinyl LP Buy Now
A Brighter Shade Of Black (Discontinued)Reissue Limited to Only 1000 Copies!
Hagar The Womb is for many, the missing piece of the UK anarcho-punk scene. Formed in 1981, Hagar The Womb was not a typical example of that scene, for they refused to conform to the dress codes and dour seriousness of their peers. What first started as a sextet sporting three female vocalists, soon experienced a healthy bit of turnover. Circulating through at least a dozen band members, Hagar The Womb was often identified by bright colored artwork and outfits, as well as bringing an original and upbeat sound to an otherwise homogenous scene. A week after their inception, they were sharing a bill with The Mob and Zounds. Hagar The Womb would go on to play with the likes of The Apostles, Poison Girls and Rubella Ballet before breaking up in 1985.
A Brighter Shade Of Black puts together both of their 12 EP's Word Of The Womb and Funnery in the Nunnery as well as a common compilation favorite called For The Ferrymen. The latter recorded by Poison Girls sometimes bassist, Pete Fender in the Poison Girl's own X-N-Trix Studios. Reissued for the first time and limited to 1000 copies.1. Idolization
2. What's Your Flag?
3. Cardboard Theatre
4. Dressed To Kill
5. True Love & Faith
7. For The Ferryman
8. One Bright Spark
9. Come Into My Soul
10. Armchair Observer
11. Once Proud Now Dead
12. A Song Of Deep Hate$17.99Vinyl LP Reissue - Sealed Buy Now
Butchered At Birth (Awaiting Repress)This 25th Anniversary Edition Picture Disc Features the Original Uncensored Art
In the early '90s, Cannibal Corpse acquired a small cult in the death metal underground by embracing some of the most gruesome lyrics the subgenre had to offer. Thriving on shock value, the band inspires comparisons to GWAR and comes across as a parody of death metal and grindcore more than anything. Like its previous album, the equally twisted Eaten Back to Life, Butchered at Birth addresses such lurid topics as dismemberment, torture, and masochism. One will need the lyric sheet to know just how gross songs like Under the Rotted Flesh, Meat Hook Sodomy, Covered with Sores, and Rancid Amputation are -- the grunting vocals are impossible to understand. Some retailers refused to carry this CD because of its depiction of a woman being mutilated by zombies, and Cannibal Corpse wasted no time getting as much publicity as possible from the controversy. The rockers are one-dimensional, but then, they never claimed to be anything else. This band's obvious goal was to deliver the musical equivalent of B-movie horror flick, and on that level, the album is outrageously successful.
-AllMusic1. Meat Hook Sodomy
3. Living Dissection
4. Under the Rotted Flesh
5. Covered with Sores
6. Vomit the Soul
7. Butchered at Birth
8. Rancid Amputation
9. Innards Decay$20.99Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
Divine InterventionThe rock & roll landscape changed dramatically between Seasons in the Abyss in 1990 and Divine Intervention in 1994. With the rise of alternative rock, many metal and hard rock bands that had been enormously successful at the dawn of the '90s were struggling by the middle of the decade. Instead of doing something calculated like emulating Nirvana or Pearl Jam -- or for that matter, Nine Inch Nails or Ministry -- Slayer wisely refused to sound like anyone but Slayer. Tom Araya and co. responded to the new environment simply by striving to be the heaviest metal band they possibly could. Less accessible than Seasons but equally riveting, Divine Intervention marked drummer Paul Bostaph's studio debut with the band. Bostaph proved to be a positive, energizing influence on Slayer, which sounds better than ever on such dark triumphs as Killing Fields, Serenity in Murder, and Circle of Beliefs. Characteristically grim and morbid, Slayer focus on the violently repressive nature of governments and the lengths to which they will go to wield power. And true to form, Slayer's music is as disturbing as their lyrics.
- Alex Henderson (All Music Guide)1. Killing Fields
2. Sex, Murder, Art
3. Fictional Reality
5. Divine Intervention
6. Circle of Beliefs
8. Serenity in Murder
10. Mind Control$24.99Vinyl LP - Sealed Buy Now
S/T II: The Cosmic Birth And Journey Of Shinju TNTFinally, after over a month of unanswered emails and text messages, blown deadlines, and pleas to finish and turn in their new album, last week, a large brown cardboard box showed up at the Dead Oceans doorstep. It had SHINJU TNT scrawled across the bottom of the box in black magic marker, and the return address read only AK, Detroit.
Opening it revealed a sincere but poorly made diorama of futurist swirling spaces filled with toy astronauts and dinosaurs, four blown out song fragments on a TDK CDR in a zip-lock bag, three pictures, and a typewritten note from Akron/Family. A post-it on the bag declared the band refused to send the full album to anyone but the vinyl pressing plant, for fear of leaking and possible lost revenues.
From the note and a short video that arrived days later, Dead Oceans pieced together that the album was written in a cabin built into the side of Mount Meakan, an active volcano in Akan National Park, on the island of Hokkaido, Japan. It was recorded in an abandoned train station in Detroit with the blackest white dude we all know, Chris Koltay (Liars, Women, Deerhunter, Holy Fuck, No Age). Chris, on tour after finishing the record, commented: this album will transcend the internet.
Akron/Family spent the end of 2009 and half of 2010 exploring the future of sound through Bent Acid Punk Diamond fuzz and Underground Japanese noise cassettes, lower case micro tone poems and emotional Cagean field recordings, rebuilding electronic drums from the 70's and playing them with sticks they carved themselves. Upon miraculous resuscitation of the original AKAK hard drive, the album layers thousands of minute imperceptible samples of their first recordings with fuzzed-out representations of their present beings to induce pleasant emotional feeling states and many momentary transcendent inspirations.1. Silly Bears
3. A AAA O A WAY
4. So It Goes
5. Another Sky
6. Light Emerges
7. Cast a Net
8. Tatsuya Neon Purple Walkby
9. Fuji I (Global Dub)
10. Say What You Want To
11. Fuji II (Single Pane)
14. Healing Vapor Prismatic (LP Only Bonus Track)$19.99Vinyl LP - 2 LPs Sealed Buy Now
The Sinister UrgePicture Disc
Hard rock's brightest shock rocker avoids the sophomore slump on the fun and energetic The Sinister Urge. Zombie's trademark growl is still in fine form, roaring over the 11 tracks with his unique blend of acid-throated venom. But most interesting are the directions he tries to bring to his familiar sound, which he has been cultivating since the hardcore punk days of White Zombie. Never Gonna Stop (The Red, Red Kroovy) is the most apparent example of this, a song that borders on pop with its groovy handclaps and acoustic guitars. But not to be worried, the chorus kicks back into classic Zombie, complete with sampled crowd chants and his trademark yeah. Going to California has a similar vibe, albeit darker and with a Welcome to My Nightmare-era Alice Cooper showbiz quality to it. But when it comes time to rock out, Zombie is more than ready. Dead Girl Superstar is probably the best of the bunch, raging along at lightning speed and featuring an awesome guest appearance by Slayer guitarist Kerry King. Iron Head is also quite good, matching Zombie's bark with guest singer Ozzy Osbourne's trademark banshee wail over a swaggering beat and chugging riff. And finally there is House of 1000 Corpses, the theme from the film Zombie directed that apparently offended Universal Studios so much that they refused to release it. The song is a nice departure for him, like a Leonard Cohen song filtered through Violator-era Depeche Mode. It is the slow burn of this last track that shows the most promise; after years of making good heavy metal, he finally expands the boundaries of his own sound. Few metal musicians kept their sound fresh for as long as Zombie, and this album is no exception. This may not win any new fans, but anyone who enjoyed his old material will probably find this to be a welcome addition to their collection.
- Bradley Torreano (All Music)1. Sinner's, Inc
2. Demon Speeding
3. Dead Girl Superstar
4. Never Gonna Stop (The Red, Red Kroovy)
5. Iron Head
6. (Go To) California
7. Feel So Numb
8. Transylvanian Transmissions Pt. 1
9. Bring Her Down (To Crippletown)
10. Scum Of The Earth
11. House Of 1000 Corpses/Unholy 3$35.99Vinyl LP Picture Disc - Sealed Buy Now
The Best Of Atlantic Soul 1962-1965
The First Domestic Vinyl Collection Of His Groundbreaking Atlantic Recordings Released Since 1966
Each LP Is Individually Numbered And Strictly Limited Based On Pre Orders
180g, Black Vinyl Pressed At Record Industry Comes In A Single Sleeve UV-Gloss, Old School Tipon Stoughton Sleeve With Brand New Artwork
Solomon Burke helped to shape the sound of rhythm and blues as one of
the founding fathers of soul music. He had a litany of hit singles in the
1960s for Atlantic Records including "Cry to Me," "If You Need Me," "Down
in the Valley," and "Everybody Needs Somebody to Love," to name a few.
Atlantic Records' co-founder Jerry Wexler has referred to Burke as "the
greatest male soul singer of all time" and it was reported that he signed a
"handshake" deal with the label within ten minutes of originally entering
Wexler's office. His signing helped to reinvigorate the label, as stars Bobby
Darin and Ray Charles had just left.
Drawing inspiration from gospel, jazz, country and blues-Burke developed
his own unique style and was often called "The King of Rock 'n' Soul"
earning him a wide bi-racial audience. Due to his spiritual background he
refused to be classified as an R&B singer because of its labeled stigma
by the church. During his almost six decades of performing, he released
38 studio albums-selling at total 17 million-and had 35 charting singles
including 26 that made the Billboard R&B charts.
In 2001, he was inducted into the Rock N Roll Hall of Fame as a performer
and has been ranked by Rolling Stone on their list of "100 Greatest
Singers of All Time." Burke is one of the most important male vocalists in
music history and has influenced legendary rockers such as the Rolling
Stones, Elvis Costello, Van Morrison, the Animals and Tom Petty1. Just Out of Reach (Of My Two Open Arms)
2. Cry To Me
3. Down in the Valley
4. Looking For My Baby
5. Baby (I Wanna Be Loved)
6. I'm Hanging Up My Heart For You
7. Home In Your Heart
8. If You Need Me
10. Go On Back to Him
11. Got To Get You Off My Mind
12. Can't Nobody Love You
13. Goodbye Baby (Baby Goodbye)
14. Everybody Needs Somebody to Love$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Here's Little RichardLittle Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal Tutti Frutti in the fall of 1955, but everything else he'd done -- and much of what others had recorded -- faded into insignificance when Richard wailed A wop bop a loo mop a lomp bomp bomp and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard -- his boogie-woogie piano stylings weren't all that different from what Fats Domino had been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove. But what set Richard apart was his willingness to ramp up the tempos and turn the outrage meter up to ten; Tutti Frutti, Rip It Up, and Jenny Jenny still sound outrageous a half-century after they were waxed, and it's difficult but intriguing to imagine how people must have reacted to Little Richard at a time when African-American performers were expected to be polite, and the notion of a gay man venturing out of the closet simply didn't exist (Richard's songs were thoroughly heterosexual on the surface, but the nudge and wink of Tutti Frutti and Baby is faint but visible, and his bop threads, mile-high process, and eye makeup clearly categorized him as someone different). These 12 tunes may not represent the alpha and omega of Little Richard's best music, but every song is a classic and unlike many of his peers, time has refused to render this first album quaint -- Richard's grainy scream remains one of the great sounds in rock & roll history, and the thunder of his piano and the frantic wail of the band is still the glorious call of a Friday night with pay in the pocket and trouble in mind. Brilliant stuff.
- Mark Deming (All Music Guide)1. Tutti Fruitti
2. True Fine Mama
3. Can't Believe You Wanna Leave
4. Ready Teddy
6. Slippin' and Slidin'
7. Long Tall Sally
8. Miss Ann
9. Oh Why
10. Rip It Up
11. Jenny Jenny
12. She's Got It$21.99Vinyl LP -Sealed Buy Now
SomeKindaWonderfulFateful encounters at Cleveland bars rarely lead to musical mythology, but SomeKindaWonderful have a different kind of story to tell.
A three-piece featuring Jordy Towers (vocals/lyrics), as well as Matt Gibson (guitar) and Ben Schigel (drums), the genre-bending group came together after Towers became a casualty of the major label system. Once signed to Interscope as a solo act, he refused to become yet another faceless persona and the label left him hanging on the vine. Towers knew it was time for a reset and headed to Ohio to re-examine his life.
"Im not the type to be defeated easily," says Towers. "You know, most people move to LA to make it, but I had to leave LA to find my path."
In January 2013, Towers took a trip to visit family in the suburban Cleveland town of Olmstead Falls (pop. 9,000). It was there that he fatefully crossed paths with Gibson and Schigel. While the local musicians were just intending to just grab some beers at a local bar, they found much more than they had anticipated when they came across Jordy.
"We were basically a band without a lead singer and he was a lead singer without a band," says Schigel. "We headed back to our studio the night we met and, literally three hours later, our first song Reverse was done."
To call "Reverse" the product of fate is an understatement. Endlessly catchy, the song feels both modern and classic, nodding to 60s soul and contemporary R&B with the dynamic range of big-room pop-rock and cinematic emotion. Its structure, which features Towers unraveling a backwards narrative with a cadence that merges rap and soul, provides a novel lyrical framework to a unique sound.
"Its an R&B soul rock record," says Towers. "It sort of mirrors my move from LA to Cleveland. That path is reversed from what youd expect. Nothing is deliberate. Just like how we met, its natural and all about the music. I still cant believe I met my musical soul mates at a bar in Ohio."1. Cornbread
3. Hard for Days
8. Devilish Man
9. Laugh out Loud
10. In Chains
11. Shine on Me
12. Burn$19.99Vinyl LP - Sealed Buy Now
Eight Miles High / Why (Mono)"Eight Miles High" b/w "Why" - The Rare RCA Studios Versions Original Mono Masters!!!
During an action-packed Byrds tour of the UK in August 1965, ideas began to form in Gene Clark's mind for a new song. After germinating for several weeks, he began to put his thoughts on paper during the band's U.S. tour in November 1965.
Traveling from gig to gig, David Crosby's cassettes of Ravi Shankar and John Coltrane provided the tour bus soundtrack. As Clark continued writing the song that would become ''Eight Miles High,'' this exotic music, especially Coltrane's recordings, found their way into the composition. Juxtaposed against lyrical snapshots of London, like ''rain grey town, known for its sound,'' the modal melody created a striking contrast and summoned a surreal, flight-like feeling.
Despite Clark's increasing isolation from the group, it was obvious that ''Eight Miles High'' was a work of major importance and the group promptly made plans to record it. The band entered RCA Studios in Los Angeles on December 22, 1965, to track ''Eight Miles High,'' along with a new Roger McGuinn- David Crosby song ''Why.'' They had worked up an explosive arrangement for the Clark song, adding elements culled from their recent highway listening sessions. The Coltrane influence is especially evident in McGuinn's electric twelve-string solo, inspired by Coltrane's free-form sax lines on ''India.'' Shankar's sitar work is reflected in Chris Hillman's driving bass part, a hypnotic drone against which McGuinn's guitar lines shine in high relief. This Eastern influence also emerges on the high energy ''Why'' with McGuinn creating a sitar-like solo on his guitar while employing non-Western scales. Though not a conscious attempt, these songs were later cited as pioneering examples of raga rock, one of several innovative sub-genres, along with folk rock and country rock that the band explored in their career.
Despite the unqualified artistic success of the RCA sessions, Columbia refused to release the tracks because they had not been recorded in a Columbia-owned studio. The band dutifully re-recorded the two songs at Columbia Studios in Hollywood and these recordings were released as a single and later included in the Fifth Dimension album. However, the band was not fully satisfied with this second attempt, believing that the RCA recordings were better.
This special Sundazed release marks the first use of the recently located original mono mixdown masters. McGuinn has always felt that the first recordings of these songs were more spontaneous. And when asked about the RCA version of ''Eight Miles High'' Crosby declared, ''It was a stunner, it was better, it was stronger. It was the way we wanted it to be.''1. Eight Miles High
2. Why$9.997 Vinyl Single Mono - Sealed Buy Now
Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner)
Schumann rapidly composed his Cello Concerto in only two weeks during an extremely productive creative phase. Its first performance was quite another story. Although the piece was written first and foremost for this beautiful instrument, so Schumann, no cellist showed any desire to perform the work in concert. Initially the cellist Robert Bockmhl from Frankfurt had shown interest in the piece, but then declined to play it after Schumann had refused to comply with his wishes for certain changes. This led to the unfortunate fact that Schumann did not live to see the work's premiere. Things went quite differently with Edouard Lalo, who described himself as a self-taught composer; an excellent cellist himself, Lalo could be sure that his work would be heard in the concert hall.
Both works are connected by the pioneering attempt to establish the cello as a solo instrument in concert life in the 19th century. Right from the fifth bar of the Schumann concerto Janos Starker is able to display his mastership in the expansive main theme. He enjoys to the full the opportunities to explore the instrument's range of tone and expression, and this he does with clarity and a full tone. In the Lalo too he demonstrates his absolute virtuosity: in the lyrical passages he delights us with a melting cantabile, in the Saltarello finale he demonstrates his perspicacity and fills the triumphant writing with elegance and tonal resonance. Luckily this music has found its way to one of today's most outstanding cellists.
Recording: July 1962 at Watford Town Hall, United Kingdom, by C. Robert Fine
Production: Wilma Cozart-Fine and 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. Robert Schumann: Concerto for cello and orchestra in A minor, op. 129
2. Édouard Lalo: Concerto for cello and orchestra in D minor$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Get The Knack
One of the Most Instantly Successful and Highest-Selling Debut Albums in History: The Knack's Attitudinal Get the Knack Loaded With Power Pop, Catchy Hooks, Keen Melodies, and My Sharona
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity 180g LP of Get the Knack Teems with Abundant Energy
Most everyone knows The Knack's Get the Knack because of the ubiquitous smash My Sharona, a contagious hit that still plays countless times everyday on radio stations nationwide. But the appeal and significance of the Los Angeles quartet's 1979 debut extend far beyond the career-making single. Loaded with tight power pop, hummable hooks, blunt lyrics, and precision playing, the controversy-igniting Get the Knack resonates with an ageless freshness that's influenced everyone from Kurt Cobain to modern indie artists such as the Mountain Goats.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Get the Knack brings the record's urgent harmonies, keen melodies, bell-clear tones, and snapping percussion out of the shadows and into the limelight. Graced with large-scale frequency extension and ample separation, the Knack's feisty music now teems with added energy, body, and immediacy. Absent the dynamic compression that squelched previous reissues, this numbered limited-edition audiophile analog version blossoms with detail, openness, and brashness. A guilty pleasure to some and new-wave classic to many others, Get the Knack is so attitudinal it spawned one of the industry's most famous backlashes.
Released by Capitol Records after the Knack courted a dozen other offers, the 12-track set remains one of the most instantaneously successful debuts ever made. Aided by tongue-in-cheek marketing, a sly cover-art reference to the Beatles' Meet the Beatles, and Mack Truck-sized refrains that stick in your head for hours, Get the Knack went gold in days and, to date, has sold more than five million copies. The meteoric rise didn't sit well with detractors committed to ripping apart the band for its perceived arrogance (members refused to sit for interviews) and alleged misogynist stance. Needless to say, the boycotting campaigns fell on deaf ears.
Holding down the top of the singles chart for six weeks, and the eventual number-one single on the year-end 1979 chart, My Sharona alone cemented the Knack's position in history. Written by lead singer and guitarist Doug Fieger about his lust for the then-underage 17-year-old Sharona Alperin, who ultimately became his fiancÉe, the anthem's suggestive themes carry throughout the record. Straightforward in its sleaziness and sexuality, Get the Knack pulls no punches about teenage frustrations, boy-girl one-upsmanship, sticky sweet romance, and unrequited passions for the opposite sex.
Teasing, mischievous tracks such as (She's So) Selfish connect with Bo Diddley-inspired riffs and crude, hormonally charged lines that split the difference between manipulation, nastiness, and arousal. The Top 15 hit Good Girls Don't similarly confronts the pent-up carnal desires and libidinous emotions shared by youth of all generations, while That's What the Little Girls Do functions as a sly response. Your Number or Your Name dabbles in related subject matter, with sensitivity and hopefulness added for good measure. It's a perfect mix of agony and ecstasy, fear and confidence.
Shot-through with yearning, every song bursts forth with undeniable catchiness, firecracker release, and sassy style - an approach Rolling Stone rightly says finds the band [winding] itself tighter than a hot pair of disco jeans, then [doing] its best to hold to that energy until its time to explode.
This title is not eligible for discount.1. Let Me Out
2. Your Number or Your Name
3. Oh Tara
4. (She's So) Selfish
5. Maybe Tonight
6. Good Girls Don't
7. My Sharona
9. Siamese Twins (The Monkey and Me)
11. That's What the Little Girls Do
12. Frustrated$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
REDD-FRO-1073xThe Joy Formidable
AAARTH (Pre-Order)AAARTH makes a statement unlike its predecessors. Drawing inspiration from a worldwide climate of political and social uncertainty the band transplanted themselves in Utah's vivid natural landscape immersed in a collage of colors and light, the ever fluid and expansive Southwestern sky mirroring our rapidly-changing world. The deep burnt-orange rocks and canyons became touchstones as the band formed the sonic landscapes of AAARTH. From soaring choruses to percussive pulsating guitars, The Joy Formidable paint an 11 song musical tapestry deftly balancing a sound as grounded as their ancient surroundings and as elusive and mind-bending as a gloaming desert sky.
AAARTH first came to life on the road penning lyrics and recording selected parts in hotel rooms around the world. They self-produced and mixed most of the album in their mobile recording studio. This critically adored trio is comprised of Ritzy Bryan (lead vocals, guitars), Rhydian Dafydd (bass, backing vocals) and Matt Thomas (drums, percussion). Formed in North Wales 10 years ago, each album they've released has been a joyful adventure and reflection of their fearless creative discovery and self evolution. The Joy Formidable has always refused to be fenced in or fit in. That restless and boundless artistic journey continues on their fourth album, an arresting and unapologetic tour de force that finds a band at its apex with no sign of getting comfortable.
Certainly, the road to AAARTH hasn't always been easy. Staying together as a band for 10 years requires immense tenacity and passion, both of which The Joy Formidable have never lost. That same tenacity echoes in their new unrelenting affecting musical treatise. The songs, melodies, and arrangements on AAARTH soar seamlessly from the personal to the epic sometimes in loneliness, vulnerability, disillusionment, joy,and redemption, but all the while refusing to deny the persistence of our own and other's imperfectly beautiful humanity. Fernando Chamerelli's evocative album art frames this vibrant, diverse, and playful melodic and lyrical collage.
While the sounds build the mood at the heart of this album are haunting songs that don't let go, "Cicada (Land On Your Back)" draws on the shamanistic influence of Utah, infusing the melody with a lingering psychedelic impression. "We wanted some kind of rebirth, the way you do in a tribal drug ceremony," Rhydian says. "We wanted to lose ourselves and start again." These themes of feeling lost and letting go only to reconnect with yourself thread through the songs. In "All and All" these themes are echoed, as the guitars hypnotically build into a crashing tide of reckless abandon, hope, yearning, and desperation.
There's one little part of me
that doesn't want to let go
It's easier to be the old me
I'm tired of staring down the price of bravery
All in all there's something missing
All in all there's something you can do
I won't play it down or pretend I haven't found
Because all in all there's something in you
The album is book-ended by two songs that calls for a world less divided, offering a dual desire that we take on the challenge to find love and forgiveness across entrenched divisions, while reminding us that healing journey cannot happen unless we also allow forgiveness and love for ourselves. "Y Bluen Eira," written in Welsh, invokes a white feather, a symbol of weakness in British history, and a snowflake. "It's very easy to write off a whole group of people just by labeling them," Ritzy notes. "That leads to a lack of communication and isolation. If we can be curious and courageous, then maybe we will find conversation across the spectrums that divide us and maybe even find new patterns to heal our world and ourselves".
From the contagiously sweeping sonic feast of "You Can't Give Me" to the careening and addictive "All and All", (possibly one of the more wrenching and beautiful rock ballads since the Yeah Yeah Yeahs "Maps" shattered male dominated rock radio over a decade ago), their new record grasps its listener tight and refuses to let go. NME has written that, 'The Joy Formidable has always sounded so much bigger than the stages they inhabit'. With the release of AAARTH later this year, we are poised for the moment where the size of this band's stages, may just yet, catch up with their sound. For a band who never coveted nor chased mainstream success a much wider audience awaits and, as always for this Welsh trio, it arrives on their timeline and will be met on their own terms.1. Y Bluen Eira
2. The Wrong Side
3. Go Loving
4. Cicada (Land On Your Back)
5. All In All
6. What For
7. The Better Me
9. Dance Of The Lotus
10. You Can't Give Me
11. Caught On A Breeze$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
HeldConsidering how Holy Other has always chosen to avoid the spotlight, refusing to do most interviews and photo shoots as a general rule, it's a testament to the power of his music how much the Manchester born producer's profile has risen in the past 12 months, garnering amazing support from a wide array of respected individuals.1. (W)here
2. Tense Past
4. Love Some1
5. U Now
6. In Difference
7. Past Tension
9. Nothing Here$19.99Vinyl LP - Sealed Buy Now
CallousedGrab your mesh shorts, don your muscle tee, and lace up your trainers because Gideon's newest effort, "Calloused", is a collection of some of the most driving and intense gym jams of the year. From beginning to end, the band's third record on Facedown Records stomps on the gas and refuses to let up.
- Brody B (Indie Vision Music)1. Calloused
5. World Of Hurt
6. The Limit
7. The Pulse
8. Prison Eyes
10. Drifter$15.99Vinyl LP - Sealed Buy Now
UNIM-TER-3212xRicky Eat Acid
Talk To You SoonRicky Eat Acid is the main project of musician/producer Sam Ray. Active under the name since 2009, Ray has released countless albums & singles, gleefully refusing to work along genre lines and instead crafting a tableau made up of everything from ambient/drone to candy-colored, EDM-adjacent beats. His new record, Talk To You Soon, is his first since Three Love Songs and debut for Terrible Records.1. 'hey'
2. Nice to See You
3. This is as Close to Heaven as I Get
4. Fucking to Songs on Radios
5. Never Alone in a Dark Room
6. Climbing Up the Big Red Tree
9. On the Floor Beneath the Cross
10. Spinning About Under the Bright Light in Bliss
11. Call My Name
13. In the Grocery Store
14. As We Speak
15. On a Good Day
16. 'ok'$19.99Vinyl LP - Sealed Buy Now
MAXIMALISMAmaranthe, the cutting edge outfit with the triple lead vocal attack, will release MAXIMALISM via Spinefarm. It's a hyper-modern, metallic beast produced by Jacob Hansen (Volbeat). The band deliver tracks that fully live up to the bigger, bolder promise of the title. Refusing to be pinned down by genre or convention, Amaranthe have consistently pursued the less-travelled path, blending sounds & styles to create a signature hybrid approach.1.Maximize
5.On The Rocks
9.Break Down And Cry
12.Endlessly$18.99Vinyl LP - Sealed Buy Now
Crooked TeethPapa Roach has never taken the easy way out and they aren't going to start now. Over the past two decades the group have established themselves as true trendsetters in heavy music: They've been nominated for two Grammys, toured the globe with everyone from Eminem to Marilyn Manson and crafted the nÜ metal anthem "Last Resort," which is still in heavy rotation on rock radio seventeen years after its release. However, the group's tenth full-length Crooked Teeth sees the band returning to their humble-and hungry-roots. The album was recorded in a cramped West Hollywood studio with up-and-coming producers Nicholas "RAS" Furlong and Colin Brittain, who grew up listening to Papa Roach and inspired them to revisit some of the traits that personally endeared the band to them, most notably frontman Jacoby Shaddix's remarkable rapping technique.
"We've always kind of considered ourselves to be the bastard cousins of everything we've every been involved with so we wanted to be true to that and switch things up this time around," Shaddix says. "The first time we met up with RAS and Colin, they said that [2000's] Infest was on constant rotation when they were growing up and they wanted to bring back some of that fire." The connection between the artists and producers was immediate and the first song Papa Roach-which also features guitarist Jerry Horton, bassist Tobin Esperance, and drummer Tony Palermo-came up with for Crooked Teeth was "My Medication," an instantly catchy banger that sees Shaddix spitting verses in between massive choruses and ambient accents. "I really felt like we had a personal connection and the music was just there waiting to be written and once we nailed that song things really clicked and we knew exactly what we had to do" Furlong explains. "We really followed our instincts and tried something unproven with this record and because of that we ended up with a bold, courageous and more adventurous version of Papa Roach." It was in this studio that "old school" Papa Roach ways, morphed to create this "new school" Papa Roach sound.
From the instantly infectious nature of the title track to the atmospheric sheen of the ballad "Periscope" (which features Skylar Grey) and the hip-hop rock mashup "Sunrise Trailer Park" (which features an impassioned verse from Machine Gun Kelly). Crooked Teeth displays the various sides of Papa Roach and illustrates why they've managed to remain relevant while musical trends ebb and flow. "We didn't go into this album with the intention of trying to write radio singles," Horton explains. "The collection of songs was really about bookending everything that we've done prior to this album and reintroducing Papa Roach to people who didn't realize the depth that we have," says Palermo. "The whole idea was to take the classic elements of Papa Roach that everyone loved and revamp them into a modern version of the sound through the creative process," adds Furlong. "We just wanted to flip everything on its head and see what would happen and it turned out more amazing than any of us could have expected."
"The people who have wanted to hear me rap for years are gonna love some of the viscousness on this record," Shaddix explains adding that while he had his own initial reservations about some of the album's more unorthodox moments - such as the 808 bass drop into a metal breakdown on the album title track, "Crooked Teeth" - ultimately those adventurous decisions are what make the album such a refreshing change of pace in a rock climate that's grown increasingly sterile. "I'd like to personally thank all of the guys in the band for making this happen because all it takes is one person to give you a shot and this was definitely mine," Furlong adds. "I want to be one of the best producers in modern day music so I wanted to work as hard for these guys as they would for themselves because as a producer it was my job to push them to get the kind of quality work everyone has been expecting."
Just as Papa Roach felt like they still had something to prove with this record, so did the production team who attempted to bring in elements of music from different genres and parts of the world while still staying true to Papa Roach's sound. "One of the big elements in my production is finding those pockets of rhythm that people associate more with rap or reggae," Furlong explains, a fact that came in especially handy when Shaddix was fine-tuning his freestyle skills. "I know rap rhythms because I grew up listening to hip-hop, so I was able to make sure that the delivery was on point and the beat was in the pocket so it didn't suffer from a lot of the stylistic pitfalls that can happen when you merge rock and rap."
Crooked Teeth also sees Shaddix pulling no punches lyrically, as evidenced on intensely personal tracks like "Born For Greatness," produced by Jason Evigan (Jason Derulo, Demi Lovato, Kehlani, Madonna), which sees Shaddix getting sentimental about his three children, or "American Dream" where the lifelong pacifist begs the listener to ask, "have you ever thought war was a sickness?" "My father is a Vietnam veteran and a lot of those soldiers came back to a country where people weren't accepting them back into society or aware of the effects that war has on your psyche," Shaddix says of the song." "Post-traumatic stress disorder and the disintegration of the American family are things I've dealt with personally and I knew other people could relate to. I think that's what makes this record bold. Nothing was off limits when it came to what was on my mind."
Never one to shy away from difficult topics, Papa Roach dug deep with Crooked Teeth and refused to censor themselves when it came to their opinion of the current political landscape and organized religion. For example, on "None Of The Above," every ounce of musical intensity on the album is mirrored by Shaddix's words whether he's screaming, singing or rhyming. "It took me a long time, but eventually I realized that in life we're all human and we all make mistakes whether you're the president or the preacher, you know?" Shaddix explains when asked about the latter song. "It's an example of how I can get lost in a storyline and explore so many different issues in one track and that's what I love about this record. Just the spark of an idea would instantly ignite and the next thing we knew we had another song that we all loved."
In many ways making Crooked Teeth reminded Shaddix of the band's early days, well before they sold millions of albums and became a household name. "When we were in the rehearsal space I wasn't thinking about who I needed to impress, I was thinking about how much I love making music with the guys in this band," Shaddix admits. "It feels honest and it feels pure," adds Esperance. Fittingly, throughout the process, Shaddix gained inspiration from bands like Led Zeppelin and Faith No More, acts who constantly redefined themselves and were never content to rest on the merits of a hit single." This band encompasses some of my greatest victories, but it's also brought out some of my darkest character flaws," Shaddix summarizes, "so I have kind of a love-hate relationship with this music, but I can't stop because I've got too much of my life invested in it at this point. We are a purpose-driven band and I've got a responsibility to myself and our fans to continue to create."1. Break The Fall
2. Crooked Teeth
3. My Medication
4. Born For Greatness
5. American Dreams
8. Sunrise Trailer Park
10. None Of The Above$19.99Vinyl LP - Sealed Buy Now
Taking One For The TeamTaking One for the Team, Simple Plan's fifth full-length and most ambitious album so far, offering hard-hitting punk-fueled tracks alongside songs that delve into everything from reggae to delicate acoustic balladry. Longtime fans can rest assured that Taking One for the Team is packed with plenty of quintessential Simple Plan tracks, including Boom, whose companion music video features cameos by members of All-Time Low, Pierce The Veil, PVRIS, MxPx, and many more Warped Tour all-stars. The album starts out full-throttle with the brutal guitar and furious drumming of Opinion Overload. It's a song about following your heart and dreams no matter what people say or think, explains Bouvier.
We're adults in our mid-thirties now, and we still have to deal with that. Sometimes you gotta remind yourself that it doesn't mean anything, that it's ok to stand up for yourself and be who you are and that's what's gonna set you apart. That same defiant spirit is present on I Refuse, where Simple Plan mine inspiration from punk/hardcore acts like Rise Against and Good Riddance, ultimately delivering the only punk anthem in recent memory to feature an elegant piano interlude. We grew up on that kind of music; it's in our DNA- we'll always need that energy and those super-fast, in-your-face songs that people love about this band, says bass player David Desrosiers of tracks like I Refuse or Nostalgic. I can already imagine us playing those songs live and seeing the crowd go crazy, singing along to every word.1. Opinion Overload
3. Kiss Me Like Nobody's Watching
4. Farewell (feat. Jordan Pundik)
5. Singing In The Rain (feat. R. City)
6. Everything Sucks
7. I Refuse
8. I Don't Wanna Go To Bed (feat. Nelly)
10. Perfectly Perfect
11. I Don't Wanna Be Sad
12. P.S. I Hate You
13. Problem Child
14. I Dream About You (feat. Juliet Simms)$20.99Vinyl LP - Sealed Buy Now