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  • Seesaw Seesaw Quick View

    $32.99
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    Seesaw

    Import


    Seesaw reunites force-of-nature blues-rock vocalist Beth Hart and guitar hero Joe Bonamassa for a second album of choice covers from various musical eras. As with their first outing, Don't Explain, the project is in collaboration with producer Kevin Shirley (Joe Bonamassa, Led Zeppelin, Aerosmith, Black Crowes). Each of the three principals suggested and selected tracks for the 11-song set list, which mines soulful classics previously made famous by Aretha Franklin, Etta James, Billie Holiday, Donnie Hathaway, Lucinda Williams, Buddy Miles, Tina Turner, Slackwax, Melody Gardot, and Nina Simone.


    The one-two punch of Hart's powerhouse vocals and Bonamassa's scorching solos both honors and reinvents the original recordings. They are backed by the same world class band that kept the grooves going on Don't Explain: Anton Fig (drums, percussion), Carmine Rojas (bass), Blondie Chaplin (rhythm guitar, backing vocals and percussion), Arlan Schierbaum (organ, piano). This time out, their mighty sound is augmented by a horn section, with Lee Thornburg on trumpets and trombones, and Ron Dziubla on saxophones.


    For Hart and Bonamassa, making music together grew out of the friendship and mutual artistic appreciation they developed after crossing paths on the road numerous times, particularly on the festival circuit in Europe. Bonamassa wanted to do a project with her, and came up with the idea for a soul covers record. Shirley, who's produced 12 of Bonamassa's albums, was enthusiastic, and Bonamassa contacted Hart. "When I got the call that he wanted to do a soul record with me, I figured I'd be the background singer. He said 'no, you're singing lead.'" The chemistry clicked, and Don't Explain was released in 2011, followed now by 2013's Seesaw-in between, both Hart and Bonamassa have toured, recorded solo albums, and reached new career highs.


    "What's so cool about these projects is that when Joe and Beth enter the studio, he comes in as a guitar player, and she comes in as a singer," says Shirley. "They're getting together just to play fun music, sing some favorite songs, without the pressure of career issues they might have on solo projects. The point is to pick up and celebrate songs that didn't get their due in the day, and to pay homage to ones that were truly classics. The vibe this time is more upbeat than on Don't Explain, lots of big band horns."

    1. Them There Eyes
    2. Close to My Fire
    3. Nutbush City Limits
    4. I Love You More Than You'll Ever Know
    5. Can't Let You Go
    6. Miss Lady
    7. If I Tell You I Love You
    8. Rhymes
    9. A Sunday Kind of Love
    10. Seesaw
    11. Strange Fruit
    Beth Hart & Joe Bonamassa
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aretha With The Ray Bryant Combo (Speakers Corner) Aretha With The Ray Bryant Combo (Speakers Corner) Quick View

    $37.99
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    Aretha With The Ray Bryant Combo (Speakers Corner)

    As is well known, early relationships are not always blessed, and it is certainly no secret that the collaboration between Aretha Franklin and Columbia's record producer John H. Hammond did not last long. Hammond's later attempts to candy Franklin's irrepressible natural voice with sugary arrangements and studio gimmicks did not go down well with the public. On the first Franklin disc from Columbia, however, it was honeymoon all the way. With a successful mix of pop and jazz standards, the super talent - Aretha had just turned 18 years old - brought her vocal chords to vibrate. Fired on with youthful Élan, these evergreens sound so fresh, new and intoxicating that the question of their genre is quite irrelevant. From a seesawing R & B (Won't Be Long) via bell-like waves of melody (Over The Rainbow) right up to the freely styled, jazzy Gershwin classic It Ain't Necessarily So - everything is right there! The Ray Bryant Trio - augmented with winds - proves itself a formidable ensemble with true presence yet unobtrusive accompaniment. If you compare the mature performances of Aretha Franklin in her subsequent years with Atlantic, you will soon recognize that the later 'First Lady of Soul' was in full command of her profession right from the very beginning.


    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:

    Aretha Franklin(vocals, electric piano)

    Quentin Jackson, Tyree Glenn (trombone)

    Al Sears (tenor saxophone)

    Ray Bryant (piano)

    Lord Westbrook, Skeeter Best (guitar)

    Milt Hinton, Bill Lee (bass)

    Belton Evans, Sticks Evans, Osie Johnson (drums)


    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. Won't Be Long
    2. Over The Rainbow
    3. Love Is The Only Thing

    4. Sweet Lover

    5. All Night Long

    6. Who Needs You?

    7. Right Now

    8. Are You Sure

    9. Maybe I'm A Fool

    10. It Ain't Necessarily So

    11. (Blue) By Myself

    12. Today I Sing The Blues
    Aretha Franklin
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Black Coffee (Awaiting Repress) Black Coffee (Awaiting Repress) Quick View

    $34.99
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    Black Coffee (Awaiting Repress)


    180 Gram Red Colored Vinyl


    It's been 4 years since the critically acclaimed, Grammy nominated, and #1 Billboard Blues album Seesaw was
    released by singer-songwriter Beth Hart and guitar hero Joe Bonamassa. They have reunited for Black Coffee -
    another collection of scorching interpretations of ten soul gems that pair Hart's breathtaking vocals and Joe's
    masterfully expressive playing. Featuring songs made famous by; Ray Charles, Etta James, Lucinda Williams and
    more. 180g red vinyl and contains an exclusive bonus track.

    1. Give it Everything You Got
    2. Damn Your Eyes
    3. Black Coffee
    4. Lullaby Of The Leaves
    5. Why Don't You Do Right
    6. Saved
    7. Sitting On Top Of the World
    8. Joy
    9. Soul On Fire
    10. Come Rain Or Come Shine
    Beth Hart/Joe Bonamassa
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Don't Want To Let You Down Don't Want To Let You Down Quick View

    $14.99
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    Don't Want To Let You Down

    Sharon Van Etten has never needed much room to make a grand statement. With four albums during the
    last six years, she's become one of music's most astute new cartographers of the heart, able to capture
    emotional trials and triumphs with incisive lines and a voice that loses nothing in the translation and
    transmission of feelings. Her second record, epic, needed only seven tracks to live up to its title. 2012's
    Tramp and last year's Are We There, went longer, but Van Etten managed still to squeeze enormous
    sentiments into especially small spaces. From start to rising stardom, Van Etten has forever understood the
    impact of economy


    It should come as no surprise, then, that the five-song EP I Don't Want to Let You Down offers documents
    of surrender and disappointment, admission and longing in only 22 minutes. Produced by Van Etten and
    Stewart Lerman, who also helmed Are We There, these songs are as sophisticated as anything Van Etten has
    ever done. Supported by a string section during "I Always Fall Apart," Van Etten's voice rises alongside her
    piano. Her prismatic harmonies betray the terror of the song's central admission and one of the new lyrical
    cornerstones of her catalogue: "You know I always fall apart/It's not my fault/It's just my flaw/It's who I am."
    During the title track, she slowly pushes her voice past an introductory murmur, as if scanning her
    surroundings for the resolve to be stronger and more steadfast than she knows she has been. Building across
    four minutes, the desperation of the title is expressed through guitars that get bigger, harmonies that get
    broader. The chorus is a sing-along commandment, an indelible promise Van Etten makes to be better. The
    War on Drugs' Adam Granduciel and David Hartley join Antibalas' Stuart Bogie, Peter Broderick and
    Heather Woods-Broderick for "Pay My Debts." The longest song here, it's a cinematic number that smolders
    like shoegaze before climaxing into an inescapable seesaw refrain.


    The EP ends with a live rendition of "Tell Me." A demo from Tramp, but backed here by her four-piece
    touring band, the tune becomes a kind of battle cry for respect and a charged pronouncement of Van Etten's
    cultivated powers. It's a map of the singer's progression from an acoustic songwriter to a bona fide
    bandleader, a reminder of the poignancy and efficiency her work has long paired.

    1. I Don't Want To Let You Down
    2. Just Like Blood
    3. Always Fall Apart
    4. Pay My Debts
    5. Tell Me [Live]
    Sharon Van Etten
    $14.99
    Vinyl EP - Sealed Buy Now
  • Twerp Verse Twerp Verse Quick View

    $16.99
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    Twerp Verse

    Necessary brattiness is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse. The follow-up to 2015's Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being outrageous and practical in order to be heard at all.


    You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world, says Dupuis. I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth."


    Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze's Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych-pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums - and together they accelerate the band's idiosyncrasy through the wilderness of Dupuis' heady reflections on sex, lies and audiotape.


    Dupuis, who both earned an MFA in poetry and taught at UMass Amherst, propels the band's brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz, Aline Crumb's biting memoirs, and the acute humor of AstroPoet Dorothea Lasky, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme Lucky 88, and casts a side-eye towards suitors-turned-monsters in the cold-blooded single Villain. Closing track You Hate The Title is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. You hate the title, but you're digging the song, Dupuis sings wryly, You like it in theory, but it's rubbing you wrong. Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

    1. Buck Me Off
    2. Lean In When I Suffer
    3. Lucky 88
    4. Can I Kiss You?
    5. Backslidin'
    6. Villain
    7. I'm Blessed
    8. Sport Death
    9. Alone with Girls
    10. Moving In
    11. You Hate The Title
    Speedy Ortiz
    $16.99
    Vinyl LP - Sealed Buy Now
  • Come My Fanatics Come My Fanatics Quick View

    $37.99
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    Come My Fanatics

    Import


    What a difference two years can make ... Between their self-titled debut and this follow-up, Electric Wizard beefed up and distorted their sound and polished their song-writing and the result has taken them light years beyond what the first album achieved. For this reason alone, anyone interested in the band's history and how a young group can progress in leaps and bounds, these two albums are worth seeking out and hearing. The most obvious improvement in the band's style is the overall sound: thick and grimy textures in slower-than-slow guitar chords and riffs, accompanied by basic drum rhythms and a washed-out wailing vocal singing lyrics of despair at the present world and conjuring avenues of escape from the social and political oppression in our society.


    We dive straight into the deep end with Return Trip, a crusty doom sludge song if ever there was one, with black grime peeling off riffs to expose a raw layer that quickly changes to hard and dark and bleeds off in turn. The song sticks to the straight and narrow: even an extended instrumental passage doesn't attract a wiggly guitar solo, and it's only towards the end the song acquires layers of melody and riffing to suggest the vocalist's increasing mental derangement. Jus Oborn's singing isn't great - it's more like chanting or shouting sometimes - but his voice has a rough, anguished edge suited to the lyrical content. Real life is cold, hard, tyrannical, unjust and abusive and for many people the only way to stay sane is to escape into one's own world through the portal of hallucinogenic drugs. Wizard in Black and Doom-Mantia take up where Return Trip leaves off: these are epic tracks that extend the sludge / stoner doom trip out further into the realms of psychedelia, the latter track featuring treated vocals and multi-tracked voices (or so they sound).


    Ivixor B / Phase Inducer is a wonderfully trippy mindfuck of a piece featuring a seemingly endless loop of female chanting with bubbly guitar effects and lazy bass rhythm followed by an abstract spacey tone piece that probably fell from an old pre-Autobahn Kraftwerk album and needed a home, so why not here. The atmosphere is spooky without appearing sinister. The two separate passages of the track are combined in a way that suggests a breakdown in a spaceship's communications with Earth while the astronauts are overcome by strange cosmic forces that can't be understood by rational people. Very original and quite ingenious!


    The remaining tracks on the album suffer for being footnotes to the instrumental track and the strong first half of the album. Son of Nothing is hardcore melodic rock with metal trimmings in style and its post-apocalyptic / sci-fi lyrics embody both hope and fear as the remnants of humanity flee a scorched Earth to find a new home. Solarian 13 brings up the rear with a mix of gently buoyant and seesawing grime-thickened guitar rhythms around which trippy ambient effects swirl and tease.


    The album draws its strength from a more streamlined musical approach in which music serves to enhance each song and its subject rather than fill out empty spaces with frills or show off individual musicians' dexterity and master of their instruments; and also from powerful lyrical themes of alienation, global destruction and flight to new worlds whether internally in one's head as a form of escape or externally for survival. Fantasy, the apocalypse and its aftermath, and science fiction elements of space travel through drugs and spaceships, and human migration to new worlds combine with doom, stoner and sludge metal to generate an original piece of work in Come My Fanatics .... It's on this album that EW find their calling.


    - NausikaDalazBlindaz (The Metal Archives)

    1. Return Trip
    2. Wizard in Black
    3. Doom-Mantia
    4. Ivixor B / Phase Inducer
    5. Son of Nothing
    6. Solarian 13
    7. Demon Lung
    10. Return to the Son of Nothingness
    Electric Wizard
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • In Colour In Colour Quick View

    $22.99
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    In Colour

    Jamie xx will release his debut album In Colour on Young
    Turks. The eleven track LP includes previous releases "Girl" and "Sleep
    Sound" as well as forthcoming single "Loud Places," which features vocals
    from Romy Madley Croft.


    The release of In Colour comes on the back of an incredible six year
    creative period for Jamie xx, which has seen him alternate effortlessly between
    his role as founding member and producer of The xx, and creator
    of more electronic and club orientated music as Jamie xx. A string
    of acclaimed productions in recent years including debut solo single "Far
    Nearer," remixes for the likes of Adele, Radiohead and Florence & The
    Machine, production work for Drake and Alicia Keys plus We're New
    Here - Jamie's seminal reworking of Gil Scott-Heron's final studio album -
    hinted at what was to come.


    With In Colour - a bold, celebratory, emotional record that features collaborations
    with The xx band mates Romy Madley Croft ("Seesaw" and
    "Loud Places") and Oliver Sim ("Stranger In A Room"), Young Thug and
    Popcaan ("Good Times") and Four Tet ("Seesaw") - Jamie delivers his
    definitive artistic statement.

    1, Gosh
    2. Sleep Sound
    3. SeeSaw (feat. Romy)
    4. Obvs
    5. Just Saying
    6. Stranger In A Room (feat. Oliver Sim)
    7. Hold Tight
    8. Loud Places (feat. Romy)
    9. I Know There's Gonna Be (Good Times) (feat. Young Thug & Popcaan)
    10. The Rest Is Noise
    11. Girl
    Jamie XX
    $22.99
    Vinyl LP - Sealed Buy Now
  • Foxtrot Foxtrot Quick View

    $24.99
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    Foxtrot


    180g Audiophile Vinyl


    Half Speed Mastering


    2008 Mixes By Nick Davis & Genesis


    Pressed At Pallas GmbH


    Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound -- which doesn't necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening Watcher of the Skies is that it's the first time that Genesis attacked like a rock band, playing with a visceral power. There's might and majesty here, and it, along with Get 'Em Out by Friday, is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer Supper's Ready, a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose. But what impresses most about Foxtrot is how that precociousness is delivered with pure musical force. This is the rare art-rock album that excels at both the art and the rock, and it's a pinnacle of the genre (and decade) because of it.

    -All Music Guide

    1. Watcher Of The Skies
    2. Time Table
    3. Get 'Em Out By Friday
    4. Can-Utility And The Coastliners
    5. Horizons
    6. Suppers Ready
    Genesis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Moody Blues: Collected Moody Blues: Collected Quick View

    $42.99
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    Moody Blues: Collected

    Import


    4 Page Booklet With Liner Notes And Photos

    Solid Selection Of Songs By The Band's Career, Including Go Now, Nights In White Satin, Never Comes The Day, Gypsy, I Never Thought I'd Live To Be A Hundred, I'm Just A Singer (In A Rock 'n Roll Band) And Many More

    The Moody Blues formed in the early 1960s in Erdington, Birmingham, England. Ray Thomas, John Lodge, and Michael Pinder had been members of El Riot & the Rebels. They disbanded when Lodge went to college and Pinder joined the army. The pair recruited guitarist/vocalist Denny Laine, band manager-turned drummer Graeme Edge, and bassist Clint Warwick. The five appeared as the Moody Blues for the first time in Birmingham in 1964.

    It was the single, Go Now (released later that year), which launched their career. The single became a huge hit in the U.K. and landed the number 1 spot in the charts. The band soon realised that their style of R&B-derived rock and pop was not working for them and decided to develop an original new style, featuring the symphonic sounds of the mellotron and Ray Thomas' flute.

    Assigned to make a rock and roll version of Antonin Dvorák's New World Symphony, Moody Blues insisted that they be given artistic freedom and be left without supervision. The result was Days of Future Passed (1967), which combined the band's tracks with orchestral interludes arranged and conducted by Peter Knight. The album plus two singles, Nights in White Satin and Tuesday Afternoon, became substantial hits.

    Their follow-up album was In Search of the Lost Chord (1968). The album was again a big success with hits as Ride My See-Saw and Voices in the Sky. Their next album On a Threshold of a Dream (1969) featured the sensitive ballad Never Comes a Day and was their first number 1 album in the U.K.

    The band's music continued to become more complex and symphonic, resulting in 1969's To Our Children's Children's Children, a concept album. It closes with the fan-favorite Watching and Waiting. To Our Children's Children's Children was also the first release of the group's own founded label, Threshold Records.

    Released in 1981, Long Distance Voyager was a success, reaching number 1 on Billboard and top 5 in the U.K. The album featured the hit, The Voice, written by Hayward.

    The remaining Moody Blues trio continues to tour and to this day the Moody Blues are one of classic rock's most enduring institutions, with world-wide sales of nearly 80 million albums and a following that continues to support the band. COLLECTED by Moody Blues is a careful selection of the distinctive sound of the band, presenting the different periods the band has gone through.

    LP 1
    1. Go Now
    2. Boulevard De La Madeleine
    3. Nights In White Satin
    4. Tuesday Afternoon (Forever Afternoon)
    5. Voices In The Sky
    6. Dr. Livingstone, I Presume
    7. Ride My See-saw
    8. Legend Of A Mind
    9. Never Comes The Day
    10. Dear Diary
    11. Gypsy (Of A Strange And Distant Time)

    12. Watching And Waiting
    13. I Never Thought I'd Live To Be A Hundred


    LP 2
    1. Candle Of Life
    2. Melancholy Man
    3. Question
    4. The Story In Your Eyes
    5. Isn't Life Strange
    6. I'm Just A Singer (In A Rock 'n Roll Band)
    7. Emily's Song
    8. King And Queen
    9. Had To Fall In Love
    10. Driftwood
    11. The Voice

    Moody Blues
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Caveman (Awaiting Repress) Caveman (Awaiting Repress) Quick View

    $16.99
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    Caveman (Awaiting Repress)

    On Their self-titled sophomore album, Caveman strech thier legs in a number of different, albeit cohesive, directions.


    Caveman-a five-man vibe collective from NYC-released their first album in 2011. As first albums go, CoCo Beware was something akin to a moody statement of intent, a blueprint for a band quickly learning how to create horizon-wide rock songs that were equal parts intimate and expansive. Initially self-released and later snatched up by Fat Possum for re-release in early 2012, the record brims over with four-part harmonies, crystalline guitar lines, and tracks that see-sawed between echoey lullaby ("A Country's King of Dreams") to shoegaze-by-way-of classic-FM-radio sprawl ("Old Friend"). The album quickly elevated Caveman from local band to watch to a sizable touring draw and formidable live act, as evidenced by stints on the road with the likes of The War on Drugs, White Rabbits and Built to Spill. Despite being the work of a brand new band, CoCo Beware displayed a kind of Zen-like ease. It was the sound a five friends settling into a nice groove; the music that happens when, for whatever reason, a lot of seemingly disparate elements finally fall into place.


    "We all went up to Jimmy's grandmother's place in New Hampshire," says singer Matthew Iwanusa. "That's where the new record kind of started. It was literally the attic of her barn, lit up by Christmas lights. We'd all sit in this one room together and one by one we'd all go into the bathroom and record ourselves making the most psycho noises possible. It actually felt kind of like a weird breakthrough. We were all confident and comfortable enough with each other to try out these experiments, which extended itself into the making of the new record which is really just an evolution of this vibe that we'd been cultivating for long time."


    With that, the guys holed up in Brooklyn's Rumpus Room to start recording in earnest with Nick Stumpf (who produced the band's debut album) and Albert Di Fiore behind the controls. The album is a kind of sonic microcosm-a series of emotional yet tough mini-narratives operating within the same quixotic musical universe.


    As a result, the guitars on Caveman are bigger and more expansive, the rhythm section is tighter and more adventurous, the keyboards more opaque and pronounced. Like a marriage between Tangerine Dream, late period Slowdive, and Lindsey Buckingham, tracks like their new single "In the City" and "Ankles" boast synth lines that sound simultaneously retro and futuristic, while "Pricey" and "Never Want to Know" overflow with guitar sounds that could have miraculously floated off an old Cure album. It should be noted that James Carbonetti, the band's primary guitar player, also happens to be one of the most highly regarded guitar makers in New York City.


    And while Caveman's music could certainly operate on the level of dreamy soundscape and still be excellent, the depth of feeling in front man Matthew Iwanusa's lyrics helps weave the songs deeply into your memory. When Iwanusa sings Where's the time to waste on someone else's life? on "Where's the Time," it's hard not to read between the lines. Wonder and regret seem to fuel the record in almost equal measure.

    1. Strange to Suffer
    2. In the City
    3. Shut You Down
    4. Where's the Time
    5. Chances
    6. Over My Head
    7. Ankles
    8. Pricey
    9. I See You
    10. I Never Want to Know
    11. The Big Push
    Caveman
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • In Search Of The Lost Chord In Search Of The Lost Chord Quick View

    $31.99
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    In Search Of The Lost Chord


    The Moody Blues/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Celebrate 4 Decades Of Their Legendary Psychedelic Masterpiece In Search Of The Lost Chord - First Time 180 Gram Audiophile Vinyl!


    Mastered Impeccably By Joe Reagoso From The Original Deram Records Tapes


    In Search of the Lost Chord was another huge platinum plus smash for The Moody Blues and a stellar continuance
    of their progressive rock sound for the fans of this legendary English quintet. Featuring the original award winning lineup of Justin Hayward (lead vocals/guitars), John Lodge (lead vocals/bass), Ray Thomas (lead vocals/flutes), Ray Pinder
    (lead vocals/keyboards) and Graeme Edge (drums/vocals), In Search of the Lost Chord is undoubtedly one of their biggest
    selling albums and also one of the finest offerings in their huge catalog.


    Buoyed by the success of the hit single Ride My See-Saw, their definitive follow up to Days of Future Passed, In Search of the Lost Chord was filled with more hypnotic rockers like the powerful Ray Thomas classic Legend of a Mind, John Lodge's masterpiece House of Four Doors, plus the legendary Justin Hayward's prog-rock
    champion Voices in the Sky.


    The wonderful release also features a fine array of songs from vocalist and keyboard whiz Mike Pinder including
    the acid rock sounds of The Best Way to Travel and the album's stellar closer Om, as well as the ever talented Graeme
    Edge's distinctive drum work throughout the LP and his lyrical prowess with the album's well known classics The Word
    and Departure.


    The beauty of this album is that you could always count on a classic listen from these five gentlemen of song.
    Featuring Ray Thomas' striking vocals and flute delivery, Justin Hayward's and John Lodge's guitars and vocal acumen,
    the magic of Ray Pinder on the keys and classic vocal, plus Graeme Edge's powerful drum and singing, In Search of the
    Lost Chord became the album of choice for radio programmers in 1968. All in all, a hypnotic and spirited set from this
    very important and much loved classic rock band.


    This amazing album has been out of print on vinyl for many years, that is until now


    Friday Music is very honored to continue another installment in our Moody Blues 180 Gram Audiophile Vinyl Series
    with their masterpiece In Search of the Lost Chord. Mastered impeccably from the original Deram Records tapes by Joe
    Reagoso at Friday Music Studios, this album is truly a thrilling first time 180 Gram audiophile vinyl release.


    For this special limited edition, we have also included the original full color album cover in gatefold style for the first
    time since it was released in 1968, complete with the great music you will always remember from this historic classic.


    In Search of the Lost Chord from The Moody Blues on impeccable first time 180 Gram Audiophile Vinyl exclusively from your friends at Friday Music We're All Looking For Someone

    1. Departure
    2. Ride My See-Saw
    3. Dr. Livingstone, I Presume
    4. House of Four Doors
    5. Legend of a Mind
    6. House of Four Doors (Part 2)
    7. Voices in the Sky
    8. The Best Way to Travel
    9. Visions of Paradise
    10. The Actor
    11. The Word
    12. Om
    Moody Blues
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Secret Treaties (Speakers Corner) (Awaiting Repress) Secret Treaties (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
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    Secret Treaties (Speakers Corner) (Awaiting Repress)

    Back in the days of hard rock and surrounded by fierce competitors with such great names as the Doors, Black Sabbath and the Rolling Stones, a band had to attract attention with far more than histrionic pathos, biker boogie, an adept lead guitarist and a sharp-tongued singer. The band Blue Öyster Cult, founded on Long Island in 1971, possessed all this and much more, relating short scenarios in their lyrics, which conjured up people's imagination. Rolling Stone magazine enthused that it was »like listenin' to Hitchcock and Kubrick swap stories about their wet dreams«, and that the group »mix aesthetics and ass-kicking rock to such good advantage«.



    In their third studio album Secret Treaties, BÖC reached the pinnacle of their musical evolution with such memorable songs as Career Of Evil, Subhuman and Astronomy. The lyrics have literary value but are certainly not intended for sensitive souls - the phrases are direct and intentionally drily articulated. The music is as blatant and extroverted as the lyrics: the guitar sound is steely and straightforward, occasionally padded out with a see-sawing Hammond groove, and topped again and again by wonderfully rough string solos that speak the language of hard, merciless and full-bodied rock.



    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar, synthesizer)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal)

    • Albert Bouchard (drums, vocal)



    Recording: 1974 by Tim Geelan and Jerry Smith

    Production: Murray Krugman and Sandy Pearlman




    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. Career of Evil
    2. Subhuman
    3. Dominance and Submission
    4. ME 262
    5. Cagey Cretins
    6. Harvester of Eyes
    7. Flaming Telepaths
    8. Astronomy
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blues of Desperation (Awaiting Repress) Blues of Desperation (Awaiting Repress) Quick View

    $34.99
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    Blues of Desperation (Awaiting Repress)

    GRAMMY-nominated blues-rock guitar icon Joe Bonamassa announces his 20160solo album, Blues of Desperation (J&R Adventures). Like his previous solo disc, 2014's Top 10 Billboard hit Different Shades of Blue, this record features all-original material, and it sees the maverick superstar guitarist, singer and songwriter tossing away the rule book as he continues to reinvent and redefine the blues-rock genre like no other artist working today.


    I want people to hear my evolution as a blues-rock musician, says Bonamassa, somebody who isn't resting on accomplishments and who is always pushing forward and thinking about how music can evolve and stay relevant.


    The writing sessions for Blues of Desperation took Bonamassa back to Nashville, where he'd composed Different Shades of Blue, to work with some of Music City's top tunesmiths, people like James House, Tom Hambridge, Jeffrey Steele, Jerry Flowers and Gary Nicholson.


    These are some of the best guys in the business, Bonamassa raves. Lyrically, you'll hear the proverbial trains, mountains, valleys and other blues references about heartbreak and loneliness but there are also some poignant moments about getting away from the stressful, crazy demands of life and losing yourself with your special someone. I think anybody will be able to relate.


    Bonamassa and his longtime producer Kevin Shirley (Led Zeppelin, Iron Maiden, Journey) convened at Nashville's Grand Victor Sound Studios (formerly known as RCA Studio A), and during an intense, five-day period they recorded 11 galvanizing songs with a crack group of musicians including drummers Anton Fig and Greg Morrow, bassist Michael Rhodes, keyboardist Reese Wynans, horn players Lee Thornburg, Paulie Cerra and Mark Douthit, and background singers Mahalia Barnes, Jade McRae and Juanita Tippins.


    Of his decade-long collaboration with Shirley, Bonamassa says, I can explain our relationship with one word - 'trust.' I completely trust in Kevin and his musical promptings. He pushes my musical ability by challenging me to not just rest on my laurels or settle for 'good.' He expects more out of the other musicians as well and will not hold back when he sees us falling back into our usual routine.


    Which sometimes calls for unorthodox measures, says Shirley, who admits that his idea of augmenting Bonamassa's usual recording band with second drummer Morrow was engineered to ruffle Joe's feathers.


    I wanted him to work a little harder, like in his early years, he says, so I brought in an additional drummer, just to throw the cat amongst the pigeons. Of the results, Shirley raves, Recording 'Blues of Desperation' is one of the most exciting recording projects I've done. What a joyful noise we made!


    Blues of Desperation is Bonamassa's most powerfully diverse and boldly realized album yet, with the material ranging from the gutsy, gritty blues call to arms of This Train (Joe's guitar is set to rude throughout) to the elegant yet emotionally shattering ballad What I've Known for a Very Long Time to the soul-nourishing, acoustic-based Americana of The Valley Runs Low, on which Bonamassa's voice rises up majestically to meet Barnes, McRae and Tippins in gospel-like rapture. And then there's the bleary, tequila-soaked Drive, dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy.


    Throughout the record, Bonamassa's epic guitar playing conjures up stirring benedictions and explosive exorcisms of sound. No Good Place For the Lonely features some of the guitarist's most cauterizing licks yet, and the walloping title track is a white-knuckled, six-string thrill ride guaranteed to jolt the senses. Guitar fans everywhere (like those who recently voted Bonamassa Best Blues Guitarist in Guitar World magazine by an overwhelming margin) will consider Blues of Desperation a treasure trove of axe riches.


    There are some long solos on this record and even some mini-jams in the middle of a track where the band would just jive and crank it out, he says. [During those jams], we do a tip of the hat to Beck and Clapton from the '70s. I think guitar nerds and music fans like myself will love it.


    Packed with unparalleled musicianship and teeming with the most enthralling collection of songs in Bonamassa's career, Blues of Desperation is guaranteed to knock out critics and fans alike. By exceeding his own vertiginously high artistic goals, Bonamassa is bound to shatter all other expectations with this record and reach new audiences - no mean feat when you continue his astonishing track record of hits now includes 15 #1 Billboard Blues Albums (more than any other artist in history). 2014's Different Shades of Blue debuted at #8 on Billboard's Top 200 Chart, making it his highest charting album, his first top 10 and accounting for his biggest sales week ever. In 2014, the guitarist received his first-ever Grammy nomination (for Best Blues Album) for the album Seesaw, his second collaboration with blues singing star Beth Hart, and was named 2014's Billboard Blues Artist of the Year.

    1. This Train
    2. Mountain Climbing
    3. Drive
    4. No Good Place For The Lonely
    5. Blues Of Desperation
    6. The Valley Runs Low
    7. You Left Me Nothin' But The Bill And The Blues
    8. Distant Lonesome Train
    9. How Deep This River Runs
    10. Livin' Easy
    11. What I've Known For A Very Long Time
    Joe Bonamassa
    $34.99
    180 Gram Audiopbhile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
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