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  • Solid Gold Hits Solid Gold Hits Quick View

    $24.99
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    Solid Gold Hits

    So What'cha Want
    Brass Monkey
    Ch-Check It Out
    No Sleep Till Brooklyn
    Hey Ladies
    Pass The Mic
    An Open Letter to NYC
    Root Down
    Shake Your Rump
    Intergalactic
    Sure Shot
    Body Movin (Fatboy Slim Remix)
    Triple Trouble
    Sabotage
    Fight For Your Right
    Beastie Boys
    $24.99
    Vinyl LP Reissue - 2 LPs Sealed Buy Now
  • Aretha's Gold Aretha's Gold Quick View

    $31.99
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    Aretha's Gold


    The Aretha Franklin/Friday Music 180 Gram Audiophile Vinyl Series Begins!


    Celebrate 4 Decades Of The Queen Of Soul's Greatest Hits!


    First Time 180 Gram Audiophile Vinyl - #1 R&B Album In 1969!


    Mastered Impeccably By Joe Reagoso From The Original Atlantic Records Tapes


    Aretha Franklin will be forever known as The Queen Of Soul and one of the original classic soul pioneers like Ray
    Charles, Otis Redding and Wilson Pickett who had a knack of mastering funk grooves drenched in gospel, soul, rock
    and pop.


    Aretha Franklin created some of the greatest sides ever for Atlantic, where she spent almost two decades creating
    some of the most masterful and beautiful soul music ever waxed.


    In 1969, Aretha was honored with her first greatest hits collection by our good friends at Atlantic Records simply
    titled Aretha's Gold. This stunning array of her biggest #1's and other smash hit singles, most of them featuring Duane
    Allman, Arif Mardin, Jerry Wexler, Tom Dowd, Roger Hawkins, Spooner Oldham and Jimmy Johnson, dominated the top
    of the soul and pop charts for over a year. Her songs and soulful delivery on these hits truly illustrate how important her
    force was then and still is today, over four decades since!


    Aretha was important in bridging all types of rhythm and blues music to a much wider audience, churning out not
    only soul smashes but pop masterpieces. Most of her biggest hits have been covered by many artists over the years as
    well. Jam packed with the original Atlantic recordings of solid senders like her classics Chain of Fools, See Saw, Baby, I
    Love You and of course Respect, Aretha's Gold is virtually an encyclopedia of SOUL!


    Even more soul and pop classics abound as you'll hear her scream and shout with the best of the blues with Dr.
    Feelgood, one of her most beautiful ballads with (You Make Me Feel Like) A Natural Woman, and her soulful touch on Burt
    Bacharach's classic I Say a Little Prayer. This #1 charting 1969 LP hasn't been available on vinyl for many decades...
    that is until now!


    Friday Music is very proud to announce for the first time ever the stunning 180 Gram Audiophile Vinyl release of
    Aretha's Gold. Mastered from the original Atlantic Records tapes by Joe Reagoso at Friday Music Studios and Capitol
    Mastering in Hollywood, these classic tracks truly reach sonic heights in the audiophile vinyl domain. We have also
    included the original artwork elements by Haig Adishian, the classic photo of Aretha Franklin by James J. Kreigsman, as
    well as the original back cover studio session photo collage not seen in LP cover form in years!


    The soul lives on here at the Friday Music label, and as with our recent original pioneering soul albums from Ray
    Charles, Solomon Burke, Wilson Pickett and others, we feel this stunning Aretha Franklin 180 Gram Audiophile Vinyl will
    be a much anticipated and welcomed release to all the soul, funk and rock audiophile vinyl fans. R-E-S-P-E-C-T.

    1. I Never Loved a Man (The Way I Love You)
    2. Do Right Woman-Do Right Man
    3. Respect
    4. Dr. Feelgood
    5. Baby, I Love You
    6. (You Make Me Feel Like) A Natural Woman
    7. Chain of Fools
    8. Since You've Been Gone (Sweet Sweet Baby)
    9. Ain't No Way
    10. Think
    11. You Send Me
    12. The House That Jack Built
    13. I Say a Little Prayer
    14. See Saw
    Aretha Franklin
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Johnny Cash's Greatest Hits (Pre-Order) Johnny Cash's Greatest Hits (Pre-Order) Quick View

    $32.99
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    Johnny Cash's Greatest Hits (Pre-Order)

    Celebrating 5 Decades Of Johnny's Monumental Hits Collection


    First Time 180 Gram Translucent Gold Audiophile Vinyl


    Mastered Impeccably By Joe Reagoso At Friday Music Studios - Pressed At R.T.I.


    Striking Gatefold Cover Artwork


    Features Big Hits I Walk The Line, Jackson, Orange Blossom Special, It Ain't Me Babe, & Understand Your Man


    Johnny Cash was born during the great depression into a poor family in Arkansas. At a very young age, he worked on the family farm and experienced many of life's struggles. This is also the time he would develop his love for music, family and the Bible, which followed him closely throughout his long career.


    In the early fifties after spending time in the Air Force, he moved to Memphis, became friends with folks like Roy Orbison, Carl Perkins, Elvis Presley and Jerry Lee Lewis, and ultimately cut some sides at Sun Studios which became the catalyst that would kick-start the beginnings of a soon to be worldwide superstar, troubadour and humanitarian unlike the world has ever known. The folks at Columbia Records knew that this young fellow named Johnny Cash was destined for superstardom. They quickly signed the legend to a long-term deal, and his first Columbia singles like his prolific Don't Take Your Guns to Town forever etched "The Man In Black" trademark to his name.


    In 1967 after many chart-topping country and pop albums and a bevy of hit singles and Grammy Awards, more fame followed as the brass at Columbia Records honored their journeyman Johnny Cash with his first hits collection, the multi-platinum Johnny Cash's Greatest Hits. The album was a blockbuster as it topped the charts, making this a crossover hit with both country and pop audiences, proving once again that his career was of historic merit. Filled with more hits than a roadside jukebox, the amazing album takes off with the classic duet with wife June Carter Cash and Grammy Award winner Jackson. This chart-topping single is followed up by one of his most famous songs the number one I Walk the Line.


    More treasures follow with the country belter Understand Your Man and Cash's own hit interpretation of Orange Blossom Special, which truly made the album a treasure trove of hits.


    More greatest hits follow as the LP features a nice helping of solid smashes like Ring of Fire Five Feet High and Rising and probably one of the first Bob Dylan covers ever with his haunting It Ain't Me Babe. In total, the album showcases eleven important Johnny Cash recordings which have truly gone on to become international classics for all time.


    In honor of the Man, the Music and the Legend, Friday Music is very proud and honored to announce the first time 180 Gram Audiophile Translucent Gold Vinyl release of the Columbia Records classic Johnny Cash's Greatest Hits. As another fine installment in our exciting Johnny Cash 180 Gram Audiophile Vinyl Series, we are very pleased to present this masterwork in all its stereophonic glory.


    Mastered impeccably by Joe Reagoso at Friday Music Studios and manufactured at R.T.I., Johnny Cash's Greatest Hits will be a much-anticipated dream release for his fans everywhere! For this exclusive presentation, we are also including striking gatefold artwork which includes the groundbreaking original LP cover photo by Sandy Speiser and are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your Johnny Cash vinyl in mint shape.


    Johnny Cash's Greatest Hits A history-making album from a historic legend, an audiophile dream release first-time translucent gold audiophile vinyl From your friends at Friday Music

    1. Jackson
    2. I Walk The Line
    3. Understand Your Man
    4. Orange Blossom Special
    5. The One On The Right Is On The Left
    6. Ring Of Fire
    7. It Ain't Me, Babe
    8. The Ballad Of Ira Hayes
    9. The Rebel
    10. Five Feet High And Rising
    11. Don't Take Your Guns To Town
    Johnny Cash
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • Great Gonzos - The Best Of Ted Nugent Great Gonzos - The Best Of Ted Nugent Quick View

    $32.99
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    Great Gonzos - The Best Of Ted Nugent

    The Ted Nugent - Friday Music 180 Gram Audiophile Vinyl Series Continues!

    His Greatest Hits - First Time 180 Gram Translucent Gold Vinyl

    First Time Gatefold Cover & Poster

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

    Features Smash Hits: Cat Scratch Fever, Stranglehold, Wango Tango, Baby Please Don't Go, Dog Eat Dog, Wang Dang Sweet Poontang

    Ted Nugent is truly one of the finest guitarist and hard rock recording acts of all time. Forever associated with his sophisticated trailblazing guitar work and platinum plus recordings, the legendary artist continues to garner both new and old fans alike with his amazing output of top charting hits and fine albums recorded over the years.

    After years of solid hit singles and great albums with Epic Records, the label awarded the superstar with a terrific greatest hits collection appropriately titled Great Gonzos!-The Best Of The Ted Nugent Featuring a plethora of his most time-honored hits like the smash rocker Cat Scratch Fever, the blues belting live version of Baby Please Don't Go, and of course his hard & heavy metal classic Stranglehold

    The multi-platinum superstar continues this awesome collection with more classics like his masterful Dog Eat Dog, the pile driver Wango Tango, and his brilliant tribute to Detroit: Motor City Madhouse, all which became mega hits for this legendary rock artist.

    Friday Music is no stranger to the music of the Motor City Madman Ted Nugent that is why we are so very proud to announce our second installment in The Ted Nugent/Friday Music 180 Gram Audiophile Vinyl Series with his masterpiece Great Gonzos!-The Best Of The Ted Nugent

    The original Epic Records classic is now mastered impeccably by Joe Reagoso (Deep Purple/Alice Cooper) and pressed for a very limited time on stellar 180 Gram Audiophile Translucent Gold vinyl at R.T. I.

    To further enhance your hard rock listening experience, this first-time audiophile Ted Nugent hits collection will also be presented in a first-time gatefold cover and will also include a rare 12 x 12 poster of Ted Nugent from the Sony Music Archives.

    1. Cat Scratch Fever
    2. Just What The Doctor Ordered

    3. Free For All
    4. Dog Eat Dog
    5. Motor City Madhouse
    6. Paralyzed
    7. Stranglehold
    8. Baby Please Don't Go
    9. Wango Tango
    10. Wang Dang Sweet Poontang
    Ted Nugent
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Black Butterfly Black Butterfly Quick View

    $39.99
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    Black Butterfly


    Limited Edition Of 1,000 Individually Numbered Copies On 180 Gram Solid Gold Colored Vinyl


    Steve Walsh is known for his work as the frontman of the progressive rock band Kansas, from which he retired in 2014. On his new solo album Black Butterfly the influences from his past are brought together in some compact rock songs. Steve wrote the 14 songs of the album together with the Swedish musician Tommy Denander and the Christian rocker Jerome Mazza takes the lead vocals on three songs. The music goes from the sounds of Kansas (The Piper) to the beats of Warsaw and the political news on Billy Carbone Dead. Black Butterfly is a wonderful return to Walsh' studio work.


    Whoever speaks out the name of Steve Walsh will directly think about the massive worldwide success of the American rock band Kansas. He was the lead vocalist and multi-instrumentalist on their well-received albums Leftoverture and Point of Know Return as well as on their single hits Carry On Wayward Son and Dust in the Wind. Their progressive songs were interspersed with rock ballads and attracted a massive following.

    LP 1
    1. Born In Fire (Duet With Jerome Mazza)
    2. The Piper
    3. Grace And Nature
    4. Dear Kolinda
    5. Winds Of War
    6. Tanglewood Tree


    LP 2
    1. Now Until Forever
    2. Warsaw
    3. Nothing But Nothing
    4. Hell Or High Water
    5. Mercy On Me
    6. Billy Carborne Is Dead
    7. Born In Fire No Duet Different Version
    8. Voices In The Night

    Steve Walsh
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Sittin' In (Awaiting Repress) Sittin' In (Awaiting Repress) Quick View

    $29.99
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    Sittin' In (Awaiting Repress)

    Limited Edition


    Kenny Loggins and Jim Messina are one of rock musics most enduring and successful partnerships. Their legendary songs, incredible vocals and outstanding musicianship is second to none. Either separately or together, Loggins & Messina continue to make musical manna truly deserved of their gold and platinum plus status.


    When they released their watershed debut album in 1972 with Sittin In, this multi-platinum venture took the music world by storm. Initially a Kenny Loggins solo album with Jim Messina (Buffalo Springfield/Poco) producing, Sittin In obviously became a solid joint venture as the sessions progressed, and to this day, a lot of record buyers are very happy Loggins & Messina
    is a trusted name for quality and time honored classic rock music.


    Friday Music proudly announces the 180 Gram Audiophile Vinyl of Loggins & Messinas amazing debut album Sittin In. Featuring all of the huge classic songs like Dannys Song, Vahevala, Nobody But You and of course House At Pooh Corner. The album could have been a greatest hits collection on its own merit, as many artists like The Nitty Gritty Dirt Band and Anne Murray went on to have smash hits of their own with interpretations from this classic album.


    Impeccably mastered by Joe Reagoso and Kevin Gray from the original Columbia Records tapes at RTI/AcousTech, this first time high quality vinyl release of Sittin In is truly one album perfect for this audiophile domain. The musicianship of Kenny Loggins and Jim Messina is truly exhibited in rich detail, the vocals, the harmonies, the tones from the acoustic instruments, all truly shine throughout on this wonderful rock masterpiece.


    As an added Friday Music extra, this limited edition release also comes with a extremely rare gatefold cover, which makes the listening experience even that more enjoyable. Plus, they packaged it in a poly sleeve to protect your vinyl investment and a poly bag for the album cover.


    1. Nobody But You

    2. Dannys Song
    3. Vahevala
    4. Trilogy (Lovin Me/To Make A Woman Feel Wanted/Peace Of Mind)
    5. Back To Georgia
    6. House At Pooh Corner
    7. Listen To A Country Song
    8. Same Old Wine
    9. Rock N Roll Mood

    Loggins and Messina
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • They Only Come Out At Night (Awaiting Repress) They Only Come Out At Night (Awaiting Repress) Quick View

    $29.99
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    They Only Come Out At Night (Awaiting Repress)

    Mastered from the Original Epic Records Tapes by Joe Reagoso and Kevin Gray


    Edgar Winter, the multi-talented superstar brother of blues rock legend Johnny Winter, has been a fixture on the rock music scene now for several decades. While launching his own successful career with his solo albums and Edgar Winters White Trash, the natural progression for this man was to develop his own supergroup which would become the platinum and gold selling The Edgar Winter Group.


    Releasing their first album in 1973, They Only Come Out At Night was an overnight success, thanks to the mind altering studio jam Frankenstein which has since become one of classic rocks finest moments. This instrumental smash featured the stunning keyboard of Edgar Winter, the incredible guitar of resident shredder Ronnie Montrose, the thumping bass of the late great Dan Hartman and of course the solid percussive hits of Chuck Ruff.


    The album went onto receive more attention from radio programmers across the globe as even further hit songs would rapidly develop including the blues rocker Undercover Man, the country rock feel of Round & Round and of course another top charter with the summer Top 40 Rock driving sounds of Dan Hartmans Free Ride. The Rick Derringer produced album would go on to stay on the charts for a long time and receive multiple platinum status in a very short time. Truly, one of classic rocks finest albums ever recorded!


    Now for the first time ever on audiophile vinyl, Friday Music announces the first installment of their Edgar Winter 180 Gram Audiophile Vinyl Series with his platinum plus album They Only Come Out At Night. This first time audiophile vinyl release is mastered from the original Epic Records tapes by Joe Reagoso (Johnny Winter/Alice Cooper/Boston) at Friday Music Studios with Kevin Gray and pressed at RTI.


    For this special release, the limited edition album comes in the original gatefold album cover, which features the photography of Francesco Scavullo and Norman Seeff and artwork design of John Berg. To keep your album in impeccable condition, they are also including a poly lined sleeve to protect your vinyl investment as well as a poly bag for the classic album cover art.

    1. Hangin Around
    2. When It Comes
    3. Alta Mira
    4. Free Ride
    5. Undercover Man
    6. Round & Round
    7. Rock N Roll Boogie Woogie Blues
    8. Autumn
    9. We All Had A Real Good Time
    10. Frankenstein
    Edgar Winter
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Zebop! Zebop! Quick View

    $29.99
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    Zebop!

    Impeccably Mastered By Joe Reagoso


    First Time Audiophile Vinyl & Gatefold Cover Presentation


    Anniversary Limited Edition


    1981 was a Winning year for Santana. With the release of their multi-format hit album Zebop!, Carlos Santana and The Santana Band catapulted onto the top ten, the first time in several years, and truly changed the course of their musical history for the next several decades. Thanks in part to the Russ Balard (Argent) penned smash hit single Winning, the band not only maintained their solid following, but also brought in a whole new fan base, which has pledged loyalty to this legendary band since.


    Following a similar formula as on their previous gold album Marathon, Zebop! featured smash hit tracks like their powerful rendition of Cat Stevens' Changes and J.J. Cale's The Sensitive Kind. The 12 track powerhouse also featured some of their most revered tunes like Searchin', Brightest Star and a trip back to the Abraxas sound with É Papa RÉ. With the effervescent lead vocals of Alex Ligertwood, the power drumming of Graham Lear, the percussive beat of Armando Pereza, together with the skillful instrumentation of the core band, all fronted by the legendary Carlos Santana, this album truly illustrated a powerful band that hit its stride.


    Friday Music is no stranger to the legendary music of Santana, so now it is with much honor to announce the first time 180 Gram Audiophile Vinyl release of their mega classic Zebop!. As a further installment in our Santana/Friday Music 180 Gram Audiophile Vinyl Series, this limited edition classic rock masterpiece is now enhanced for the first time with impeccable mastering by Joe Reagoso (Santana/Grateful Dead) and also features a first time stunning gatefold LP cover with the original LP cover elements not seen in decades.


    So, it is now time to celebrate with us the first time 180 Gram Audiophile masterwork release of Zebop! by Santana. This masterpiece is now impeccably mastered on audiophile vinyl, with first time gatefold cover art and of course all of the great songs and superlative magic and memories that can only be that of Carlos Santana and The Santana Band.

    1. Changes
    2. É Papa RÉ
    3. Primera Invasion
    4. Searchin
    5. Over and Over
    6. Winning
    7. Tales of Kilimanjaro
    8. The Sensitive Kind
    9. American Gypsy
    10. I Love You Much Too Much
    11. Brightest Star
    12. Hannibal
    Santana
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Aloha From Hawaii Via Satellite (Awaiting Repress) Aloha From Hawaii Via Satellite (Awaiting Repress) Quick View

    $39.99
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    Aloha From Hawaii Via Satellite (Awaiting Repress)

    40th Anniversary of the Historic #1 LP/Televised 1973 Concert!

    Mastered by Joe Reagoso and Kevin Gray from the Original RCA Records Tapes & Manufactured at RTI!

    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early-'50s, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known. The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long-term deal, and his first RCA single "Heartbreak Hotel" forever etched "The King Of Rock And Roll" trademark to his name.


    Over the next three decades, Elvis Presley would release dozens of hit albums and tons of smash singles, spend time in the Army, star in over 35 top charting films, as well as sell out concert tours around the states and Canada making him the most successful solo artist of all time. In 1968, his career ignited even further thanks to his Elvis TV Special on NBC and another series of hit singles and career making albums like his country soul smash From Elvis In Memphis.


    As the '70s began, Elvis was selling out shows all around the country and began to plan out a series of groundbreaking performances in Hawaii. His show on January 14, 1973 was broadcast live via satellite across over forty countries and would become the most watched televised event by a solo artist in history. It's been said that over one billion viewers enjoyed his incredible concert! The show was choreographed and staged like nothing ever before and featured a multitude of musicians, the Hawaiian Islands, the appreciative and excited audience, and of course, The King Of Rock And Roll himself Elvis Presley.


    The multi-platinum Aloha From Hawaii Via Satellite set also was a blockbuster as it hit the top #1 spot on the charts in 1973, making this one of the biggest albums of his career as well as one of the most revered live concert albums of all time proving once again Elvis Presley's career was unlike any other in music history. This live masterpiece takes off with the Memphis blues rocker "See See Rider" and his huge '70 hit "Burning Love." He follows these up with his tip of the hat to his friends The Beatles with the soulful balladry of "Something." More of Elvis' own favorites follow with the Hank Williams' ballad "I'm So Lonesome I Could Cry" and his rockin' interpretation of Chuck Berry's classic "Johnny B. Goode."


    The album also features a nice helping of solid Elvis top chart hits like "Blue Suede Shoes," "Hound Dog," "A Big Hunk Of Love" and his smash single interpretation of James Taylor's "Steamroller Blues." As a tribute to his Hawaii audience, the ever thoughtful King Of Rock And Roll closed the show with his masterpiece "Can't Help Falling In Love" from his film Blue Hawaii. In total, the album showcases a very historic Elvis Presley performance which has truly gone onto become the definitive live concert album in his amazing catalog of hit gold and platinum recordings.


    In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the limited edition 40th Anniversary deluxe two album 180 gram audiophile vinyl release of the RCA Victor classic Aloha From Hawaii Via Satellite by Elvis Presley. As they further continue their exciting Elvis Presley 180 Gram Audiophile Vinyl Series, they are pleased to present this masterwork in all its high fidelity glory. Mastered impeccably from the original stereophonic RCA Victor Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at R.T.I., the 40th Anniversary Edition of Aloha From Hawaii Via Satellite will be a much anticipated audiophile dream release for Elvis fans everywhere!


    Musicians:

    - Elvis Presley (vocals, guitar, piano)

    - The Sweet Inspirations (vocals)

    - J.D. Sumner and The Stamps (vocals)

    - Kathy Westmoreland (vocals)

    - Ron Tutt (drums)

    - James Burton (guitar)

    - Jerry Scheff (bass)

    - Glen Hardin (keyboards)

    - Charlie Hodge (vocals)

    LP1

    1. Introduction: Also sprach Zarathustra (Theme From 2001: A Space Odyssey)

    2. See See Rider

    3. Burning Love

    4. Something

    5. You Gave Me A Mountain

    6. Steamroller Blues

    7. My Way

    8. Love Me

    9. Johnny B. Goode

    10. It's Over

    11. Blue Suede Shoes

    12. I'm So Lonesome I Could Cry

    13. I Can't Stop Loving You

    14. Hound Dog

    LP2

    1. What Now My Love

    2. Fever

    3. Welcome To My World

    4. Suspicious Minds

    5. Introductions By Elvis

    6. I'll Remember You

    7. Medley: Long Tall Sally/A Whole Lot-ta Shakin' Goin' On

    8. An American Trilogy

    9. A Big Hunk O' Love

    10. Can't Help Falling In Love

    Elvis Presley
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • True Romance True Romance Quick View

    $21.99
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    True Romance

    Over the past few years, Charli has released a series of singles and mixtapes, toured the globe supporting the likes of Coldplay, Santigold, Sleigh Bells and Justice and garnered champions from practically every tastemaker blog and magazine on both sides of the Atlantic. She's had 2.5 million views on YouTube, 470k views of new video for 'You (Ha Ha Ha)' (in one month) and over 630k total plays on Soundcloud. It's hard to believe someone so young could achieve so much. Through it all her main focus has always been on making the best possible album she could. This was made possible by working with some fantastic collaborators who helped hone her vision for a dark, emotional pop record including Ariel Rechtshaid (Usher, Major Lazer, Solange), Patrik Berger (Lana del Rey, Robyn) as well as hotly tipped blog favourites Blood Diamonds and J£zus Millions.


    As well as being an artist in her own right, Charli has written and featured on one of the biggest global breakthrough hits of 2012 for Icona Pop. I Love It created an absolute frenzy stateside, having blown up all over the world.


    True Romance shares its title with an unbelievably well-cast 1993 movie written by Quentin Tarantino, who was reassembling cultural detritus way before mash-ups and microblogging. Charli XCX's approach to pop is similarly postmodern (how 90s does that sound?), pulling from moody 80s synth-pop, sassy turn-of-the-millennium girl groups, and state-of-the-art contemporary producers to create something distinctive and immediately memorable. She clearly understands the internet, having shared two original mixtapes and two influences mixtapes before her official full-length, but this carefully pruned set is no data dump. And there you'll see a glimmer of True Romance's most throwback aspect: its evident pop ambition, an overriding sense of an imagined mass audience for music that's radio-ready yet outsider-friendly. It's almost like Napster-- and the filler-crammed album sales model that preceded it-- never happened.


    In fact, by the time Charli XCX was a teenage electro-house devotee, illegal file-sharing's early free-for-all had already given way to iTunes and other legal download services. Robyn had already released her self-titled comeback album. So it might be only natural that Charli XCX would keep the pre-bubble faith that people will pay for emotionally direct, bubblegum-catchy, yet stubbornly left-of-center songs about falling in and out of love. But the generous hooks on the previously released singles here, such as the gospel-kissed prechorus of the yearning Stay Away or the Santigold-savvy lilt of love-and-the-bomb brooder Nuclear Seasons, are extraordinarily welcome just the same. Even better are newer singles such as the gorgeously bitter You (Ha Ha Ha), which inhabits its cloud-rappy Gold Panda sample like they were made for each other, and the almost-as-gorgeously blissful What I Like, which recounts a still-young relationship with the cheeky frankness of Lily Allen or the Streets, and the sing-songy near-rapping of the Spice Girls.


    The several songs on True Romance that hadn't previously surfaced in videos or other releases aren't quite as strong, but they're effective enough to suggest Charli XCX's best work might still be ahead of her. The Todd Rundgren-sampling So Far Away, with the sun-dappled lushness of the Avalanches, is a clear highlight; Charli XCX's vocals are usually plain-spoken, but the anguished break-up plea Set Me Free proves she can reach for Jessie Ware-like dramatics when appropriate. The pitch-shifting no one is forever intro added at the start of opener Nuclear Seasons probably should've been given its own track-- and later on the album it is, when the same backing vocal forms the base of the cloudy, broken-hearted Grins. Elsewhere, the haunted confession How Can I, while solid enough, is a reminder that Charli XCX's lyrics so far tend to fall relatively flat; when, on swooning finale Lock You Up, she sings, It hits me like a ton of bricks, she leaves the clichÉ untweaked.


    And then there's Cloud Aura, a lovelorn, engagingly laid-back bit of groove that lets Grimes' Genesis video co-star Brooke Candy rap horribly about Chris Brown. Candy's guest verse previously appeared on 2012's uneven Super Ultra mixtape, and it was near-universally panned. It isn't any better now. But in an era when too many up-and-comers are all too eager to please, this stubborn refusal to back down displays another quality in short supply: genuine irreverence. The songwriting and production credits on True Romance include Usher's Climax co-conspirator Ariel Rechtshaid and I Love It collaborator Patrick Berger, among others, who also share some credit (and blame). But like 90s pop stars turned 10s pop sophisticates Justin Timberlake and BeyoncÉ, Charli XCX stamps her personality across the entire project, and True Romance suggests she'll be worth following for a while.
    - Marc Hogan, Pitchfork

    1. Nuclear Seasons
    2. You (Ha Ha Ha)
    3. Take My Hand
    4. Stay Away
    5. Set Me Free (Feel My Pain)
    6. Grins
    7. So Far Away
    8. Cloud Aura
    9. What I Like
    10. Black Roses
    11. You're the One
    12. How Can I
    13. Lock You Up
    Charli XCX
    $21.99
    Vinyl LP - Sealed Buy Now
  • Off The Beaten Path (Deluxe) Off The Beaten Path (Deluxe) Quick View

    $24.99
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    x

    Off The Beaten Path (Deluxe)

    Justin Moore s always had a thing about doing it his way. Call it stubborn redneck mettle, a well-developed case of who I am or just the fierce commitment to blaze a trail inherent to people from his home of Poyen, Arkansas. It doesn t mat ter why, just that the blazing sense of off the beaten path drives his album of the same name.


    There s a strong vein of tenderness and decency holding Moore s kind of country together. Look no further than Rhett Atkins/Ben Hayslip/Ross Copperman-written Point At You, the lead single, that acknowledges every wild hair Moore has, but hits the bottom line of his goodness via the woman who became his bride.


    Get loud, get rowdy, but get home and emerge solid family men dedicated to some basic ideals that have defined this country. One need look no further than The Warren Brothers/Lance Miller/Austin Cunningham-penned opener Old Back In The New School to understand Moore is all about the things that last, the wild times and the enduring values making for a way of life worth living.


    It s that kind of edge that draws a singer like Miranda Lambert to duet on the somber heartbreaker Old Habits. A little bit rowdy, a little bit sentimental, a whole lotta roughneck, Moore has dented the country radio charts with three #1s in the anything but big city Small Town USA, the sentimental family embracing If Heaven Weren t So Far Away and the fidelity pledge Til My Last Day, in addition to the Top 10 mission declaration Backwoods.


    But the hits don t really tell the whole story. This is the man whose first single a digital only release was I Could Kick Your Ass, who flexed his sense of humor with the new guy mocking Bait A Hook and unapologetically throw down How I Got To Be This Way. And long before booty country became a touchstone, Moore dropped the swaggering Back That Thing Up.


    Indeed, Booty Country is full force on OFF THE BEATEN PATH. He has the Kim Kardashian and J-Lo invoking I d Want It To Be Yours co-written with Stover and Brandon Kinney and the slip into the night guitar grinder Off The Beaten Path that slithers through the Patron and the moonlight.Good ole boys doing what they re good at. Moore has built a career eschewing the path most taken, building a fanbase of people just like him.


    Take a certain amount of swagger, add some hard-rocking guitars and add Country Radio, a howler that celebrates the ultimate lube for escaping the boredom and expectations. There s the same kind of bulked up, bearing down picture of pride of Lettin the Night Roll, pure freedom and the will to be alive.


    Two strong hands, a back that can shoulder anything, this is working man s post-modern American and that respect is what binds him to his woman in That s How I Know You Love Me. Ultimately, she refuses to make him change, and takes what s there for what it is, loving him for all its busted glory.


    To believe in values that last, to embrace what is enough and know it s more than plenty, that is the greatest truth for a man like Moore, who sees no reason to leave the place he grew up. Beyond the hits, the gold-certified albums and the momentum of a career hitting its stride, OFF THE BEATEN PATH is a collection of classic postcards that make up the ascending This Kind of Town and the driving chugger One Dirt Road.


    You don t have to take it from Moore, though. No less than the great Charlie Daniels, a man who s hung tough for hardcore old school values is featured on For Some Ol Redneck Reason, a pledge of allegiance to living true to principles and never giving into convention. This is one of the truest event moments as Moore dials it back, unfurling the map of his heart and soul.

    1. Old Back In The New School
    2. Beer
    3. Lettin' The Night Roll
    4. Old Habits
    5. Point At You
    6. Wheels
    7. I'd Want It To Be Yours

    8. This Kind Of Town
    9. Dirt Road Kid
    10. Country Radio
    11. That's How I Know You Love Me
    12. One Dirt Road
    13. Off The Beaten Path
    14. Field Fulla Hillbillies
    15. Big Ass Headache
    16. For Some Ol' Redneck Reason
    Justin Moore
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Manley Stingray II Stereo Integrated Amplifier Manley Stingray II Stereo Integrated Amplifier Quick View

    $5,900.00
    Buy Now
    x

    Manley Stingray II Stereo Integrated Amplifier


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Handcrafted in the USA


    The famous Manley Stingray stereo integrated amplifier has been renewed and refreshed. Allow us to present to you the Stingray II integrated tube amplifier with full featured RF and IR remote control. We also make another model with a built-in iPod dock called the Stingray iTube that you can learn about here.


    The STINGRAY II is the next evolution from our acclaimed Stingray Integrated Amplifier, legendary in the hifi world since it first swam from our labs in 1997. Originally conceived with particular attention paid to optimal component placement for the purity and symmetry of the signal path layout, the Stingray quickly became one of our best-selling products. The Stingray II retains the same basic tube circuitry and marvelous output transformers as the original with some important improvements:


    The high voltage tube energy storage has been increased vastly resulting in even more solid and coherent bass control and impact.


    A headphone jack has been added to the right side facia. This jack re-routes the output from the speaker binding posts and mutes the Subwoofer output feed. This makes the Stingray II a fabulous headphone amplifier!


    The 4th input source is an 1/8 (3.5mm) TRS mini jack for convenient hookup with portable devices and computers on the left front facia.


    The Remote Control works with both Radio Frequency and InfraRed technologies. Using the remote in RF mode gives freedom from having to point and shoot. The RF remote is omnidirectional and works through walls and cabinets. IR capability is included for those with Universal Learning Remote Controls for consolidated integration into existing systems. The volume control, balance adjust, input switching, and display options are all on the RF/IR Remote Control. Additionally user can perform the MUTE, DIM, INSERT and STANDBY commands with the Remote Control.


    Each INPUT can be individually level trimmed to match and to optimize system gain staging of various input devices.


    The fancy blue LED displays surrounding the INPUT and VOLUME encoder knobs can be dimmed down or turned off entirely, after a user-settable time period, or a screen-saver random light sequence can be selected. Speed and intensity of the Starlight mode can be tweaked to taste.


    All custom user settings are hard written into memory when the unit is put into STANDBY mode and thus retained if power is later interrupted.


    There is even a SLEEP timer which is programmable from the remote control to allow you to drift off carefree dreaming of your musical Stingray for 15, 30, 45 or 60 minutes while it gracefully lowers the volume and puts itself into STANDBY mode.


    Individual sealed gold contact relays deliver the selected input into the volume control system before hitting the first 12AT7 input tubes. Following the mighty 6414 driver/phase splitter, the trusty EL84 output stage can be switched between either 20 watts of TRIODE power or 40 watts of Ultra Linear mode push-pull operation. Individual bias for each tube is easily adjusted using the trimpots and test points, conveniently located on the top surface of the amplifier. The Stingray's power supply is extra-rugged and stiff, a MANLEY hallmark. It swims with the sharks: fast, agile, fluid, and with consummate authority.


    Post-volume SUBWOOFER OUTPUT allows easy hookup of outboard line-level driven active powered subwoofers. This output is after the volume control so that the subwoofer will track the volume level changes of the main speakers. The SUB OUTPUT is a line level and full frequency output that is AFTER the volume control so your powered subwoofer follows the same volume as your main speakers. These are unbalanced RCA jacks, line level. They feed the line inputs of your subwoofer, NOT the speaker jacks.


    A switchable TAPE LOOP is standard. The TAPE SEND is the output of the selected input before the volume control. The TAPE RETURN can also be used as a 5th line input if needed.


    RECORD OUT (aka Tape OUT) is BEFORE the volume control so you can record whatever input you have selected without your listening level affecting the level going to your recorder. These are unbalanced RCA's. It is UNbalanced RCA's and UNbuffered so check out the input Z to your recorder to make sure it won't load down the Stingray main input while it is plugged in. Usually with unbuffered record outs we recommend you only plug in your recorder only when you are actually recording...


    Tape LOOP: Also known as an INSERT point, the SEND or Tape Out comes off the selector switch as the Record Out option does going to your outboard EQ or Merlin BAM unit or tape recorder and then the signal returns (RETURN) to the Stingray in front of of the volume control so you can play tunes. A toggle switch selects whether the Tape LOOP (and whatever is plugged into the Tape Loop) is active or the signal goes straight through the Stingray as normal. If you have the Merlin BAM system, order your Stingray with the Tape LOOP option.


    Need more than four inputs? Get a SKIPJACK line switcher and run it into this LOOP RETURN: The SKIPJACK is perfect for adding more inputs to anything. So if you use a SKIPJACK's 4 stereo inputs plus the Stingray II's 4 stereo inputs (3 RCAs + iPod output) you'll get 8 stereo inputs total. The way to do that is to consider the TAPE LOOP: you can bring the SKIPJACK output into the LOOP RETURN, enact the LOOP ACTIVE switch and use the 4 x SKIPJACK inputs feeding the LOOP RETURN with the SKIPJACK controlling source switching for those 4 inputs. Then if you put the Stingray's LOOP switch to BYPASS you will be working with the 4 x Stingray inputs selectable on the Stingray. That gives you 8 total stereo inputs (7 stereo LINE inputs plus the 1/8 input jack).


    Or if you do not want to use the TAPE LOOP feature (because you are using it for other purposes) you can use a SKIPJACK to get up to 7 stereo line inputs (6 stereo LINE inputs plus the 1/8 Line Input jack) by running the SKIPJACK's output into one of the Stingray's inputs.


    NOTE: The SUBWOOFER OUT, RECORD OUT, and TAPE LOOP are all passive. The RECORD OUT comes straight off the input select switch. So whatever source is selected will show up passed through at the TAPE OUT. With the Stingray, the MANLEY team has struck a remarkably harmonious balance in design which satisfies the sonic desires of the audiophile and the rocker, the artist and the musician, the student and the master, the yin and the yang.


    Manley Labs
    $5,900.00
    Manley Stingray II Stereo Integrated Amplifier Buy Now
  • Manley Stingray iTube Stereo Integrated Amplifier Manley Stingray iTube Stereo Integrated Amplifier Quick View

    $6,300.00
    Buy Now
    x

    Manley Stingray iTube Stereo Integrated Amplifier

    Stereophile



    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Handcrafted in the USA


    The famous Manley Stingray stereo integrated amplifier has been renewed and refreshed. New for 2009 we present to you the Stingray iTube integrated tube amplifier with iPod dock and full featured RF and IR remote control.


    The STINGRAY iTube is the next evolution from our acclaimed Stingray Integrated Amplifier, legendary in the hifi world since it swam from our labs in 1997. Originally conceived with particular attention paid to optimal component placement for the purity and symmetry of the signal path layout, the Stingray quickly became one of our best-selling products. The Stingray iTube retains the same basic tube circuitry and marvelous output transformers as the original with some important improvements:


    An iPod dock has been integrated into the Stingray iTube as the 4th input source. The Manley iTube has been certified by Apple and officially sanctioned as a Made for iPod product. The Stingray's Remote Control commands the iPod PLAY/PAUSE and TRACK FORWARD/BACK controls.


    The iPod's video output is available at the S-Video output jack located on the left side facia.


    The high voltage tube energy storage has been increased vastly resulting in even more solid and coherent bass control and impact.


    A headphone jack has been added to the right side facia. This jack re-routes the output from the speaker binding posts and mutes the Subwoofer output feed.


    The Remote Control works with both Radio Frequency and InfraRed technologies. Using the remote in RF mode gives freedom from having to point and shoot. The RF remote is omnidirectional and works through walls and cabinets. IR capability is included for those with Universal Learning Remote Controls for consolidated integration into existing systems. The volume control, balance adjust, input switching, and iPod interface commands are all on the RF/IR Remote Control. Additionally user can perform the MUTE, DIM, INSERT and STANDBY commands with the Remote Control.


    Each INPUT can be individually level trimmed to match and to optimize system gain staging of various input devices.


    The fancy blue LED displays surrounding the INPUT and VOLUME encoder knobs can be dimmed down or turned off entirely, after a user-settable time period, or a screen-saver random light sequence can be selected. Speed and intensity of the Starlight mode can be tweaked to taste.


    All custom user settings are hard written into memory when the unit is put into STANDBY mode and thus retained if power is later interrupted.


    Individual sealed gold contact relays deliver the selected input into the volume control system before hitting the first 12AT7 input tubes. Following the mighty 6414 driver/phase splitter, the trusty EL84 output stage can be switched between either 20 watts of TRIODE power or 40 watts of Ultra Linear mode push-pull operation. Individual bias for each tube is easily adjusted using the trimpots and test points, conveniently located on the top surface of the amplifier. The Stingray's power supply is extra-rugged and stiff, a MANLEY hallmark. It swims with the sharks: fast, agile, fluid, and with consummate authority.


    Post-volume SUBWOOFER OUTPUT allows easy hookup of outboard line-level driven active powered subwoofers. This output is after the volume control so that the subwoofer will track the volume level changes of the main speakers. The SUB OUTPUT is a line level and full frequency output that is AFTER the volume control so your powered subwoofer follows the same volume as your main speakers. These are unbalanced RCA jacks, line level. They feed the line inputs of your subwoofer, NOT the speaker jacks. A switchable TAPE LOOP is standard. The TAPE SEND is the output of the selected input before the volume control. The TAPE RETURN can also be used as a 5th line input if needed.


    RECORD OUT (aka Tape OUT) is BEFORE the volume control so you can record whatever input you have selected without your listening level affecting the level going to your recorder. These are unbalanced RCA's. It is UNbalanced RCA's and UNbuffered so check out the input Z to your recorder to make sure it won't load down the Stingray main input while it is plugged in. Usually with unbuffered record outs we recommend you only plug in your recorder only when you are actually recording...


    Tape LOOP: Also known as an INSERT point, the SEND or Tape Out comes off the selector switch as the Record Out option does going to your outboard EQ or Merlin BAM unit or tape recorder and then the signal returns (RETURN) to the Stingray in front of of the volume control so you can play tunes. A toggle switch selects whether the Tape LOOP (and whatever is plugged into the Tape Loop) is active or the signal goes straight through the Stingray as normal. If you have the Merlin BAM system, order your Stingray with the Tape LOOP option.


    Need more than four inputs? Get a SKIPJACK line switcher and run it into this LOOP RETURN: The SKIPJACK is perfect for adding more inputs to anything. So if you use a SKIPJACK's 4 stereo inputs plus the Stingray's 4 stereo inputs you'll get 8 stereo inputs total. The way to do that is to consider the TAPE LOOP: you can bring the SKIPJACK output into the LOOP RETURN, enact the LOOP ACTIVE switch and use the 4 x SKIPJACK inputs feeding the LOOP RETURN with the SKIPJACK controlling source switching for those 4 inputs. Then if you put the Stingray's LOOP switch to BYPASS you will be working with the 4 x Stingray inputs selectable on the Stingray. That gives you 8 total stereo inputs.


    Or if you do not want to use the TAPE LOOP feature (because you are using it for other purposes) or if you have an older Stingray without the TAPE LOOP, you can use a SKIPJACK to get up to 7 stereo line inputs by running the SKIPJACK's output into one of the Stingray's inputs.


    NOTE: The SUBWOOFER OUT, RECORD OUT, and TAPE LOOP are all passive. So are the BALANCE and VOLUME controls also passive. No active electronics or buffers are used in these circuits. The RECORD OUT comes straight off the input select switch. So whatever source is selected will show up passed through at the TAPE OUT.


    iPod Compatibility:


    iPod can play songs with the these sample rates, and with all compatible codecs



    • 8 kHz

    • 11.025 kHz

    • 16 kHz

    • 22.050 kHz

    • 32 kHz

    • 44.1 kHz


    Most iPods (except the iPod Shuffle) will play WAV and AIFF files. The iPod will play up to 16 bit/48kHz files.



    iTunes Compatibility:

    iTunes is not compatible with FLAC format files without a third party plugin.


    iTunes does support 24/96 wav files. iPod won't play them, but iTunes does support them.


    iTunes can in fact output 24/96 digitally, so in theory you could actually assemble a hi-rez music server based on iTunes, and use it to drive the DAC of your choice. Thus using your iPod docked on your Stingray iTube you can play WAV files which will yield similar audio quality to CD.


    With the Stingray, the MANLEY team has struck a remarkably harmonious balance in design which satisfies the sonic desires of the audiophile and the rocker, the artist and the musician, the student and the master, the yin and the yang.


    Manley Labs
    $6,300.00
    Manley Stingray iTube Stereo Integrated Amplifier Buy Now
  • Manley Stingray II Stereo Integrated Amplifier (Open Box) Manley Stingray II Stereo Integrated Amplifier (Open Box) Quick View

    $4,299.00
    Buy Now
    x

    Manley Stingray II Stereo Integrated Amplifier (Open Box)

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Open Box


    Handcrafted in the USA


    The famous Manley Stingray stereo integrated amplifier has been renewed and refreshed. Allow us to present to you the Stingray II integrated tube amplifier with full featured RF and IR remote control. We also make another model with a built-in iPod dock called the Stingray iTube that you can learn about here.


    The STINGRAY II is the next evolution from our acclaimed Stingray Integrated Amplifier, legendary in the hifi world since it first swam from our labs in 1997. Originally conceived with particular attention paid to optimal component placement for the purity and symmetry of the signal path layout, the Stingray quickly became one of our best-selling products. The Stingray II retains the same basic tube circuitry and marvelous output transformers as the original with some important improvements:


    The high voltage tube energy storage has been increased vastly resulting in even more solid and coherent bass control and impact.


    A headphone jack has been added to the right side facia. This jack re-routes the output from the speaker binding posts and mutes the Subwoofer output feed. This makes the Stingray II a fabulous headphone amplifier!


    The 4th input source is an 1/8 (3.5mm) TRS mini jack for convenient hookup with portable devices and computers on the left front facia.


    The Remote Control works with both Radio Frequency and InfraRed technologies. Using the remote in RF mode gives freedom from having to point and shoot. The RF remote is omnidirectional and works through walls and cabinets. IR capability is included for those with Universal Learning Remote Controls for consolidated integration into existing systems. The volume control, balance adjust, input switching, and display options are all on the RF/IR Remote Control. Additionally user can perform the MUTE, DIM, INSERT and STANDBY commands with the Remote Control.


    Each INPUT can be individually level trimmed to match and to optimize system gain staging of various input devices.


    The fancy blue LED displays surrounding the INPUT and VOLUME encoder knobs can be dimmed down or turned off entirely, after a user-settable time period, or a screen-saver random light sequence can be selected. Speed and intensity of the Starlight mode can be tweaked to taste.


    All custom user settings are hard written into memory when the unit is put into STANDBY mode and thus retained if power is later interrupted.


    There is even a SLEEP timer which is programmable from the remote control to allow you to drift off carefree dreaming of your musical Stingray for 15, 30, 45 or 60 minutes while it gracefully lowers the volume and puts itself into STANDBY mode.


    Individual sealed gold contact relays deliver the selected input into the volume control system before hitting the first 12AT7 input tubes. Following the mighty 6414 driver/phase splitter, the trusty EL84 output stage can be switched between either 20 watts of TRIODE power or 40 watts of Ultra Linear mode push-pull operation. Individual bias for each tube is easily adjusted using the trimpots and test points, conveniently located on the top surface of the amplifier. The Stingray's power supply is extra-rugged and stiff, a MANLEY hallmark. It swims with the sharks: fast, agile, fluid, and with consummate authority.


    Post-volume SUBWOOFER OUTPUT allows easy hookup of outboard line-level driven active powered subwoofers. This output is after the volume control so that the subwoofer will track the volume level changes of the main speakers. The SUB OUTPUT is a line level and full frequency output that is AFTER the volume control so your powered subwoofer follows the same volume as your main speakers. These are unbalanced RCA jacks, line level. They feed the line inputs of your subwoofer, NOT the speaker jacks.


    A switchable TAPE LOOP is standard. The TAPE SEND is the output of the selected input before the volume control. The TAPE RETURN can also be used as a 5th line input if needed.


    RECORD OUT (aka Tape OUT) is BEFORE the volume control so you can record whatever input you have selected without your listening level affecting the level going to your recorder. These are unbalanced RCA's. It is UNbalanced RCA's and UNbuffered so check out the input Z to your recorder to make sure it won't load down the Stingray main input while it is plugged in. Usually with unbuffered record outs we recommend you only plug in your recorder only when you are actually recording...


    Tape LOOP: Also known as an INSERT point, the SEND or Tape Out comes off the selector switch as the Record Out option does going to your outboard EQ or Merlin BAM unit or tape recorder and then the signal returns (RETURN) to the Stingray in front of of the volume control so you can play tunes. A toggle switch selects whether the Tape LOOP (and whatever is plugged into the Tape Loop) is active or the signal goes straight through the Stingray as normal. If you have the Merlin BAM system, order your Stingray with the Tape LOOP option.


    Need more than four inputs? Get a SKIPJACK line switcher and run it into this LOOP RETURN: The SKIPJACK is perfect for adding more inputs to anything. So if you use a SKIPJACK's 4 stereo inputs plus the Stingray II's 4 stereo inputs (3 RCAs + iPod output) you'll get 8 stereo inputs total. The way to do that is to consider the TAPE LOOP: you can bring the SKIPJACK output into the LOOP RETURN, enact the LOOP ACTIVE switch and use the 4 x SKIPJACK inputs feeding the LOOP RETURN with the SKIPJACK controlling source switching for those 4 inputs. Then if you put the Stingray's LOOP switch to BYPASS you will be working with the 4 x Stingray inputs selectable on the Stingray. That gives you 8 total stereo inputs (7 stereo LINE inputs plus the 1/8 input jack).


    Or if you do not want to use the TAPE LOOP feature (because you are using it for other purposes) you can use a SKIPJACK to get up to 7 stereo line inputs (6 stereo LINE inputs plus the 1/8 Line Input jack) by running the SKIPJACK's output into one of the Stingray's inputs.


    NOTE: The SUBWOOFER OUT, RECORD OUT, and TAPE LOOP are all passive. The RECORD OUT comes straight off the input select switch. So whatever source is selected will show up passed through at the TAPE OUT. With the Stingray, the MANLEY team has struck a remarkably harmonious balance in design which satisfies the sonic desires of the audiophile and the rocker, the artist and the musician, the student and the master, the yin and the yang.

    Demo Discounts
    $4,299.00
    Manley Stingray II Stereo Integrated Amplifier (Open Box) Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
    Buy Now
    x

    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
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