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Half Hour Of Power
First Time On Vinyl!
Limited 180 Gram Transparent Orange With Transparent Red Smoke Colored Vinyl
Gatefold Jacket With 11 X 22 Insert
Remastered For Vinyl By Kevin Gray At Cohearent Audio
Half Hour of Power is an EP by Canadian rock band Sum 41. It was originally released on June 27, 2000 on Big Rig Records, a subsidiary of Island Records (United States), and Aquarius Records (Canada). Some consider the album to be the band's first studio album. However the band claims that their next release, All Killer No Filler, is their first debut album.
The first track, Grab the Devil by the Horns and Fuck Him up the Ass, is a time warp. For a minute and a half the group relives the new wave of British metal and cranks out an Iron Maiden style tune. After a brief trip down memory lane the album quickly morphs into pop punk. The songs are well crafted and the hooks are catchy on Make No Difference and Summer. But in some respects that is problematic, there was a time in the pre-Green Day/Blink 182 years where punk defined itself by not being radio friendly. A good album, but essentially proof that turn of the millennium punk is just as much a corporate rock entity as adult contemporary. - Curtis Zimmermann, All Music1. Grab The Devil By The Horns And Fuck Him Up The Ass
2. Machine Gun
3. What I Believe
5. Makes No Difference
7. 32 Ways To Die
8. Second Chance For Max Headroom
9. Dave's Possessed Hair/It's What We're All About
10. Ride The Chariot To The Devil
11. Another Time Around$24.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Red, Green or InbetweenPressed On Colored Vinyl
Includes 11 x 11 Insert
Debut full-length from Liverpool alternative 4-piece WSTR. The quartet grew up on the original mainstream pop-punk bands, like Blink 182, New Found Glory and Sum 41.1. Featherweight
4. Lonely Smiles
5. Nail The Casket (Thanks For Nothing)
6. Eastbound & Down
7. King's Cup
8. The Last Ride
11. Punchline$18.99Colored Vinyl LP - Sealed Buy Now
All Killer No FillerFormed by 4 members from rival high school bands in Toronto, Sum 41 developed their fun and funky sound while touring with bands like The Mighty Mighty Bosstones, Offspring and Blink 182. Their second album, All Killer No Filler, features punk mixed with metal, hip-hop and rock, and includes the single Fat Lip.1. Introduction To Destruction
2. Nothing On My Back
3. Never Wake Up
4. Fat Lip
7. In Too Deep
9. Handle This
10. Crazy Amanda Bunkface
11. All She's Got
12. Heart Attack
13. Pain For Pleasure$24.99Vinyl LP - Sealed Buy Now
Chuck180 Gram Clear Vinyl
Mastered For Vinyl And Lacquers Created By Stan Ricker
Chuck is the third studio album from Canadian rock band Sum 41. The album was released on October 12, 2004. It is the band's last album to feature lead guitarist Dave Baksh. Chuck has peaked at No. 2 on the Canadian Albums chart and was the band's highest-charting album until it would be surpassed by Underclass Hero in 2007.
The album's lyrical content has been described as darker and more mature than the band's previous work, with subjects on politics being driven by the band's experience in the Congo while shooting a documentary film.The album had a slightly different sound from the band's previous work, mixing in their pop punk influence with nu metal and adult alternative. The album proved to be a success, receiving acclaim from both critics and fans, as well as selling over 5 million copies. Singles such as We're All To Blame and Pieces gained success on the Canadian and American charts, and the album won a Juno Award for Rock Album of the Year in 2005.1. Intro
2. No Reason
3. We're All To Blame
4. Angels With Dirty Faces
5. Some Say
6. The Bitter End
7. Open Your Eyes
8. Slipping Away
9. I'm Not The One
10. Welcome To Hell
12. There's No Solution$24.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Def LeppardDef Leppard is the 11th studio album by British rock band Def Leppard. It's the band's first release since Songs from the Sparkle Lounge (2008), marking the longest gap between studio albums in their career. The 14-track album not only nods to their history, but it hints at their future. According to vocalist Joe Elliott, ''The name itself sums everything up. It's a misspelled nonsensical mad-looking two words.'' This is Def Leppard in 2015. This is rock 'n' roll. Let's go.
First-rate melodic pop-metal. Def Leppard tracks like Let's Go,...All Time High and Broke 'n' Brokenhearted exude the band's classic mix of Seventies pomp-glam riffing, Eighties electro-shock rhythms and patented, tremendously stacked chorus vocal harmonies in a manner that's strikingly redolent of their past. But the album also finds the band moving beyond well-trod territory, as evidenced by the slinky pop-funk strut of Man Enough, the downtuned, acoustic psych-blues of Battle of My Own and the sleek New Wave isms of Invincible. - Rolling Stone1. Let's Go
3. Man Enough
4. We Belong
6. Sea of Love
8. All Time High
9. Battle of My Own
10. Broke 'N' Brokenhearted
11. Forever Young
12. Last Dance
13. Wings of an Angel
14. Blind Faith$23.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Return Of SaturnJust like the heavenly occasion which inspires its name, Return of Saturn, the latest album from Southern California rock band No Doubt, is best experienced with both feet firmly on the ground, and with eyes and ears held wide open.
The album's title refers to the notion that in the first 29 years of someone's life (the same time it takes the planet Saturn to orbit the Sun), a person is only beginning to understand himself or herself, which, singer and songwriter Gwen Stefani explains, helped her to discern her own place in life as she turned 30 years old. I wrote the song 'Artificial Sweetener', Gwen says, which has the line, 'the Return of Saturn, assessing my life, second guessing.' From the time you're born till the time Saturn returns to that point is a time of reassessment and a growing period, where you second-guess everything, and you clear out things that are going to be in the way of moving on in your life. I really did feel like I was going through a transitional phase in my life as I made this album. I think the name Return of Saturn is relevant in the sense that it shows how we've grown as a band, and as songwriters.
The culmination of two years of creative blood, sweat and tears for the quartet, Return of Saturn is a bold and exciting coming-of-age saga. An intimate view of the world as seen by a group of musicians and friends who watched their humble worlds turned literally upside-down by the unexpected (though well-deserved) success of No Doubt's third album, Tragic Kingdom. While that youthful recording reflects the concerns and observations of a band at the edge of possibility, Return of Saturn represents that same group looking collectively inward. What they saw and what they created those two years, will surprise and fascinate you. Who am I, and how did I get to this point in my life, when I thought I was going to be something completely different? -- that pretty much sums up the subject of this album, says Gwen.
Return of Saturn was recorded in two Los Angeles studios during 1998 and 1999. Twelve of the album's 13 songs were produced by Glen Ballard, (Alanis Morissette, Aerosmith), whose contribution was a key ingredient in the album's creation. In our band, everyone has such strong opinions that if you put the four of us in the room together you could have some troubles, says bassist Tony Kanal. But if you get somebody as experienced as Glen, not only as a producer but as a songwriter, you can bounce ideas off him and get some really cool objective answers, and it helps level the creative playing field.
One song on the album, New (also heard on the GO soundtrack) was produced by the band with Jerry Harrison (Talking Heads, Live). It was fun to start with a clean slate and create something brand new, says guitarist Tom Dumont, who also wrote much of the album's music. We hadn't really done much writing on the road, so when it came time, we had to come up with the entire record. Every time we wrote a song it was like having a baby. It's such a good feeling to sit down with an acoustic guitar and a tape recorder, and later to have created something really cool.
In light of the international success of Tragic Kingdom (more than 15 million copies sold worldwide, including over 11 million in the U.S.), the four band members were bound to be subject to any number of outside influences and pressures when it came time to make their follow-up.
But as it turned out, the band was able to turn any outside distraction to their ultimate benefit, beginning with pre-production and writing sessions at a rented Hollywood Hills house. I remember being in a very open, optimistic mood, says Tony, getting the house up in the hills, and just feeling like we had time to do it right. There was no deadline to deliver a record, so I remember not feeling pressure. It just felt like a good place to be, creatively.
Drummer Adrian Young agrees: We were just more conscious of the fact that we're following a huge record, and we need good songs, but I don't know what kind of album we wanted, or expected to make. It was very experimental most of the time. In fact, we didn't have any predisposition about it. That's always a good way for us to approach the music. We've always been across the board, stylistically, and I'm glad we didn't lose that part of the band, he says.
Songs on Return of Saturn like Marry Me, Simple Kind of Life and the album's first single Ex Girlfriend show vocalist Gwen Stefani in a reflective and unashamedly romantic mood, traits which she says are often overlooked in her hectic life. I think I am a romantic at heart, but my life in a lot of ways these days doesn't reflect that, she remarks. So I have this inner conflict about it, and this guilt about it. I'm very hopeful that someday those things will happen in my life, because it's all I've ever dreamed of. But right now it seems like my life doesn't have any room for it, and I won't make any room for it because I'm so passionate about what No Doubt is doing right now.
The music on each of No Doubt's three previous albums (1992's No Doubt, 1995's Beacon Street Incident, Tragic Kingdom) runs the stylistic gamut, mixing in as many influences as the band members can think of, and this collection is no different. Tom says the band has few rules when it comes to songwriting. We discovered a way to write on songs like Just a Girl and Spiderwebs and some of the older ones, which we incorporated when we started this album, and that was that there were no preconceived ideas at all. We would sit down in a room with a tape recorder and acoustic guitars and start improvising things. All the songs were written very spontaneously, starting from a blank slate every time.
The truth is, I feel like I've been turned inside-out after writing this album, adds Gwen. It's everything that I have been in the last two years, which have been really hard years for me. I just feet this sense of accomplishment, and this lightness has come over me since the album has been finished. It's so rewarding to be done and feel so proud of it, I can't wait for people to hear it.LP1
2. Simple Kind of Life
4. Six Feet Under
5. Magic's in the Makeup
6. Artificial Sweetener
7. Marry Me
2. Too Late
3. Comforting Lie
4. Suspension Without Suspense
5. Staring Problem
6. Home Now
7. Dark Blue$24.99Vinyl LP - 2 LPs Sealed Buy Now
Mozart: Symphonies Nos. 35 & 41 (Speakers Corner)Wolfgang Amadeus Mozart: Symphonies Nos. 35 K. 385 (Haffner) and 41 K. 551 (Jupiter)
At flea markets in the colourful, pre-digital era, one could occasionally find Bruno Walter's Mozart recordings amongst other 'rarities'. Thin vinyl discs of dubious origin changed hands for a small sum, the cheap bootleg recording gave up the ghost after just a few rounds on the turntable and then vanished into thin air. What remained, however, was a musical impression that - from that moment onwards - influenced what one expected when listening to Mozart's symphonies. Is it the unifying sound with which Walter so harmonically interweaves the slender serenade-like character with the great symphonic idea in the Haffner Symphony? Does the magic of the fast finale, which Mozart wanted »to be played as swiftly as possible«, lie in the brisk tempo or in its clear structure?
An answer to this and other questions is given by this new release of the Symphonies No. 35 and the unique Jupiter. The latter was a linchpin in the history of the genre; it not only terminated and consummated Mozart's creative period but also opened - as the first monumental piece - the way to the great symphonic works of the 19th century. The tightly knit finale in particular, with its sparkling mixture of strict counterpoint and galant style, is highly captivating thanks to its spirited and motivated, yet never overhasty, rendering, which can be enjoyed time and again on this production. And that's guaranteed!
- The Columbia Symphony Orchestra conducted by Bruno Walter
Recording: January 1959 and February 1960 in Legion Hall, Hollywood (CA)
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.
This title is not eligible for discount.Symphony No. 41, In C Major, K. 551 (Jupiter)
I - Allegro Vivace
II - Andante Cantabile
III - Menuetto
IV - Finale
Symphony No. 35, In D Major, K. 385 (Haffner)
I - Allegretto Con Spirito
II - Andante
III - Menuetto
IV - Finale: Presto$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
- The Columbia Symphony Orchestra conducted by Bruno Walter
SKRWDCloudy Clear w/ Black and Red Splatter Vinyl
Debut E.P. is a full force introduction to the band's keen ear for instantly familiar hooks and head bobbing grooves.Produced and recorded by Seb Barlow at Celestial Recordings (Neck Deep, Homebound, ROAM). Completed by guitarists Danny Swift and Kieren Alder, drummer Kieran McVeigh and bassist Alex Tobijanski, WSTR grew up on the 'original' mainstream pop punk bands, like Blink, New Found Glory and Sum 41. Vinyl is Cloudy Clear w/ Black and Red Splatter vinyl.1. South Drive
2. Fair Weather
3. Graveyard Shift
5. Ain't Great
6. Devils N' Demons$17.99Colored Vinyl EP - Sealed Buy Now
Tierra Y LibertadThe Pomona California five-piece, infamous for their deliriously heavy hardcore death metal, are proving once again that their colossal clout outweighs the sum of their contemporaries. Tierra Y Libertad finds XIBALBA in their most threatening form yet, forcibly colliding elite '90s death metal with reckless down-tuned doom tones and their most fist-swinging beatdowns yet. The breakdown has become XIBALBA's crippling modus operandi, refined over the course of their career and re-envisioned as a new terrifying beast, creating a nefarious intensity on Tierra Y Libertad usually only reserved for majestic black metal, transcendental doom and post-metal, but here hewn from furious violence.
Across forty-five minutes and eight tracks of brutality, XIBALBA claries their disregard for the recommended dosage of unholy stomp that a listener could possibly take, made all the more devastating by the returning hand of Taylor Young (Nails, Twitching Tongues, Disgrace) behind the recording controls at The Pit in Van Nuys. Similarly, XIBALBA called upon Dan Seagrave (Dismember, Entombed, Suffocation) to create Tierra Y Libertad's cover artwork, as with Hasta La Muerte.1. Enemigo
5. En Paz Descanse
6. Tierra Y Libertad
7. Si Dios Quiere
8. El Vacío$14.99Vinyl LP - Sealed Buy Now
Does This Look Infected? (Out Of Stock)Sum 41 album three, Does This Look Infected?, is much like Sum 41 album two, which was much like their lesser-known indie debut, Half Hour of Power. Which means, Does This Look Infected? sounds much like the work of Blink-182's snottier kid brothers, who are just in it for good times. Frankly, it's kind of a relief to be spared both the smutty double entendres and the self-pity, and while they still rely too much on processed guitar distortion and have sparkling productions, Sum 41 makes up for that cleanliness with vigorous performances and simple, catchy hooks. It's pretty fun, particularly since the whole affair is blissfully short at a few minutes over a half-hour, giving it a nice, punchy effect. (Allmusic)1. The Hell Song
2. Over My Head (Better Of Dead)
3. My Direction
4. Still Waiting
6. No Brains
7. All Messed Up
8. Mr. Amsterdam
9. Thanks For Nothing
11. Billy Spleen
13. Reign In Pain (Heavy Metal Jamboree) (BONUS)
14. WWVII Part II (BONUS)$23.99180 Gram Audiophile Virgin Vinyl LP Temporarily out of stock
The Ultimate Analogue Test LP (Out Of Stock)
Analogue Productions set out to produce the ultimate test record.
We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.
Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.
This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.
General Reference Level
This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)
Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
Adjust preamp channel balance for equal output.
Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.
Track 2 1kHz reference level Left channel only
Measure Right channel output.
Track 3 1kHz reference level Right channel only
Measure Left channel output.
The object is to sit the stylus exactly perpendicular in the groove.
Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.
High Frequency Adjustment
Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.
Track 4 1 kHz tone at -20 below reference level, Lateral
Reference for High Frequency test.
Track 5 10 kHz reference tone at -20dbu, Lateral
Adjust the high frequency until the output level equals that of Track 4.
Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)
The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.
Low Frequency Adjustment
Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.
Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)
Play Track 7 and measure the output with your AC millivolt meter.
Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.
Track 8 100 Hz reference tone at 0 vu (Lateral)
Adjust LF Eq to reference (which is your reading from Track 1).
Track 9 VTA adjust
This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.
Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.
Track 10 Standard Wow & Flutter test signal; 3150Hz
The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.
Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.
Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)
Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.
It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.
Track 2 Pink noise lateral
Track 3 Pink noise vertical
Used for cartridge "demagnetizing"
You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.
Track 4 1kHz @ reference level, vertical
This out-of-phase signal should cancel to nothing when summed to mono.
Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.
Track 5 1kHz to 10Hz sweep @ -20 below
reference level, vertical
Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.
Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.
Track 6 Silent groove for bearing rumble and table isolation
During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.
This title is not eligible for discount.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock