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  • Helios Helios Quick View

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    Helios

    The fourth album Helios from critically acclaimed Denver-based foursome The Fray is released on Epic Records. Of the new music, produced by Stuart Price (The Killers, Madonna, Keane) and Ryan Tedder (Adele, One Republic), Isaac Slade (piano, vocals) notes, Working with Stuart was the best of both worlds. We brought our organic instruments, and he brought his arsenal of electronic antiques. This record is all about running to the front lines of what we've done and pushing our borders even farther. Electronic instruments, drum samples, enormous backing vocals, opening up our writing to folks outside our camp.


    'Helios' follows the band's 2012 release 'Scars & Stories' which garnered widespread praise-USA Today called the music more muscular and buoyant, while Rolling Stone noted they're still pumping. The Fray's 2005 debut, featuring the hit single How to Save a Life, went double-platinum and the band earned a 2010 Grammy nomination for their self-titled release. They have made numerous television appearances including Late Show with David Letterman, Late Night with Jimmy Fallon, The Today Show, Good Morning America, Jimmy Kimmel Live! and many more.


    The Fray is Slade, Joe King (guitar, vocals), Dave Welsh (guitar), and Ben Wysocki (drums). The Denver-based foursome formed in 2002 after high school friends Slade and King bumped into each other at a local guitar shop. The band achieved national success with their first single, Over My Head (Cable Car), which became a top ten hit in the U.S., and the release of their second single, How to Save a Life, brought them worldwide fame.

    1.Hold My Hand
    2.Love Don't Die
    3.Give It Away

    4.Closer to Me
    5.Hurricane
    6.Keep On Wanting
    7.Our Last Days

    8.Break Your Plans
    9.Wherever This Goes
    10.Shadow and a Dancer
    11.Same as You
    The Fray
    $29.99
    Vinyl LP - Sealed Buy Now
  • Babel Babel Quick View

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    Babel


    Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.


    Fantastic 4 Star review from American Songwriter!



    There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.

    So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.


    Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.


    The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.


    While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.


    Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.


    There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.


    Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.


    1. Babel
    2. Whispers In The Dark
    3. I Will Wait
    4. Holland Road
    5. Ghosts That We Knew
    6. Lover Of The Light
    7. Lovers' Eyes
    8. Reminder
    9. Hopeless Wanderer
    10. Broken Crown
    11. Below My Feet
    12. Not With Haste
    Mumford And Sons
    $16.99
    Vinyl LP - Sealed Buy Now
  • American IV: The Man Comes Around American IV: The Man Comes Around Quick View

    $34.99
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    American IV: The Man Comes Around

    On first thought, the idea of the Man in Black recording such covers as Bridge over Troubled Water, Danny Boy, and The First Time Ever I Saw Your
    Face might seem odd, even for an artist who's been able to put his personal stamp on just about everything. But American IV: The Man Comes Around,
    which also draws on Cash's original songs as well as those by Nine Inch Nails (Hurt), Sting (I Hung My Head), and Depeche Mode (Personal Jesus),
    may be one of the most autobiographical albums of the 70-year-old singer-songwriter's career. Nearly every tune seems chosen to afford the ailing giant
    of popular music a chance to reflect on his life, and look ahead to what's around the corner. From the opening track--Cash's own The Man Comes
    Around, filled with frightening images of Armageddon--the album, produced by Rick Rubin, advances a quiet power and pathos, built around spare
    arrangements and unflinching honesty in performance and subject. In 15 songs, Cash moves through dark, haunted meditations on death and
    destruction, poignant farewells, testaments to everlasting love, and hopeful salutes to redemption. He sounds as if he means every word, his baritonebass,
    frequently frayed and ravaged, taking on a weary beauty. By the time he gets to the Beatles' In My Life, you'll very nearly cry. Go ahead. He
    sounds as if he's about to, too. Unforgettable. --Alanna Nash


    This is the fourth in a series of collaborations between the original Man in Black, Johnny Cash, and producer Rick Rubin. The Man Comes Around
    features new Cash compositions as well as a diverse array of cover songs, including Nine Inch Nails Hurt, Hank Williams I'm So Lonesome I Could
    Cry, and Paul Simon's Bridge Over Troubled Waters. He duets with Don Henley on Desperado.

    1. The Man Comes Around
    2. Hurt
    3. Give My Love To Rose
    4. Bridge Over Troubled Water
    5. I Hung My Head
    6. First Time Ever I Saw Your Face
    7. Personal Jesus
    8. In My Life
    9. Sam Hall
    10. Danny Boy
    11. Desperado
    12. I'm So Lonesome I Could Cry
    13. Tear Stained Letter
    14. Streets of Laredo
    15. We'll Meet Again
    Johnny Cash
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Divisionary Divisionary Quick View

    $16.99
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    Divisionary

    Having spent much of the last two years in willful isolation, Ages and Ages surface at last with Divisionary, an emotive and emotional song cycle that sees the Portland, Oregon-based collective wrestling with many of the contradictions and confusion that life has to offer. Pervasive acclaim and a fervent fanbase followed 2011's debut, Alright You Restless, but the band soon found themselves confronting what co-founder/frontman Tim Perry refers to as "some dark-ass shit."


    Ages and Ages tackled those challenges by amping up their multi-layered modus operandi - all gang harmonies, rhythmic discovery, and inner conflict - the contrast between joyous sound and disheartening subject matter instilling songs such as "No Pressure" and "Our Demons" with striking pragmatism and undeniable muscle. Fraught with heartfelt drama, celebratory spirit, and sonic ingenuity, Divisionary finds Ages and Ages torn and frayed but more optimistic than ever, empowered and transcendent in spite of their turmoil and trials.


    Produced and mixed by Tony Lash


    Recorded at Jackpot! studios and mixed at The Magic Closet

    1. Light Goes Out
    2. I See More
    3. No Pressure
    4. Big Idea
    5. The Weight Below
    6. Over It
    7. Our Demons
    8. Ante Up
    9. Calamity is Overrated
    10. These Ravines
    11. Divisionary (Do The Right Thing)
    Ages And Ages
    $16.99
    Vinyl LP - Sealed Buy Now
  • Show Me Your Fangs Show Me Your Fangs Quick View

    $21.99
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    Show Me Your Fangs

    Bolstered by lead single "Headphones (feat. LoLo)," already a hit at Hot AC, and current single "Gold in the
    Summertime" this new studio album from the beloved alternative singer-songwriter follows shortly on the heels on Matt's massive summer tour with Train and The Fray.
    1. Giants
    2. Adrenaline

    3. Gold In The Summertime
    4. Bill Murray
    5. Shouting
    1. Show Me Your Fangs
    2. Disappear
    3. Washington State Fight Song
    4. Playlists & Apologies
    5. Headphones
    Matt Nathanson
    $21.99
    Vinyl LP - Sealed Buy Now
  • Pith Pith Quick View

    $18.99
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    Pith

    Anyone who has seen Emily Beanblossom perform has surely left entirely taken with her. As the lead singer of Christmas, a band whose unique style of psych rock made them a cult marvel, Emily sold out both shows and records, due in no small part to her captivating, cultivated persona and the rare power of her voice. A vagabond for our ilk, she has lived life on the road and in collaborations, drifting down
    the line until she was called back to her family farm outside Chicago, Ill. Here she paused to lay down the hollowed noise that would become Ruby Fray. Her premier album Pith is a string of musical gems that range from harmonic americana and folk to shadowy psychedelia, united in their spectral chamber arrangements.


    Each of the twelve tracks on Pith come from demos Emily has been keeping close, and showcase her varieties of influence.And the Moon, with its steady drum machine loop, eerie harmonies and mandolin strings stands apart from its follower, Mint Ice Cream, a playful Americana-style duet with Calvin Johnson.Closed Eye is the same, a drifting melody punctuated by tinny drums and fuzzy guitar
    strumming. But this is the beauty of Pithlike the single,Lets Grow Older,it gambols,and then fallsto despair and questioning, is both the blossom and the thorny edge. Ruby Fray is a dark star risen, and the power and soul of Emilys voice changes all that it shines upon.


    Pith includes the talents of numerous Pacific Northwest masterminds: producer & engineer Ben Hargett (who recorded the Christmas LP), songwriting and production assistant Ian Van Veen (Legs The Crab, Georgy), and harmony/strings specialist Giselle Garcia. As per K / Dub Narcotic tradition, a number of artists from the K roster also play on Pith, including Arrington de Dionyso, Gordon Baker (Mailaikat dan Singa, Desolation Wilderness), Andrew Dorsett (LAKE, Desolation Wilderness), Angelo Spencer, Markly Morrison (LAKE), Jake Jones (Christmas), and Calvin Johnson.


    Quite honestly her vocals are so beautiful,you almost feel theyre being wasted on a raw punk band like Christmas. But then again Christmasis a classic punk band without a lot of nonsense and its Beanblossoms vocals that make theyre music special.

    1. And The Moon
    2. Mint Ice Cream
    3. Closed Eye
    4. What's All This Talk
    5. Northern Washington
    6. Young Scholar
    7. Let's Grow Older
    8. Jandk
    9. Penny
    10. Ohow
    11. Barren Hill
    12. Wilt Worke
    Ruby Fray
    $18.99
    Vinyl LP - Sealed Buy Now
  • Master/Slave Master/Slave Quick View

    $12.99
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    Master/Slave

    Master/Slave is Whips/Chains monstrous debut 12EP.



    Taking no time to set a tone, opener Secular Front crawls through a wreckage of noise before breaking into a D-Beat stride. Other songs Brick and Mortar, Trembling and Alone, and Human Filth carry this same bombastic quality, but also introduce subtle hooks into the fray. These dynamics make Whips/Chains not only powerful, but also uniquely listenable. Creating a mesmerizing push and pull throughout the grime and fury.

    1. Secular Front
    2. Brick and Mortar
    3. Trembling and Alone
    4. Master/Salve
    5. Human Filth
    Whips/Chains
    $12.99
    Vinyl LP - Sealed Buy Now
  • Grackle Grackle Quick View

    $18.99
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    Grackle

    After the release of her debut album, Pith, Emily Beanblossom spent two years touring the U.S., selling her handmade soaps and working on the bare bones of her second album, Grackle.


    Grackle blends Americana sweetness with sludgy dissonance. Opening with a a slow synthesizer prelude, You Should Go sets the tone for listless anthems characterized by Beanblossom's harmonies and hollers. Vespers, a morning prayer, introduces a coy letter to a wayward sailor in Photograph. Barbara takes the stage to insert bitter anecdotes with a sharp twist of a post-modern dance beat paired with the tremolo of a Finnish lap harp, and Anthony invokes a dark spaghetti western composition supporting Gregorian vocal harmonies.


    Emily and long time collaborator Nick Botka, teamed up with Pith producer, Ben Hargett to record this album at Dub Narcotic Studio in Olympia, WA. Their newest recording preserves the playful jangly genre-bouncing enervation found in their previous work, while insisting on a more disciplined approach to songwriting.

    1. You Should Go

    2. Carry Me Down

    3. Photograph

    4. Vespers

    5. The Grackle

    6. Barbara

    7. Anthony

    8. It's Mine

    9. Reprise
    Ruby Fray
    $18.99
    Vinyl LP - Sealed Buy Now
  • Mt. St. Helen's Vietnam Band Mt. St. Helen's Vietnam Band Quick View

    $14.99
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    Mt. St. Helen's Vietnam Band

    At first blush, this album recalls Wolf Parade with the band's frayed melodic sensibilities and urgent, driven vocals in particular. Of course, Wolf Parade borrowed a few ideas from Modest Mouse, whose beginnings were indebted to the Pixies. This is the sort of musical lineage that creates the foundation for this group's debut. But dig a little deeper and strains of Queen's epic rock peer through, while exhilarating guitar work that nods towards Thin Lizzy appears in more than a few songs.
    1. Who's Asking
    2. Masquerade
    3. Cheer for Fate
    4. Anchors Dropped
    5. Going on a Hunt
    6. Year or Two, A
    7. Albatross, Albatross, Albatross
    8. Dull Reason
    9. Little Red Shoes
    10. En Fuego
    11. On the Collar
    Mt. St. Helen's Vietnam Band
    $14.99
    Vinyl LP - Sealed Buy Now
  • Die Screaming Die Screaming Quick View

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    Die Screaming

    Something sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.


    Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.


    With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.


    This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.


    Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.

    1. Thumper's Theme
    2. Instruments of Hellfire

    3. Curse of the Corpse
    4. Black Souls
    5. Show Me Your Skull
    6. One By One
    7. Lucifer Lives
    8. Die Screaming
    Satan's Satyrs
    $34.99
    Vinyl LP - Sealed Buy Now
  • Beyond Ugly Beyond Ugly Quick View

    $19.99
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    Beyond Ugly

    Domino is proud to present the third album, Beyond Ugly, from the Bristol, UK duo of Malachai.


    Beyond Ugly is the last panel in the band's Ugly triptych and that it was completed at all came as a
    shock to all concerned, least of all the group. After the conclusion of the campaign for their sophomore
    album, Return To The Ugly Side, members Gee Ealey and Scott Hendy drifted apart with no definitive
    plans to take up arms together. It was a chance meeting in Bristol that drew the two back into one
    another's orbit and to the realization that there was some unfinished monkey business. The duo reengaged slowly, simply working up a track at a time, more for the cathartic act of creating good music
    rather than the artificial construct of "delivering an album." Lo and behold, the creative process built
    an inertia of its own and Beyond Ugly began to take shape.


    And what a fine shape it is... Beyond Ugly recaptures the sonic stew of debut album, The Ugly Side
    Of Love, a potent of brew of post-summer of love and some good ol' Bristol-fashion psychedelic
    comedown. However, there's a healthy dose of renewed restlessness and anger emanating from Ealey
    that permeates the album thanks to some spirited vocal performances, from the anthemic and vengeful
    soliloquy of "Sweet Flower" to the civilly disobedient "I Deserve To No."


    Of course, Malachai isn't a one-man show. As Rakim had Eric B... Hendy, the duo's musical director, has
    truly outdone his past efforts and provides a sturdy musical platform from which Rev. Ealey delivers his
    sermons, whether the occasion calls for an exotic sturm-und-clang ("I Deserve To No") or a genteel softshoe waltz ("Hear It Comes").


    Malachai have always enjoyed // suffered the curse of being a "musician's band." Geoff Barrow of
    Portishead originally released The Ugly Side Of Love on his Invada imprint before Domino swooped
    in and there was no bigger proselytizer of Malachai's prowess than Sergio Pizzorno of Kasabian and
    both take their support a step further with guest appearances on "Dragons Ball" and "The Love"
    respectively. Additionally, "Segs" Jennings, bassist from punk legends The Ruts joins the fray on
    "Sweet Flower."


    The album concludes with a montage of hallucinations from across the band's discography before what
    can be best described as the ominous twilight tranquility of "End." Is this really where the Malachai
    story ends? As shown by the creative triumph of Beyond Ugly, sometimes it's best not to plan at all and
    just let it happen. We'll do our best to let you know when it does.

    1. Sweet Flower
    2. Don't Try This At Home
    3. Dragons Ball
    4. Holes
    5. Hear It Comes
    6. I Deserve To No
    7. White Nuthin' Sky
    8. The Love
    9. Army
    10. Dark Before The Dawn
    11. End
    12. Down To Earth
    Malachai
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Science From An Easy Chair Science From An Easy Chair Quick View

    $18.99
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    Science From An Easy Chair

    Florida's HAVE GUN, WILL TRAVEL have a natural instinct for combining folk, pop, punk, rock and classic country influences to create a sound all their own. "Their music has a great energy to it with infectious, sing-along choruses and refrains" remarked NPR's Robin Hilton. American Songwriter called HGWT's music "organic, infectious Americana Pop. Their music has a refreshing immediacy to it."


    Over the course of four acclaimed albums, hundreds of shows and copious populist-radio airplay, they've nurtured a tradition of inviting all manner of gifted musicians to join the fray. The group's inclusive nature allows it to flesh out tunes that run the gamut from foot-stomping front-porch spirituals and evocative Texas swing to strum-punk rave-ups, hill-country historicals and more.


    HGWT's music has been featured in a national Chevy TV commercial; multiple episodes of the PBS series Roadtrip Nation; and an episode of CBS's The Good Wife. Their albums have spent months on the CMJ Radio Top 200 chart. And their live performances have been described as rousing, rollicking, energetic and dynamic.


    The band's highly anticipated, fifth album "Science from an Easy Chair" is slated for a spring release on THIS IS AMERICAN MUSIC. This full-length concept album is based entirely on British explorer Sir Ernest Shackleton and his 1914 Antarctic expedition. The release commemorates the 100th anniversary of the epic journey.

    Have Gun, Will Travel
    $18.99
    Vinyl LP - Sealed Buy Now
  • PHOX PHOX Quick View

    $16.99
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    PHOX

    PHOX is a bunch of friends from the Midwestern circus hamlet, Baraboo, WI, a place where kids often drink poisoned groundwater and become endowed mutants. They make music that straddles Feist and Monty Python.


    It was in Baraboo that the six unlikely musicians attended high school together, some playing on the soccer field, others on video production sets. But in a town with a drive-your-tractor-to-school day, they didn't last.


    They did the thing that most people do when they are 18: they fled the coop, each going their separate ways (to film school, cosmetology school, a job with Homeland Security ). But promises were made that couldn't be kept, and as they fell in unrequited love and lost their respective jobs, in spite of themselves, each simultaneously pulled the ripcord and came home.
    The sextet promptly (-ish) got a house together in the Portland of the heartland, Madison, WI. As prolifically documented in their online video series, PHOX rekindled their onetime A/V production house while discovering how to live as a family (i.e. how not to berate each other about the hair in the sink).


    After two years of cohabiting, PHOX beheld a demo reel of bedroom-recorded music (and home movies) that made Bon Iver and The Fray recording engineer Brian Joseph blush. Donning his producer's cape (and occasional lab coat), Joseph cheer-led the band through its debut album at April Base Studios in Eau Claire, WI.


    Joseph's enthusiasm propelled the band through the production of more than a dozen songs that have been swimming in the think tank for two years.


    Mixed by Michael Brauer at Electric Lady in NYC, their debut album is a school of simple folk-pop songs swimming amidst a chaotic eddy of rock, psychedelia, and soul.


    If the goal here is friendship, PHOX is doing quite well. If the chosen path is blue collar pixel-pushing and church camp trust falls, they're on the way. And if their only coping mechanism is to lay down their arms and, for 30 or 45 minutes a day, shut up and listen to each other, you can't be too upset.

    1. Calico Man
    2. Leisure
    3. Slow Motion
    4. 1936
    5. Evil
    6. Laura
    7. Kingfisher
    8. Shrinking Violets
    9. Satyr and the Faun
    10. Noble Heart
    111. Raspberry Seed
    12. In Due Time
    Phox
    $16.99
    Vinyl LP - Sealed Buy Now
  • Lily & Madeleine Lily & Madeleine Quick View

    $16.99
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    Lily & Madeleine

    Like truth, beauty resides in simplicity. When it manifests itself, it doesn't require elaborate arguments or proofs; you can't debate someone into apprehending it. It's apparent and all it requires is appreciation, or perhaps even love. Such are the songs of Lily & Madeleine. Understandably, when their debut EP, The Weight of the Globe, came out earlier this year, much was made of the fact that Lily and Madeleine Jurkiewicz are teenagers: Madeleine is eighteen and her sister is sixteen. Surely, that's important given the impressive talent on display.


    Of the music, American Songwriter asserts, "Their voices can pierce through the chaos of everyday life and actually make you stop what you're doing, if only for a second, and truly listen," while TeenVogue.com praises, "Sister duo Lily and Madeleine almost sound too good to be true-on paper and on our speakers-because they're so young, so stylish, and so talented." Additionally, in June, Vogue.com premiered the music video for the song "Back To the River" proclaiming, "This isn't the first time we've become enrapt with two sisters harmonizing, but it's a bell we never tire of hearing ring."


    Produced by Paul Mahern (John Mellencamp, The Fray), the 11-track album was recorded in Bloomington, IN and was written by the sisters and longtime collaborator Kenny Childers (Gentleman Caller). Of the project, Madeleine comments, "The new album reflects on our experiences as we grow as artists; looking both back to the places we've visited growing up for inspiration, and looking forward to our hopes for the future. This project really feels like our own, and we're so grateful to those who helped us create it." - Direct Current

    1. Sounds Like Somewhere
    2. Devil We Know
    3. Nothing But Time
    4. Spirited Away
    5. Disappearing Heart
    6. And Tonight
    7. I've Got Freedom
    8. Come to Me
    9. Goodbye to Anyone
    10. Paradise
    11. You Got Out
    Lily & Madeleine
    $16.99
    Vinyl LP - Sealed Buy Now
  • Once Upon A Time At King Tubby's Once Upon A Time At King Tubby's Quick View

    $19.99
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    Once Upon A Time At King Tubby's

    Never Before Released On Vinyl

    All of those things happened up at Tubby's - Bunny Lee

    'Once Upon A Time At King Tubby's' captures from start to finish the full story of the most well-known, and certainly the wittiest, of all the wars of words that the highly competitive Kingston recording scene ever produced. I Roy and Prince Jazzbo were the principal players aided and abetted along the way by an assorted bunch of onlookers and minor characters who all helped the drama to unfold. Bunny 'Striker' Lee was the catalyst that started this particular schism and the producer of all but one of the tracks.

    Ever the entrepreneur 'Striker' hit the musical jackpot once again as he goaded both artists into making records that went 'straight to the head'. What had begun as a joke grew into an entire series of seven-inch singles that set the Jamaican recording scene alight in the mid-seventies. All but one of the tracks on this set were voiced and mixed at King Tubby's Waterhouse studio; I Roy voiced 'Padlock' at Channel One because the competition a get so crabbit and this gave veteran vocalist Derrick Morgan an opportunity to enter the fray. Johnny Clarke, Dirty Harry and Prince Far I also make cameo appearances.

    Insults and 'head' games are nothing new in Jamaican music but this album is the first to ever compile all the tracks from one of the best examples ever of these feuds here remastered and complete with full sleeve notes featuring interviews with the main protagonists.

    1. Do You Love Me? - Johnny Clarke
    2. Straight To Jazzbo's Head - I Roy
    3. Straight To Jazzbo's Head (Version) - King Tubby & The Aggrovators
    4. Straight To I Roy's Head - Prince Jazzbo
    5. Straight To I Roy's Head (Version) - King Tubby & The Aggrovators
    6. Padlock - I Roy
    7. Padlock Version - The Revolutionaries
    8. Gal Boy I Roy - Prince Jazzbo
    9. The Roots of Dub - King Tubby & The Aggrovators
    10. Jazzbo Have Fe Run - I Roy
    11. Jazzbo Have Fe Run (Version) - King Tubby & The Aggrovators
    12. I Roy The Chiney Commer Around - Derrick Morgan
    13. Straight To I Roy's Big Mouth - King Tubby & The Aggrovators
    14. Straight To Derrick Morgan's Head - I Roy
    15. Straight To Trico Lee's Head - King Tubby & The Aggrovators
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Damnwells The Damnwells Quick View

    $19.99
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    The Damnwells


    Indie rock band the Damnwells, will be releasing a new, self-titled album featuring the original four band members which is the first album since 2006 to include the original band lineup. (The original members of the Damnwells are Alex Dezen [lead vocals, guitar, piano], David Chernis [lead guitar], Ted Hudson [bass], and Steven Terry [drums/percussion].) Since 2006, Dezen continued to make Damnwells records with a cast of talented musicians to fill in the blanks. But for the forthcoming self-titled album, he and his former comrades decided to "get the band back together" for real and joined producer Salim Nourallah (Old 97s) in the studio to capture the magic. They recorded at the intimate Tree Fort Studios in Austin, TX, where they sought, as Dezen says, to "capture as much live as possible." "What this record represents is four guys, 15 years, a few defeats, and a ton of tiny victories," says Dezen. "What this record means to me is more than what you hear carved into the wax. This is about coming together. It's about brotherhood. It's about making music together. We have never been more excited to share anything with the fans." Dezen and Hudson met at Bard College in 1996 and played in a string of college bands together before they both moved to Brooklyn in 2000. There they met Terry (who was fresh off a stint playing with Ryan Adams' former band, Whiskeytown) and started jamming together. The trio began playing shows at now-defunct clubs throughout Brooklyn and the Lower East Side of Manhattan, sometimes with various guitar players and sometimes as a three-piece. At the end of 2000, Chernis joined them and they christened themselves the Damnwells. The band released its first EP ("PMR") in 2001, then signed to Epic Records and released "Bastards of the Beat" in 2003. The follow-up, "Air Stereo" (which was the last album featuring the original line-up), was recorded for release on Epic but was instead picked up and released by Rounder Records in 2006. "Golden Days," the single from "Air Stereo," was a top 20 Triple A charting song and was also the name of a documentary film about the band released in 2007. Over the years, the Damnwells toured relentlessly, sharing stages with The Fray, the Dixie Chicks, Old 97s, Cheap Trick, and Bob Dylan, to name a few. The Damnwells release "One Last Century" (2009), featured Hudson and Dezen and was given away for free via Paste magazine's website. It was followed by the fan-funded record, "No One Listens to the Band Anymore," which came out in 2011.

    1. Money And Shiny Things
    2. Kentexas
    3. The Girl That's Not In Love With You
    4. Lost
    5. Wreck You
    6. She Goes Down
    7. Heavy Heart
    8. Kill Me
    9. This Ship Of Ours
    10. Too Old To Die Young
    11. None Of These Things
    The Damnwells
    $19.99
    Vinyl LP - Sealed Buy Now
  • Brahms: Alto Rhapsody (Speakers Corner) Brahms: Alto Rhapsody (Speakers Corner) Quick View

    $34.99
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    Brahms: Alto Rhapsody (Speakers Corner)

    Johannes Brahms: Alto Rhapsody, Song Of Destiny / Gustav Mahler: Songs Of A Wayfarer


    The Alto Rhapsody, Song Of Destiny and Song Of A Wayfarer. Each of these three vocal compositions is unique in its expression and construction, yet the frayed emotional worlds of all three works are connected by a multitude of fine threads. The Alto Rhapsody, which Brahms wrote as a wedding gift for Clara Schumann's daughter Julie, in whom he was himself in love, demonstrates with almost Wagnerian weight the anger that the disappointed Brahms must have felt while composing. The Song Of Destiny too, with its sonorous E major waves of harmony, soon announces in C minor the finiteness of existence as Hölderin's poem demands. That finally a hopeful, conciliatory - though unsure - moment lingers is reflected in the musical means. Many emotions and vagaries are emulated in Mahler's song cycle. The journeyman sets off on his wanderings in order to forget his unhappy liaison and strides through the ups and downs of mixed emotions and painful heartache. Drumrolls and march rhythms reflect the real world and sounds of nature, dissonances and a change between major and minor keys show the way from dreams, reality and feelings. The recording with Mildred Miller and the Columbia Symphony Orchestra under Bruno Walter has achieved reference status and is sure of a place in the TAS Super LP List given out by The Absolute Sound.

    Musicians:


      Mildred Miller (vocals)
    • The Occidential College Concert Choir and the Columbia Symphony Orchestra
    • Bruno Walter (conductor)



    Recording: June 1960 and January 1961 at Columbia Studios, Hollywood

    Production: John McClure



    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.

    Brahms: Alto Rhapsody, Op. 53
    Brahms: Song Of Destiny, Op. 54
    Songs Of A Wayfarer (Leider Eines Fahrenden Gesellen)
    I. Wenn Mein Schatz Hochzeit
    II. Ging Heut' Morgen Über's Feld
    III. Ich Hab' Ein GlÜhend' Messer
    IV. Die Zwei Blauen Augen
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blood And Chocolate Blood And Chocolate Quick View

    $34.99
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    Blood And Chocolate


    Elvis Costello Blood and Chocolate on Numbered Limited Edition 180g LP from Mobile Fidelity


    Emotionally Cathartic Nick Lowe-Produced Set Includes I Want You, I Hope You're Happy Now, and Uncomplicated


    Mastered from the Original Master Tapes and Pressed at RTI: Guitar-Driven, Stripped-Down 1986 Album Teems With Stacked Rhythms, Tonalities, Punch, and Tension


    Costello at His Most Vicious: Songs Rumble and Storm, Dark Humor and Biting Lyrics Address Tumult, Jealousy, Vindictiveness


    Part of Mobile Fidelity's Elvis Costello Reissue Series: Singer-Songwriter's First Eleven Studio Albums Available on Sumptuously Sounding 180g LP


    Known in his youth as the angry young man, Elvis Costello waited until 1986 to create the most vicious record of his career. Stripped to the studs and produced by Nick Lowe, Blood and Chocolate seethes with vindictiveness, spite, and rancor. The 11-track effort clatters with raw rock n' roll menace and clangs with darkly humorous intent. Venomous, acerbic, and aggressive, it values rhythm and attack over harmony and melody. A volatile rite of passage on which harsh Telecaster riffs cut like razor blades and Costello spits words as if they were Molotov cocktails tossed at enemies, this is the satisfying sound of emotional catharsis.


    Mastered from the original master tapes and pressed at RTI, this collectable edition of Blood and Chocolate joins Mobile Fidelity's acclaimed Costello reissues series in presenting the icon's vital records in rich, dynamic, three-dimensional analog sound. That's never been truer than it is here. Costello and Co. recorded the songs in a large room at London's Olympic Studios while playing at stage volumes, an unconventional approach that nonetheless suited the music's raw feel. Nearly every track was done in three takes or less, with minimal vocal fixes and overdubs added immediately afterward. Such energy, spark, force, and pace thrive on this reissue.


    Capturing the decibel-laden atmosphere that heightens the rhythmic pace and elevates the urgency of the deliveries, Mobile Fidelity's 180g LP delivers the band's performances with wall-of-sound hugeness and booming authority. And while this isn't a record where subtlety reigns, listeners can now discern the acoustic guitar strummed by Lowe for the foundation of the savage Uncomplicated as well as the nuanced final bars of the inimitable I Want You on which each member's instrumental track is switched off to bleed into Costello's vocal microphone. Indeed, for all the apparent chaos, Steve Nieve's keyboards even get accurate placement and imaging on this incredible pressing. Then there's the temperament of the songs themselves-perhaps best described by Costello.


    The album title and Eamon Singer's crude cover painting reflected some intense and uncertain situations. The record might have well been a blurred polaroid: a smashed-up room, a squashed box of chocolates, some broken glass and a little blood smeared on the wall, wrote the singer in 2002. The album [is] a pissed-off 32-year-old divorce's version of the musical blueprint with which I had begun my recording career with the Attractions. Indeed, the band-on the verge of fraying at the seams and at each other's throats in close confines-pummels twanging chords, beats up on notes, turns up amplifiers, and eyes everything with great suspicion.


    Lyrically, Costello has seldom been wittier, sharper, or more malicious. The snarling, tables-turning I Hope You're Happy Now joins Bob Dylan's Positively Fourth Street as among the most lacerating kiss-off tunes ever penned. Similarly sarcastic, Next Time Round lends a pop rave-up air to the album's otherwise dark assault. The bloodletting Crimes of Paris and Poor Napoleon (featuring Pogues singer Cait O'Riordan playing the role of the voice of pity) confront the consequences of traumatic relationships and lustful choices with a savvy intellect. Given the mood and mindset of everyone and everything involved, it's no surprise that Costello and the Attractions wouldn't again work together until eight years later. Saying that Blood and Chocolate was worth the sacrifice is an understatement.


    This title is not eligible for discount.

    1. Uncomplicated
    2. I Hope You're Happy Now
    3. Tokyo Storm Warning
    4. Home Is Anywhere You Hang Your Head
    5. I Want You
    6. Honey, Are You Straight or Are You Blind?
    7. Blue Chair
    8. Battered Old Bird
    9. Crimes of Paris
    10. Poor Napoleon
    11. Next Time Round
    Elvis Costello
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Real Gone (Remixed & Remastered) (Pre-Order) Real Gone (Remixed & Remastered) (Pre-Order) Quick View

    $24.99
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    Real Gone (Remixed & Remastered) (Pre-Order)

    Newly Remixed & Remastered From The Original Master Tapes By Karl Derfler With Tom Waits and Kathleen Brennan


    On Real Gone, Tom Waits walks a fraying tightrope. By utterly eliminating one of the cornerstone elements of his sound -- keyboards -- he has also removed his safety net. With songwriting and production partner Kathleen Brennan, he strips away almost everything conventional from these songs, taking them down to the essences of skeletal rhythms, blasted and guttural blues, razor-cut rural folk music, and the rusty-edge poetry and craft of songwriting itself. Real Gone is like two records in one and the contrasting emotions of each play off of each other perfectly. The up-tempo tracks are some of the rawest and most kinetic he's ever laid down, while the ballads are among his most haunting and beautiful, even chilling at times. Taken as a whole, the experience is breathtaking. Tom Waits and Kathleen Brennan have personally remixed and remastered Real Gone from the original master tapes bringing a new sonic brilliance to their 2004 creation.

    LP 1

    1. Top of the Hill

    2. Hoist That Rag
    3. Sins of My Father
    4. Shake It

    5. Don't Go into That Barn
    6. How's It Gonna End
    7. Metropolitan Glide


    LP 2

    1. Dead and Lovely
    2. Circus

    3. Trampled Rose

    4. Green Grass

    5. Baby Gonna Leave Me

    6. Clang Boom Steam

    7. Make It Rain

    8. Day After Tomorrow
    9. Chick A Boom (Hidden Track)

    Tom Waits
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Death After Life Death After Life Quick View

    $18.99
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    x

    Death After Life

    Death After Life, Thug Entrancer's debut for Software Recording Co. is
    a deliberately realized collection of dance experimentation and hybridized
    electronic music with narrow stylistic precedents. It's also a gripping, somber
    tide formed from the gravitational pull of an artist's amble through unknown
    turfs. 


    Ryan McRyhew's footing as a creative lynchpin in the Denver DIY
    electronic music scene shued to the other world and beat of the South side
    of Chicago in 2011. McRyhew's new home allowed him secluded time and
    space to create in-depth and unconditional music as Thug Entrancer. The
    move also provided McRyhew direct access to Chicago's dance music history
    and the groundbreaking works being crafted in bedrooms and blasted on
    speakers throughout his neighborhood.


     A summation of varied approaches to electronic music, Thug Entrancer's
    multiverse is not dissimilar to other Software artists (Slava and Huerco S.,
    for example). McRyhew draws inuence from pioneering electronic and
    experimental composers who placed an emphasis on extended development
    and technique, alongside early analog dance producers who went all-out and
    all-in with little more than a TR-808 in their arsenal.


     Death After Life is comprised of eight chapters drawn from the album title,
    each numbered I through VIII. These portions underscore a pitch-dark
    motif thread throughout the album's fty minutes. Death After Life I is
    whittled and icy - long echoed claps and panned sawtooth shapes swelter
    around the skittering percussive elements over the four-and-half-minutes of
    unsettled, environmental shifting.


    Death After Life III delivers rapid-re, straight up acid with a snare heavy rhythm registering in an upper BPM range before fraying into the
    sonic beyond.  Death After Life V frenetically lashes out with hi-hat
    triplets, lower mix perimeter synths and pounding claps / snare at a
    breakneck footwork pace.


    The album's nal cut is the most up-front Juke number. Altogether shorn of
    the more abstract spaces heard earlier, "Death After Life VIII" attacks with
    the feel of a live, improvised performance. In fact, the majority of the tracks
    on Death A!er Life were composed on the y with very few overdubs and
    zero reliance on sampled sources.


    While Death After Life reframes elements of Chicago Juke and house in
    long-form design, the end result one in which a subtler horizon is discovered,
    trumping more palatable musical codes and dissuading us from treating
    electronic music, or any genre-stamped style matter, with rote attention. 

    1. Death After Life - I
    2. Death After Life - II
    3. Death After Life - III
    4. Death After Life - IV
    5. Death After Life - V
    6. Death After Life - VI
    7. Death After Life - VII
    8. Death After Life - VIII
    Thug Entrancer
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Last Waltz The Last Waltz Quick View

    $36.99
    Buy Now
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    The Last Waltz

    Mastered By Chris Bellman At Bernie Grundman Studios From The Original Analog Tapes And Pressed At RTI


    On Thanksgiving Day 1976, The Band took the stage for the very last time at the Winterland Theatre in San Francisco for THE LAST WALTZ, which has gone on to become one of the most heralded performances of all time. Joining The Band on stage throughout the evening was an unprecedented group of pioneers in music including Eric Clapton, Neil Diamond, Bob Dylan, Dr. John, Joni Mitchell, Van Morrison, Muddy Waters, and Neil Young, among others.


    The Band, more than any other group, put rock and roll back in touch with its roots. With their ageless songs and solid grasp of musical idioms, the Band reached across the decades, making connections for a generation that was, as an era of violent cultural schisms wound down, in desperate search of them. They projected a sense of community in the turbulent late Sixties and early Seventies - a time when the fabric of community in the United States was fraying.


    Guitarist Robbie Robertson drew from history in his evocative, cinematic story-songs, and the vocal triumvirate of bassist Rick Danko, drummer Levon Helm and keyboardist Richard Manuel joined in rustic harmony and traded lines in rich, conversational exchanges. Multi-instrumentalist Garth Hudson provided musical coloration in period styles that evoked everything from rural carnivals of the early 20th century to rock and roll revues of the Fifties. (via RockHall.com)

    LP1
    1. Theme From The Last Waltz

    2. Up On Cripple Creek
    3. Who Do You Love
    4. Helpless
    5. Stagefright
    6. Coyote
    7. Dry Your Eyes
    8. It Makes No Difference
    9. Such A Night


    LP2
    1. The Night They Drove Old Dixie Down
    2. Mystery Train
    3. Mannish Boy
    4. Further On Up The Road
    5. Shape I'm In
    6. Down South In New Orleans
    7. Ophelia
    8. Tura Tura Lural (That's An Irish Lullaby)

    9. Caravan


    LP3
    1. Life Is A Carnival
    2. Baby Let Me Follow You Down
    3. I Don't Believe You (She Acts Like We Never Have Met)
    4. Forever Young
    5. Baby Let Me Follow You Down (Reprise)
    6. I Shall Be Released
    The Last Waltz Suite:
    7. The Well
    8. Evangeline
    9. Out Of The Blue
    10. The Weight
    11. The Last Waltz Refrain
    12. Theme From The Last Waltz (with Orchestra)

    The Band
    $36.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Terry Riley: In C (Pure Pleasure) Terry Riley: In C (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Terry Riley: In C (Pure Pleasure)

    If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous--even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again.


    This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music -- ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music -- that can, and will, change your life.



    Musicians:



    • Terry Riley (conductor, saxophone, organ)

    • Margaret Hassell, Lawrence Singer (oboe)

    • Darlene Reynard (bass)

    • Jon Hassell (trumpet)

    • Jerry Kirkbride (clarinet)

    • David Shostac (flute)

    • Stuart Dempster (trombone)

    • Edward Burnham (vibraphone)

    • Jan Williams (marimba)



    Recording: 1968 at Columbia's 30th Street Studio, New York, by Fred Plaut and Russ Payne

    Production: David Behrman

    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. In C
    Terry Riley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sky Swimming Sky Swimming Quick View

    $17.99
    Buy Now
    x

    Sky Swimming

    Amelia Rivas and Christian Pinchbeck don't just sing about feverish, frayed and fractured romances - in the three years since forming elephant, they've been living one.


    It's fitting that sky swimming, their debut full length release is a seductive, night time delight of an album. After all, it was in the twilight hours of a may morning three years ago that Pontefract native Amelia Rivas and Bristolian Christian Pinchbeck met at a house party and in alcohol-soaked all-nighter sessions that sky swimming was written.


    A fibrous collection of songs about relationships - their own included, which broke down during the making of the album - hazy memories, twisted dreams, the metaphysical bleeding in to the physical - sky swimming - all trilling keyboards, swooping melodies, broken hip hop beats, looped strings and Amelia's uniquely curvy vocals - that makes you want to clamp your headphones tighter on your ears, letting you swim in its every detail and emotion. Influenced by everything from Toro y Moi to composer Angelo Badalamenti, everything but the girl to rap originators arrested development and Joe Meek's productions, it's an intensely varied listen.


    "the first time we worked together, I went round to his house in Peckham and didn't leave for 3 days. I barely knew him," Amelia remembers. "She turned up with some £10 casio she bought from a charity shop in France and the whole demo EP was made on that," recalls Christian. Elephant have grown beyond their lo-fi roots since then, with Andy Dragazis being drafted in on co-production duties, while retaining the emotional rawness of those early songs. Tracks vary from psyche-delving ballads about growing up - torn tongues and skyscraper ("I want to understand what's wrong with my brain," Rivas laughs), to the thrilling pop of elusive youth, a eulogy to a friend who "wears a city crown", to the everyday trials of being young and poor in London (see ants about Amelia's crumbling tooting bedsit and TV dinner, a paean to rubbish telly and cheap booze) and the heartbreaking title track sky swimming written in the eye storm of their relationship meltdown with the refrain "do your eyes turn blue before you cry, I see the blue in you".


    With winning appearances at Primavera and Eurosonic festivals behind them, not to mention support slots with cult hero Matthew E. White, under their belts, Elephant have in Sky Swimming one of the year's most seductive sounds. . "I flew to the moon to mirror you" sings Amelia on album closer Shapeshifter, with the sort raw melancholy that could only be cribbed from a blue valentine romance. "I saw the future." It should be a very bright future ahead for Elephant indeed.

    1. Assembly
    2. Skyscraper
    3. Allured
    4. Ants
    5. Elusive Youth
    6. Shipwrecked
    7. Torn Tongues
    8. Come To Me
    9. TV Dinner
    10. Sky Swimming
    11. Golden
    12. Shapeshifter
    Elephant
    $17.99
    Vinyl LP - Sealed Buy Now
  • At Her Majesty's Pleasure At Her Majesty's Pleasure Quick View

    $37.99
    Buy Now
    x

    At Her Majesty's Pleasure

    Gentlemans Pistols formed in 2003 as a three piece with initial influences being the classic glam bands, Slade and especially The Sweet and heavy 70s bands such as Deep Purple and Captain Beyond. In 2006, the band released their first 7, Just A Fraction b/w Heavy Petting on the Leeds based Art Goes Pop imprint. Soon after, Rise Above records released another 7 for the band with the tracks, The Lady b/w Creamy Lid which was followed a year later with self-titled debut album. The album was well received by the music press with Classic Rock giving it 8/10 and Metal Hammer scoring it 9/10, saying Put simply, there should be more bands like Gentlemans Pistols around.


    At Her Majestys Pleasure was produced by singer/guitarist James Atkinson and represents a labor of love, not to mention copious late nights, equipment malfunctions and frayed nerves. Despite developing a broadened musical palette including the use of strings and supplementary percussion, the recording nonetheless aimed to capture the band as they are in the raw, with little in the way of editing used. Indeed, what you hear on the record is how it was played, warts and all, with much of what is on the record captured within a couple of takes.


    The album was recorded at James own Mutiny studios in Bradford, where the band practices. They had completed demos of the LP by the end of 2009 and were looking forward to getting the real thing laid down in the New Year. Come February however, they were all ready to go into the studio. Unfortunately, it seemed to be the coldest it had been in a long time. Due to the studio being in an old mill building, warmth wasn't a luxury we were entitled to, laughs James. Undeterred by this, the band soldiered on.
    Despite quite a few issues with keeping the guitars in tune due to the temperature changes between rooms, most of the basic tracks were laid down relatively easily and by the end of Feb, they decided to take a little break before tackling the vocals and overdubs.


    The end result is a collection of storming and strutting rock that should have little problem in putting Gentlemans Pistols at the forefront of UK rock n roll.

    Side 1

    1. Living In Sin Again
    2. Comfortably Crazy
    3. Midnight Crawler
    4. Some Girls Don't Know What's Good For Them
    5. Your Majesty
    6. Into The Haze


    Side 2
    1. I Wouldn't Let You
    2. The Ravisher
    3. Sherman Tank
    4. Peeping Tom
    5. Feed Me To The Lions
    6. Lethal Woman

    Gentleman's Pistols
    $37.99
    Vinyl LP - Sealed Buy Now
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