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Time Takes Time'
Time Takes Time
First Time 180 Gram Audiophile Vinyl First Time Vinyl In North America
Impeccably Mastered By Joe Reagoso At Friday Music & Capitol Records
Manufactured On Limited Edition Translucent Green Vinyl At R.T.I.
First Time Gatefold Cover
Often considered one of his finest albums since the classic Ringo Lp from 1973, Time Takes Time would become one of the Ringo Starr's most loved works and one of the finer rock recordings of 1992. Featuring the hit single Weight Of The World, Time Takes Time would be the centerpiece of this Beatle's highly successful All Starr Band tour later that year and beyond.
Whenever the legendary Ringo Starr makes a record, there's always a little help from his superstar friends like producers Jeff Lynne, Don Was, Peter Asher and the late Phil Ramone, who all contributed their studio expertise into making Time Takes Time the stellar work that it is.
Along with musicians the caliber of The Beach Boys' Brian Wilson, the late great Harry Nilsson, Steely Dan's Jeff Baxter, and alternate rockers Jellyfish, Time Takes Time would soon become one of the more important albums of the year. While the hit single Weight Of The World became a Ringo Starr fan favorite immediately upon its release, more classics abounded as the rockin' Jeff Lynne produced classic Don't Go Where The Road Don't Go truly shines.
More heartfelt classics like All In The Name Of Love and the magical Don't Know A Thing About Love (penned by Heartbreaker Stan Lynch), as well as The Posie's Golden Blunders truly made this a wonderful listen from start to finish. As CD's were the format of choice in 1992, this fine recording was only released for a short time only in most parts of the world until now ..
Friday Music is very honored to announce the first time North American vinyl release of the Ringo Starr classic Time Takes Time. Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Records in Hollywood, CA, this amazing Lp also receives a first time 180 Gram Audiophile Translucent Green Vinyl release. Pressed at R.T.I., for a limited time, this super fine Ringo Starr album will also be housed in a first time gatefold cover which includes rare photos and lyrics not seen in years.1. Weight Of The World
2. Don't Know A Thing About Love
3. Don't Go Where The Road Don't Go
4. Golden Blunders
5. All In The Name Of Love
6. After All These Years
7. I Don't Believe You
9. In A Heart Beat
10. What Goes Around$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Time Takes TimeImport
180-Gram Audiophile Vinyl
25th Anniversary Of Ringo's 10th Album
Includes The Singles Weight Of The World And Don't Go Where The Road Don't Go
Featuring Jeff Lynne, Brian Wilson, Harry Nilsson, Andrew Gold (Wax), Jeff Baxter (Steely Dan), Mark Hart (Supertramp) & Many Other Guest Appearances
When The Beatles were formed in 1960, Ringo Starr was a member of another Liverpool group, Rory Storm and the Hurricanes. After achieving moderate success with that band, he quit and joined The Beatles in August 1962, replacing Pete Best. Starr played key roles in The Beatles' films and appeared in numerous others. After the break-up in 1970, Ringo Starr released several successful singles including the It Don't Come Easy, Photograph Back Off Boogaloo and You're Sixteen.
Ringo Starr achieved commercial and critical success with his 1973 album Ringo, which was a top ten release in several countries. He has been featured in a number of documentaries and hosted television shows. Since 1989, he has toured with twelve variations of Ringo Starr & His All-Starr Band.
Time Takes Time is the tenth studio album by Ringo Starr, released in 1992, his critically acclaimed comeback album. His first studio album since 1983's Old Wave, it followed a successful 1989-90 world tour with his All-Starr Band. Time Takes Time features several celebrity guests including Brian Wilson, Harry Nilsson and Electric Light Orchestra front man Jeff Lynne.
Many critics considered Time Takes Time Starr's best album since 1973's Ringo. Rolling Stone magazine wrote, The drummer's most consistent, wide-awake album since Ringo, from 1973.
Hot on the heels of the release of Ringo's latest album Give More Love, 2017 also marks the 25th anniversary of Time Takes Time. The album is now finally available again on vinyl.1. Weight Of The World
2. Don't Know A Thing About Love
3. Don't Go Where The Road Don't Go
4. Golden Blunders
5. All In The Name Of Love
6. After All These Years
7. I Don't Believe You
9. In A Heart Beat
10. What Goes Around$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Takes OffJefferson Airplanes Jet Age Sound reverberated throughout the ballrooms of San Francisco in 1966. Here, for the first time in nearly four decades, is their stratosphere-shaking debut album in its original uncensored form, taken from the original RCA Victor mono masters.1. Blues From an Airplane
2. Let Me In
3. Bringing Me Down
4. It's No Secret
5. Tobacco Road
6. Runnin' 'Round This World
7. Come up the Years
8. Run Around
9. Let's Get Together
10. Don't Slip Away
11. Chauffeur Blues
12. And I Like It$24.99Vinyl LP Mono - Sealed Buy Now
Early Takes Vol. 1Early Takes Vol. 1 features music from Martin Scorsese's acclaimed 2011 documentary on George Harrison entitled Living in the Material World. The 10-song set consists of Harrison's rare demos and early takes on such classic material as Bob Dylan's Mama You Been On My Mind and many songs that would appear on his solo 1970 masterpiece All Things Pass including My Sweet Lord, the Dylan/Harrison composition, I'd Have You Any Time, Awaiting On You All, Behind That Locked Door and the album's title track.1. My Sweet Lord (demo)
2. Run Of The Mill (demo)
3. I'd Have You Any Time (early take)
4. Mama You've Been On My Mind (demo)
5. Let It Be Me (demo)
6. Woman Don't You Cry For Me (early take)
7. Awaiting On You All (early take)
8. Behind That Locked Door (demo)
9. All Things Must Pass (demo)
10. The Light That Has Lighted The World (demo)$19.99Vinyl LP - Sealed Buy Now
UNIM-FUL-5566xErland & The Carnival
Closing TimeWhen unassuming young Orkney music-maker Erland Cooper picked up his guitar and travelled the length of the country to play a show in London's
Notting Hill, little did he know that a chance encounter with musical veteran Simon Tong (The Verve, The Good The Bad & The Queen, and Gorillaz)
would be the start of a unique songwriting friendship. Together they formed Erland & The Carnival and now, nearly a decade later, arrives Closing Time -
the band's third, most accomplished album yet.
Opening a new chapter, Closing Time is an understated, inward looking collection of songs that feature stunning string arrangements and Erland's
impassioned vocals at centre stage. But rather than the modern folk adaptations of traditional songs, children's poems, and ancient literature on the
band's earlier albums or the pair's recent conceptual folklore project The Magnetic North, this time the band tell tales of a more personal nature.
"Previously we didn't know what we wanted to say or how to say it and would use stories and direct references to help us get to a place we could feel
secure," admits Simon. Erland adds; "in making this record we discarded an album's worth of material that sounded like the first two albums. We wanted
to make something different - doing another Jackson C Frank cover wasn't an option."
Above all, Closing Time is the very first time the listener can truly hear the wholly collaborative process that is Erland & The Carnival. Lyrical and musical
duties have always been shared, yet here the combined creativity of the pair's working friendship is only solidified with Erland taking a more 'hands on'
approach to production. The string arrangements, brought about by the album's unashamed twisted and selfish love song 'Quiet Love', were scored by
Simon before being recorded by a quartet in his living room later that week.
Recorded in Damon Albarn's studio13 with previous Erland & The Carnival engineer Steve Sedgewick and mixed by London Grammar producer Tim Bran
with Paul Weller guesting on two tracks. Despite creating more than 40 songs in the process of writing the album ("Some of the song melodies and ideas
on this may have even been written when I was 21 to be honest. 'Hopeless' certainly was," admits Erland), it was a brilliantly spontaneous and productive
time taking just over 3 days to come to fruition. "We learnt to be incredibly disciplined" tells Simon. "It feels like pruning a tree - when you cut away the
needless and weaker branches, what you get is something much fresher and stronger coming through."1. Closing Time
3. Quiet Love
4. I Am Joan
6. Is It Long 'Til It's Over?
7. Birth Of A Nation
8. That's The Way It Should Have Begun (But It's Hopeless)
9. They're Talking About You Again
10. Daughter$18.99Vinyl LP - 2 LPs Sealed Buy Now
Lost TimeIt's been 12 years since the initial release of what would be the very last album by the late Minneapolis based
Aptly titled, Lost Time, this last epic perfectly defines and captures how great this band was and how
truly ahead of their time its members were. Not only that but for its city, a city fueled on such great
music, both 12 Rods and this record have gone down as one of Minneapolis' finest.
When musicians that I know gather, sit and talk about the greats, Ryan Olcott always comes up. It's
very hard to try and calculate how deep Olcott's genius goes, when at the time, it felt as if the music
12 Rods was making was in fact from the future. There is the 'Pop' music that is defined by paid-toplay
radio, and the corporate avenues of selling music as a product instead of a
natural commodity. But then there is the 'Pop' music that seems handed down, majestically, true,
whole and unifying. There's little music and even fewer complete albums that live up to such 'Pop'
majesty. Lost Time is one.
At the time of its release, 12 Rods was in its final form, which included Ryan Olcott and his brilliant
brother/engineer/producer Ev Olcott, sought after bassist Bill Shaw, and one of the best living
drummers in the world today, Dave King. Lost Time was 12 Rods fifth studio album but their first
after being dropped from the deathly heights of mainstream music's claws.
The band was signed by V2 records in the late '90s and were poised to be the next big 'Rock'
band. And so when you think back to 2002, the year Lost Time was released, or even two years prior
when 12 Rods released its fourth studio album, the Todd Rungren-produced, V2-
botched Separation Anxieties, you must consider the landscape of 'Rock' music. Like, the popular
bands that were on MTV. Lit was one of those hugely popular rock bands that wrote catchy
songs about putting hearts in zip-lock bags and had a logo identical to Miller Lite with just the e
taken off. Though, regardless of aesthetic choices, this goes to show the disparity between what 12
Rods actually was and what the industry wanted them to be. It's not that they openly defied their
calling. No, it's just that the music was simply too advanced to be contained in the industries 'Rock
'n Roll' zip-lock.
Lost Time is one of my most listened to albums of all time. It's one of the only records I know of that
is so full of hooks, yet never feels recycled or fake; it's just so fucking enjoyable from stem to
stern. And now with its first ever vinyl pressing, I hope that this album can be as much a companion
to you as it has for me. Solo listen, party listen, how can it be both? It just is.
With this reissue, it means that Lost Time won't be lost at all - that great things always make their way
through, even if it takes a decade.
- Justin Vernon1. Universal Time
2. Fake Magic 8-Ball
3. Twenty Four Hours Ago
4. One Thing Does Not Belong
5. Boy In The Woods
6. Summertime Vertigo
7. Accidents Waiting To Happen
8. Terrible Hands
9. The Time Is Right (To Be Wrong)
11. Telephone Holiday$17.99Vinyl LP - Sealed Buy Now
Past TimeBassist/vocalist, Hannah Lew, drummer/vocalist, Lillian Maring and guitarist/vocalist,
Raven Mahon chose the name for their San Francisco-based three-piece as a way to
represent the approach they take to writing music. The phrase is rooted in 17th century
literature; commonly referring to a woman whose husband is away at sea, but the visual
associations of each word also provides an opportunity to interpret meaning on multiple
levels. We write lyrics about very personal and often dark subjects, but present the
ideas in a way that disguises the content within metaphor and upbeat instrumentation.
Influenced by similarly all-female punk and post-punk acts like The Neo Boys and
Kleenex, they also note Roy Wood's The Move and The Kinks as a major source of
inspiration, which can be heard in their three-part harmonies, complex arrangements
and odd chord progressions. Grass Widow is also influenced by a legacy of women
who have paved the way through their music and politics. Their collaborative
songwriting process, the fact that they don't have a front person and that they all equally
contribute to the work of the band speaks to this philosophy. In addition, they take the
opportunity as an all female band to bring attention to the roles of spectacle and
spectator in their scene and make a conscious effort to play shows where women are
In a statement from the band: We want to thrive in our scene as musicians, with a
focus on our musicianship first, not our gender. Our goal is to normalize the role of
gender in our craft and have an avenue to express our intelligence and our love of
music. We acknowledge that movements of the past created by or affecting women in
the art and music worlds are hugely influential, but there is potential for the original
sentiments to lose potency if the meaning is misinterpreted or not redesigned for a
modern context. Even the riot grrl movement is kind of antiquated. You never really
hear people talk about that 'new riot grrl' band. We owe a great deal to that lineage but
it's time for something new. We want to be portrayed as the responsible, thoughtful
people that we are.1. Uncertain Memory
3. 11 of Diamonds
4. Give Me Shapes
5. Old Disguise
6. Fried Egg
9. Strangers Come
10. Tuesday$14.99Vinyl LP - Sealed Buy Now
Hold TimeHold Time is an eloquent and startlingly beautiful album. While past critics have compared him to everyone from John Fahey to Tom Waits to his old friend Howe Gelb, with Hold Time it's clear that M. Ward, with his brilliant guitar playing and innate sense of melody, is one of those rare and special talents who defy comparisons and compartmentalization. Over the past few years, Ward has found an ever-increasing and dedicated audience; his last three albums, Transfiguration of Vincent, Transistor Radio and Post-War, have struck a singular chord among music fans. His deft guitar picking, bar room piano, and voice like drizzled honey make him a huge favorite of music critics and the focus of public praise from such disparate talents as Norah Jones and Oasis' Noel Gallagher, the former taking him on a global tour as her sole support act. In 2008, he was also part of the duo known as She & Him, a project he began with Zooey Deschanel. The duo's debut album, Volume One, was produced by M. Ward and has enjoyed international success. Like a true American treasure, M. Ward cuts his own groove while music fans continue to fall under his whispered spell.1. For Beginners
2. Never Had Nobody Like You
4. Hold Time
5. Rave On
6. To Save Me
7. One Hundred Million Years
8. Stars Of Leo
9. Fisher Of Men
10. Oh Lonesome Me
12. Blake's View
14. Outro$19.99Vinyl LP - Sealed Buy Now
The Embers Of TimeA talent to outrank Ryan Adams or Conor Oberst - Uncut
He's found a way to encapsulate all the dichotomies of life and make them work within the confines of a three-minute pop song. - Popmatters
"It's my surreal expat therapy record," observes Josh Rouse about his new LP, The Embers of Time. A career peak, The Embers of Time takes inspiration from his self-admitted crisis of confidence and bouts with existential psychotherapy in his adopted home of Valencia, Spain.
The 10-song collection of originals contains some of Rouse's most beautiful arrangements and complex songwriting to date. First song and lead single "Some Days I'm Golden All Night" channels Glen Campbell-style Countrypolitan pop mastery through 'Self Portrait'-era Dylan confessional lyrics.
Rouse has been called "one of contemporary music's most engaging singer-songwriters" (NPR) as well as "a talent to outrank Ryan Adams or Conor Oberst" (Uncut), and with The Embers of Time he opens a new chapter in his lauded career. He split time recording the album between Valencia and Nashville, and enlisted Brad Jones (Justin Townes Earle) as producer. The record moves from the hushed twang of "Time," where Josh recalls a stepfather who died too young and muses about his own mortality, to the deceptively sunny album closer "Crystal Falls," which recounts a rare period of solace from his itinerant childhood. "In Crystal Falls I made a few good friends," he sings. "It was just another stop. I never saw them again."
Originally hailing from rural Nebraska, Rouse has carved out a distinguished career as a top-tier musician. His last record, 'The Happiness Waltz' earned unanimous praise, with AllMusic calling it "absolutely beautiful, like 10cc producing Al Green."1. Some Days I'm Golden All Night
2. Too Many Things On My Mind
3. New Young
4. You Walked Through The Door
6. Pheasant Feather
7. Coat For A Pillow
8. Worried Blues
9. Expat Blues
10. Crystal Falls$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Order Of TimeValerie June's highly anticipated second album, The Order of Time, is set for release via Concord Records. On this enthralling and illuminating leap forward, the Tennessee-bred, Brooklyn-based songwriter weaves electric blues, African rhythms, cosmic atmospherics and delicate soul into an inventive and wholly original rumination on love, family, struggle and the passing of time. Produced by Matt Marinelli (Bad Brains), The Order of Time features twelve original songs all written by June.
Musically, June has refined and expanded her sound on the new album finding space from her previous work in its artful, self-assured restraint and overall cohesion. The collection's finely sketched character studies brim with richness and detail while June's ethereal, wide-open soundscapes provide a sterling backdrop for her remarkable Southern gospel and honey voice. Lyrical touch points such as 'dancing shadows,' 'hot suppers,' 'curious neighbors,' and 'holy water' draw the listener in and root these songs with density and weight.
The "inevitability of change" and "time as the ruler of Earth's rhythm," is the album's foundation, explains June. "And the knowledge that with resilience and faith things can work out."
"Long Lonely Road" is a reflective and somber lament as June's voice reverberates over ringing guitar and unhurried drums, whereas the entrancing blues of "If And" internalizes regret in the face of time's relentless churn. On the spiritual "Astral Plane," June's mystical vocal takes an otherworldly turn, whereas the sumptuous string arrangement on "With You," is reminiscent of Nico's most affecting work. Norah Jones adds her distinctive vocals to three tracks and "Shake Down" sparkles with background vocal contributions from her father, Emerson Hockett and brothers, Patrick and Jason Hockett.
The Order of Time follows June's 2013 breakout LP, Pushin' Against a Stone that established her as one of America's "most intriguing, fully formed new talents" according to the New York Times. She garnered praise from NPR, "a singular performer" and New York Magazine, "a powerful singer and a blunt, bruising songwriter." June also made memorable appearances on The Late Show with David Letterman, CBS Saturday Morning, Rachael Ray, and Austin City Limits. She has toured with Sharon Jones & the Dap Kings and Sturgill Simpson, and performed at Newport Folk Festival, Carnegie Hall, and much more.1. Long Lonely Road
2. Love You Once Made
3. Shake Down
4. If And
5. Man Done Wrong
6. The Front Door
7. Astral Plane
8. Just In Time
9. With You
10. Slip Slide On By
11. Two Hearts
12. Got Soul$21.99Vinyl LP - Sealed Buy Now
Killing Time (Discontinued)Killing Time is the debut album from the San Francisco, CA trio Terry Malts consisting of Corey Cunningham (guitar, backing vocals), Phil Benson (bass guitar, lead vocals) and Nathan Sweatt (drums, backing vocals). Displaying a slick, intelligent take on modern chainsaw pop, Killing Time certainly lives up to its name! Their heads-down live shows and immaculate power-pop songwriting have made this irreverent punk trio one of the most talked about up and comers. Mashing up the best bits from such stellar forebears as The Undertones, Buzzcocks and Descendents, Terry Malts haven't forgotten their roots or the fact that one of the key elements of punk has always been the pursuit of having a good time at all costs.1. Something About You
2. Not Far From It
3. Where Is The Weekend?
4. Tumble Down
5. No Sir, I'm Not A Christian
6. Waiting Room
7. I'm Neurotic
9. Mall Dreams
10. No Good For You
11. I Do
12. What Was It
13. Can't Tell No One
14. No Big Deal$14.99Vinyl LP - Sealed Buy Now
Time To Go HomeChastity belt is a rock band consisting of four friends - guitarists Julia Shapiro and Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. They met in a tiny college town in eastern Washington, but their story begins for real in Seattle, that celebrated home of Macklemore and the twelfth man. Following a post-grad summer apart, a handful of shows and enthusiastic responses from the city's diy community led them, as it has countless others, into a cramped practice space. They emerged with a debut album, No Regerts, sold it out faster than anyone involved thought possible, and toured America, a country that embraced them with open-ish arms. Now they're back and the tab is settled, the lights are out, the birds are making noise even though the sun isn't really up yet: it's time to go home, their second long-player and first for hardly art. In the outside world, they realized something crucial: they didn't have to play party songs now that their audience didn't consist exclusively of inebriated 18-22 year olds, as it did in that college town. Though still built on a foundation of post-post-punk energy, jagged rhythms, and instrumental moves that couldn't be anyone else's, the songs they grew into in the months that followed are equal parts street-level takedown and gray-skied melancholy. They embody the sensation of being caught in the center of a moment while floating directly above it; shapiro's world spins around her on on the floor, grounded by Grimm and Truscott's most commanding playing committed to tape. They pay tribute to writer Sheila Heti on drone and John Carpenter with the thing, and deliver a parallel-universe stoner anthem influenced by electrelane with joke. recorded by JosÉ Díaz Rohena at the unknown, a desecrated church and former sail factory in anacortes, and mixed with a cathedral's worth of reverb by Matthew Simms (guitarist for legendary british post-punks and one-time tourmates Wire), time to go home sees Chastity Belt take the nights out and bad parties of their past to their stretching points, watch the world around them break apart in anticipatory haze, and rebuild it in their own image with stunning clarity before anyone gets hungover.1. Drone
3. Why Try
4. Cool Slut
5. On the Floor
6. The Thing
10. Time To Go Home$15.99Vinyl LP - Sealed Buy Now
Time And The RiverTime and The River is a brand new album from Jazz saxophonist David Sanborn. It is his first collaboration in the studio with producer and bass player Marcus Miller in over fifteen years. Through the years, the two have worked together on a number of records, winning five Grammy Awards and their albums went Gold multiple times.
In his three-and-a-half-decade career, Sanborn has released 24 albums, won six Grammy Awards and has had eight gold albums and one platinum album. He continues to be one of the most highly active musicians of his genre. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975 and has worked extensively as a session musician, notably on David Bowie's Young Americans (1975).
Time and The River is a groove oriented jazz album, with funky beats and beautiful ballads where Sanborn can show the emotional side of his legendary saxophone skills. Additional credits go to Roy Assaf, Justin Mullens, Tim Vaughn, Ricky Peterson, Javier Diaz, Marcus Baylor, Larry Braggs, Randy Crawford.1. A La Verticale
2. Ordinary People
4. Can't Get Next To You feat. Larry Braggs
5. Oublie Moi
6. Seven Days Seven Nights
7. Windmills of Your Mind feat. Randy Crawford
8. Spanish Joint
9. Overture (from The Manchurian Candidate)$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Construction Time AgainThe full addition of Alan Wilder to Depeche Mode's lineup created a perfect troika that would last another 11 years, as the combination of Martin Gore's songwriting, Wilder's arranging, and David Gahan's singing and live star power resulted in an ever more compelling series of albums and singles. Right from the album's first song, Love in Itself, something is clearly up; Depeche never sounded quite so thick with its sound before, with synths arranged into a mini-orchestra/horn section and real piano and acoustic guitar spliced in at strategic points. Two tracks later, Pipeline offers the first clear hint of an increasing industrial influence (the bandmembers were early fans of EinstÜrzende Neubauten), with clattering metal samples and oddly chain gang-like lyrics and vocals. The album's clear highlight has to be Everything Counts, a live staple for years, combining a deceptively simple, ironic lyric about the music business with a perfectly catchy but unusually arranged blending of more metallic scraping samples and melodica amid even more forceful funk/hip-hop beats. Elsewhere, on Shame and Told You So, Gore's lyrics start taking on more of the obsessive personal relationship studies that would soon dominate his writing. Wilder's own songwriting contributions are fine musically, but lyrically, preachy puts it mildly, especially the environment-friendly The Landscape Is Changing.
- Ned Raggett (All Music Guide)1. Love, In Itself
2. More Than A Party
4. Everything Counts
5. Two Minute Warning
7. The Landscape Is Changing
8. Told You So
9. And Then...
10. Everything Counts (Long Version)$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
It Takes A Nation Of Millions To Hold Us Back (Awaiting Repress)Ranked 78/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time.
I hated that record, said Public Enemy's Chuck D. Believe it or not, he's referring to Bring the Noise, the frenetic first track of It Takes a Nation of Millions to Hold Us Back, the group's 1988 agit-rap masterpiece and breakthrough album. Public Enemy had recorded the song in October 1987 for the soundtrack of the forgettable Less Than Zero. When Chuck (a.k.a. Carlton Ridenhour) first heard the final version, he said, I practically threw it out the window.
He changed his mind later that year when Public Enemy were on tour in England. I kept hearing people ask, 'What's this record you've got out? People are going crazy over it,' he remembered. I was like 'OK, pull that acetate out, and let's play it [in concert].' People went berserk.
Bring the Noise, along with Rebel Without a Pause and Don't Believe the Hype - all conceived in 1987 at the group's Hempstead, Long Island, studio, Spectrum City - would become the foundation of It Takes a Nation of Millions, an album that's loud, obnoxious, funky, avant-garde, political, uncompromising and hilarious all at once. Chuck may have been disgruntled over Bring the Noise, but he always liked Rebel Without a Pause, the track that introduced Public Enemy's trademark sirenlike horn squeals. Hank Shocklee of PE's production team, the Bomb Squad, says that Rebel started out as a response to Eric B. and Rakim's I Know You Got Soul. We were going for something that had the same feel but with more aggression, Shocklee said. Because we were angry.
For Rebel, PE coupled piercing squeals (a snippet from the J.B.'s' The Grunt played backward) with James Brown's Funky Drummer (Because that song was my milk, said Shocklee). Then it fell on Chuck to write the lyrics. I remember locking myself in the house for 24 hours, Chuck said. He emerged with verses that emulated Rakim's off-the-rhythm flow but stayed true to his own booming-baritone persona (Soul, rock & roll, comin' like a rhino); Chuck also dropped the name of black activist Joanne Chesimard, hinting at the political direction that his rhymes would soon take.
Don't Believe the Hype, recorded just before Bring the Noise, was Chuck's first foray into full-fledged polemics, in this case against the media. The lyrics were inspired by a slight against Chuck by New York-area radio DJ Mr. Magic. PE had serious doubts about that song, too. We thought 'Hype' was just garbage, said Shocklee. Again, they saw the response the song got when DMC (of the group Run-DMC) blasted the track out of his Bronco in Harlem on a Saturday night. The whole block was grooving to it, says Shocklee.
In January 1988, it all fit together. You had the combination of the noise from 'Rebel,' says Chuck, the tempo of 'Bring the Noise' and the subject matter of 'Don't Believe the Hype.' It set off Takes a Nation pretty nice.
- Rolling StoneLP 1
1. Countdown To Armageddon
2. Bring The Noise
3. Don't Believe The Hype
4. Cold Lampin' With Flavor
5. Terminator X To The Edge Of Panic
6. Mind Terrorist
7. Louder Than A Bomb
8. Caught, Can We Get A Witness?
1. Show 'Em Whatcha Got
2. She Watch Channel Zero?!
3. Night Of The Living Baseheads
4. Black Steel In The Hour Of Chaos
5. Security Of The First World
6. Rebel Without A Pause
7. Prophets Of Rage
8. Party For Your Right To Fight$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
ADAD-DEA-8411xBear In Heaven
Time Is Over One Day OldBear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral
relationship to time and its processes.Where invulnerability and ambition can support you as you grow,
at some point they become dead weight, and being true to yourself means casting them off,starting anew.
This plays out as a powerful analogy for the band across the arc of it's career.
They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this
band.They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative
beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely
arranged and glistening.Jon Philpot's high,smooth,strong voice is so tightly wound into the music that
it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives,the
interactions with the world that are both difficult to express and anathema in daily conversation.
While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's
Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth(2009)was a pivotal record
that still feels important,seductive and intense.On their 2012 LP I Love You, It's Cool the structural and
musical ideas are challenging, and masterfully developed. For Time is Over One Day Old,we witness the
band once again turning their gaze inward and prioritizing their evocative abilities in line with or even
slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's
Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times,
louder than their others; it feels personal and direct."If I Were To Lie"places Wills' bass groove front and
center,"Demon" is riveting and propulsive in spite of its dark pointed lyric, and"They Dream"dissolves
into three and a half minutes of deeply satisfying ambient synth work in its second half.Wills has always
been the bands anchor, providing rock solid,rhythmic bass lines and guitars that blur the boundaries of
Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts
through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release.
This album isn't about being dark, it's about releasing darkness and frustration.
When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses.
Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that
which is merely impressive and to concentrate on simply what is crucial.For Philpot this is about making
something lasting. "A lot of shedding, getting rid of layers and preconceptions breaking up with old
ways of thinking, old ways of being, starting to look at this thing in a new way and finding something
positive."The result is a record that will stay with you.1. Autumn
2. Time Between
3. If I Were To Lie
4. They Dream
5. The Sun and The Moon and The Stars
6. Memory Heart
8. Way Off
9. Dissolve The Walls
10. You Don't Need The World$18.99Vinyl LP - Sealed Buy Now
Bite Down Hard / Impact TimeColored Vinyl
EXIT CONDITION were one of the finest and first of the UKHC melodic hardcore bands from the Eighties. Now Boss Tuneage gives their back catalogue a more comprehensive overview across three limited vinyl LP reissues and two CD reissues. Bite Down hard/Impact Time is the first of the releases, a 23 track limited edition vinyl LP retrospective taking in the bands recorded output of 1988 and 1989 and features many tracks that have never been released on vinyl before or have been out of print for two decades!. The album contains the original Impact Time demo from 1988 that led to the bands debut Bite Down Hard 7EP released by Pusmort in 1989, plus six tracks recorded in 1988/1989 that appeared on various compilation LPs at the time plus a track, To The Rescue that has remained criminally unreleased to this point. With all tracks being digitally remastered, and the release containing liner notes from drummer Richard Stanier, plus photos and memorabilia from the bands personal collection, this is a must have release for fans of the whole UKHC scene.1. TWISTED TRACKS
2. FAST FORWARD
3. STOP AT NOTHING
4. WHITE COLLAR WITCH
5. SKATE HERO
6. FEAR FOR TOMORROW
8. BITE DOWN HARD
9. DIRECT HIT
10. NEEDLE ON RED
11. 10,000 LIGHTS
12. BITE DOWN HARD
13. BLOOD FROM A STONE
14. NEEDLE ON RED
15. STOP AT NOTHING
16. DIRECT HIT
17. FEAR FOR TOMORROW
18. A NEW BEGINNING
19. TO THE RESCUE
20. DAYS OF WILD SKIES
21. WALK FREE
23. 10,000 LIGHTS$34.99Colored Vinyl LP Reissue - Sealed Buy Now
Playin' In Time With The DeadbeatPlayin' In Time with the Deadbeat is Slug Guts' third LP and the follow up to last years critically acclaimed Howlin' Gang. The album sees the band release a record that sounds menacingly desperate, ugly and malnourished. The 12-song offering was written and recorded during a particularly turbulent year for Slug Guts during which they toured the US, Japan, and Australia, released a live album, and numerous singles. This album draws on Australia's rough and agitated pub rock history, taking dregs from Australian cult icons Feedtime and Venom P Stinger.
Playin' In time With The Deadbeat was written during a year which saw members of this seven piece endure trips to the mental hospital, jail, court trials, death, rehab, and bouts of violence following thousands of kilometers spent in a van. From the cacophonous gallop of opening track "Scum," to the hit single potential of "Adult Living," it is quite clear that the band has grown leaps and bounds as both songwriters and musicians alike. Despite personal setbacks and numerous tragedies, Playin' In Time With The Deadbeat is the definitive Slug Guts album to date; a focused, damaged and unique opus!1. Scum
2. Old Black Sweats
3. Suckin' Down
4. Moving Heat
5. Order of Death
6. Adult Living
7. Black Sports
8. Playin' In Time With The Deadbeat
9. Glory Holes
10. Stranglin' You Too
11. Blonde Hairs
12. Do You Wanna Hang Right There?$18.99Vinyl LP - Sealed Buy Now
4eva Is A Mighty Long TimeFeatures Confetti and Keep the Devil Off (Take 1). The album is the long-awaited follow-up to his 2014 release Cadillactica.LP 1
1. Big K.R.I.T.
3. Big Bank (ft. T.I.)
4. Subenstein (My Sub IV)
5. 1999 (ft. Lloyd)
6. Ride Wit Me (ft. Bun B & Pimp C)
7. Get Up 2 Come Down (ft. CeeLo Green & Sleepy Brown)
9. Classic Interlude
10. Aux Cord
11. Get Away
1. Justin Scott
2. Mixed Messages
3. Keep The devil Off
4. Miss Georgia Fornia (ft. Joi)
6. Higher Calling (ft. Jill Scott)
7. Weekend Interlude
8. Price Of Fame
9. Drinking Sessions (ft. Keyon Harrold)
10. The Light (ft. Bilal, Robert Glasper Jr., Kenneth Whalum, Burniss Earl Travis II)
11. Bury Me In Gold$25.99Vinyl LP - 2 LPs Sealed Buy Now
Take Whatever You WantEmily Estefan's upcoming debut LP, Take Whatever You Want, is set to release in 2017 via RED Distribution and her own label, Alien Shrimp Records.
About the album, Estefan says, "This album captures a very specific time and energy in my life. It tells a musical tale about a girl who grew up listening to a lot of different music. It's journey on which little by little I found myself."
Growing up surrounded by music, Emily naturally developed a deep passion for the craft at a very young age. That passion grew as she did. Through hard work and dedication, she graduated from Boston's prestigious Berklee College of Music in May 2016, earning a degree in contemporary writing and production.1. Ask Me To
2. Reigns (every night)
4. Purple Money
5. F#ck to Be
6. It's OK
7. Dream Catcher
8. Drink Me In
10. I Don't Mind
11. Left By Home
12. Take 5
13. Whatever You Want
14. Si Lo Pides Tu$19.99Vinyl LP - Sealed Buy Now
Take A PictureTake a Picture blends Margo's infectious and highly intelligent songcraft with her absolutely unique voice - equal parts girl group innocence and seductive torch. One of the most endearing and delicious soft rock records from its era, here's an impeccable Sundazed vinyl reissue of this '68 masterpiece, direct from the original masters.
Margo Guryan is the most original songwriter that I've ever produced, and also something of an enigma. Underneath it all, she's a schooled composer, but she writes moving pop songs. She writes from her heart, but also from her head.
- John Hill, album producer
When Margo heard God Only Knows for the first time, she dropped everything. Steeped in learnings of jazz and composition, Margo was shaping her musical self in 1966, and Pet Sounds was just what she wanted to hear. Inspired, and working in the glow of Brians masterpiece, Margo began work on Take A Picture. Its a beautiful lost gem. I love this album dearly. The first thing to notice is Margos voice, a unique upper register whisper. But when it starts off you say whoa, what is this? as Sunday Morning sounds like a garage funk band with studio musician talents. The albums production is wonderful in that it is so expert, but never showy. This is one of the most laid back albums Ive heard. Another sunday morning staple....Its jazz, slightly psych pop, with all the ornaments of the Pet Sounds orchestra. A brilliant record...
-The Rising Storm1. Sunday Morning
3. Love Songs
5. Don't Go Away
6. Take a Picture
7. What Can I Give You?
8. Think of Rain
9. Can You Tell
10. Someone I Know
11. Love$24.99Vinyl LP - Sealed Buy Now
Take Ten (Speakers Corner)
No, not Take Five but Take Ten is the title of this LP and its very first number. Certainly this should be taken as a hint that it was not Dave Brubeck but Paul Desmond who was the composer of this 'million seller'. At the recording session, the guitarist Jim Hall was more than a substitute for the piano - he contributed to the quartet a whole new sound colouring which was tinged with the influences of bossa nova.
The numbers are all easy-going and airy, the melodic lines and sound are filled with transparency. All the while one is curious as to the clear part-writing, and the wealth of ideas emanating from the soloists. This does not only apply to the old favourites Alone Together, Nancy and The One I Love, all three of them arrangements made ad hoc in the studio and which demonstrate how familiar the musicians were with one another, how they listened to one another, answered, and kept the dialogue flowing. The atmosphere is relaxed, and this conveys itself to the listener even after almost half a century.
RCA's recording and reproduction technology was ahead of its time. The music of these South-American-sounding gems comes out of the loudspeakers with brilliance, clarity and - at last - without the frustrating crackle of a second-hand LP.
- Paul Desmond (alto saxophone)
- Jim Hall (guitar)
- Gene Cherico, Gene Wright (bass)
- Connie Kay (drums)
Recording: 1963 in Webster Hall, New York, by Ray Hall
Production: George Avakian
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Take Ten
2. El Prince
3. Alone Together
5. Theme from ''Black Orpheus''
6. Nancy (With the Laughing Face)
7. Samba de Orfeu
8. The One I Love (Belongs to Somebody Else)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Take The Kids Off BroadwayFoxygen is the young bi-coastal songwriting duo of vocalist Sam France of Washington state and guitarist/keyboardist Jonathan Rado of New York. They are the raw, de-Wes Andersonization of The Rolling Stones, Kinks, Velvets, Bowie, etc. that a whole mess of young people desperately need. At the same time, they pull a very Anderson-type move wherein they paint an impressionistic and hyper-real (and instantly recognizable) portrait of specific places and times, and blurring the lines between time and place.
Yet, it never comes across as anything but absolutely modern music. They bring the freewheeling qualities of someone like Ariel Pink to those aforementioned influences to make for one of the most refreshing listens of the year. They are the real deal and total savants. Jagjaguwar is proud to introduce you to Foxygen and their bedroom masterpiece Take the Kids Off Broadway mixed by Richard Swift. The album is an intriguing, bedroom-recorded prelude to their Swift-produced full-length planned for late 2012.1. Abandon My Toys
2. Make It Known
3. Take The Kids Off Broadway
4. Waitin' 4 U
5. Teenage Alien Blues
6. Why Did I Get Married?
7. Middle School Dance (Song For Richard Swift)$15.99Vinyl LP - Sealed Buy Now
Take Me To The AlleyLiquid Spirit - which followed Porter's critically-acclaimed and GRAMMY-nominated albums Water (2010) and Be Good (2012) - was released in the Fall of 2013 and quickly grew into a global phenomenon, selling a million albums worldwide and becoming the most streamed jazz album of all-time with over 20 million streams. The album sold Platinum in the U.K. and Germany, and in the U.S. Porter made his first-ever national TV appearances on The Tonight Show and Jimmy Kimmel Live while ESQUIRE and NPR Music both declared him "America's Next Great Jazz Singer." Liquid Spirit also won Porter his first GRAMMY Award in 2014 for Best Jazz Vocal Album while also earning him a Best Traditional R&B Performance nomination for his affecting ballad "Hey Laura."
In the Fall of 2015 Porter finally found the time to return to the studio in New York City to record Take Me To The Alley. As he's done on his previous three albums, Porter teamed with producer Kamau Kenyatta to craft a collection of stirring originals that juxtapose the personal and political. His partnership with Kenyatta started in the mid-1990s when he was a student at San Diego State University (Porter began his college years playing football on a full athletic scholarship before a shoulder injury diverted him into a music career). It was through Kenyatta's mentorship that Porter's professional musical career began.
Reinforcing their well-honed rapport is the return of Porter's core accompanying musicians - pianist and music director Chip Crawford, bassist Aaron James, drummer Emanuel Harrold, alto saxophonist Yosuke Sato, and tenor saxophonist Tivon Pennicott. Singer Alicia Olatuja, trumpeter Keyon Harrold, and organist Ondrej Pivec also make appearances throughout.1. Holding On
2. Don't Lose Your Steam
3. Take Me To The Alley
4. Day Dream
5. Consequence of Love
6. In Fashion
7. More Than A Woman
8. In Heaven
10. Don't Be A Fool
11. Fan The Flames
12. French African Queen$25.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now