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  • in.ter a.li.a (Awaiting Repress) in.ter a.li.a (Awaiting Repress) Quick View

    $20.99
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    in.ter a.li.a (Awaiting Repress)

    Pressed On 180-Gram Colored Vinyl


    The music industry sees artists come and go on a regular basis. Plans change, life gets in the way and bands fade away. Occasionally we're lucky enough to see an important band return from their silence: enter At The Drive In. While At The Drive In was quiet, the members (Omar Rodriguez-Lopez, Cedric Bixler-Zavala, Tony Hajjar and Paul Hinojos) were incredibly busy, selling millions of albums, winning Grammys and putting out a lot of quality music with their other projects (The Mars Volta, Antemasque, Gone Is Gone and many more).


    After a 15 year break, the band returned to the studio to create the follow-up to 2000's Relationship of Command. It's the moment fans have been waiting for since their return to the stage as 2012 Coachella and Lollapalooza headliners prepare for in·ter a·li·a. Produced by the band's own Omar Rodriguez-Lopez and Rich Costey (Muse, Sigur Rós, Santigold), in·ter a·li·a includes eleven songs that resonate the classic At The Drive In intensity that fans love, while breaking the band's 15-year drought with something fresh and exciting, that slides right into 2017.


    Their impressive catalog has earned At The Drive In positions on the Billboard Top 200 chart, spots on various "Greatest Albums" lists, and performances on David Letterman, Jools Holland, Conan O'Brien and more. This album is sure to provide nothing less. The band will be touring throughout 2017 to support this release, as well as perform on late night television. The silence is finally broken resume transmission.

    1. No Wolf Like The Present
    2. Continuum
    3. Tilting At The Univendor
    4. Governed by Contagions
    5. Pendulum In A Peasant Dress
    6. Incurably Innocent
    7. Call Broken Arrow
    8. Holtzclaw
    9. Torrentially Cutshaw
    10. Ghost-Tape No. 9
    11. Hostage Stamps
    12. Call Broken Arrow
    13. Holtzclaw
    14. Torrentially Cutshaw
    15. Ghost-Tape No. 9
    16. Hostage Stamps
    At The Drive-In
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Relationship Of Command (Awaiting Repress) Relationship Of Command (Awaiting Repress) Quick View

    $24.99
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    Relationship Of Command (Awaiting Repress)

    Relationship Of Command is considered to be by many, the 'seminal' album ofthe post-punk era. This is an album that Changed the course of music history, and if you ask most musicians, they'd point to Relationship Of Command as a game changer in their musical upbringing. At The Drive-ln set the template for ferocious underground statements. Through their incendiary live performances, At The Drive-ln definitively proved that a single spark can start a spectral fire.
    1. Arc Arsenal
    2. Pattern Against User
    3. One Armed Scissor
    4. Sleepwalk Capsules
    5. Invalid Litter Dept.
    6. Mannequin Republic
    7. Enfilade
    8. Rolodex Propaganda
    9. Quarantined
    10. Cosmonaut
    11. Non-Zero Possibility
    12. Extracurricular
    13. Catacombs
    At The Drive-In
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Marantz TT42P Turntable (Built In Phono Preamp) Marantz TT42P Turntable (Built In Phono Preamp) Quick View

    $359.00
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    Marantz TT42P Turntable (Built In Phono Preamp)


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


    Fully Automatic Belt Drive Turntable With On-Board Phono EQ


    You want to jump into the vinyl records craze, but many of today's AV receivers and integrated amplifiers lack a proper phono input. That's why Marantz offers the TT42P, a special version of the TT42 with a built-in phono preamp. The TT42P does not require a dedicated phono input; simply plug it into any line level audio input (the same type of input you would use for a compact disc player). The turntable comes ready-to-play with a pre-installed cartridge, so you'll be spinning records moments after unboxing. A low-coloration tone arm, DC servo motor, and belt drive ensure pristine, interference-free playback.


    Enjoy your vinyl collection with stunning audio quality thanks to modern audio technologies. Low-coloration tone arm, DC servo motor, and belt drive ensure pristine, interference-free playback.


    Vinyl Record Playing with Modern Convenience


    Have you noticed the resurgence of vinyl record sales in recent years? Fueled by the fact that many treasured albums have not been issued in digital format, and with newer artists continuing to release music on vinyl, turntables are popping up in living rooms all over the world.


    The Marantz TT42P Turntable combines old school record playing with convenient, high-performance features. The turntable is fully automatic: with a push of the play button, the tone arm precisely lifts itself onto the record groove, saving you the trouble of having to manually position the stylus. Once playback has concluded, the tone arm safely returns to its resting position without scuffing your record.


    Built-In Phono Preamp for Easy Connectivity


    Because many audio receivers do not feature a dedicated phono input, the TT42P comes with a built-in phono input circuitry. This allows you to plug the TT42P into any line level audio input (the same type of input you would use for a compact disc player) for easy, plug-and-play enjoyment of your vinyl collection.


    A Quality Mechanism for High-Fidelity Playback


    The TT42P turntable is outfitted with a low-coloration tone arm that resists resonance for a clear, balanced sound. A high quality, moving magnet cartridge is preset at the factory for proper tracking and smooth response. In addition, the turntable's DC servo belt drive keeps the motor running at a constant speed for optimum performance. The TT42P is designed to produce a stunning, nuanced, and distortion-free audio performance.


    A version of the TT42P without a phono preamp, the TT42, is also available and works with multi-channel receivers that feature a dedicated phono input.


    The Marantz TT42P Turntable comes complete with a clear plastic dust cover and is backed by a three-year limited warranty, subject to the full warranty terms and conditions.


    Marantz
    $359.00
    Marantz TT42P Turntable - Built In Phono Preamp Buy Now
  • Christie Front Drive Christie Front Drive Quick View

    $15.99
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    Christie Front Drive

    After several years out of print, Magic Bullet Records is proud to reissue S/T, the seminal album from Denver, CO's Christie Front Drive. Informally known as the Stereo record, the posthumous impact and influence, while difficult to gauge completely, is nonetheless completely undeniable. Successful mainstream acts such as Jimmy Eat World (who attained their early start via a split 7 with CFD) have gone on record numerous times in stating the importance of the band, both in context of their own band and independent music on the whole. The consensus among many was that Christie Front Drive was the band that gave punk rock that crucial moment where it realized that slowness and melody could be just as powerful and communicative as blast beats and all-out throaty vocal assaults. Some describe it as the second wave of emo, perhaps the splintering off point for a host of punk rock's sub-genres to come. But we prefer to look at it in much simpler terms: an undeniable classic.


    The 2010 edition of S/T features all ten original tracks in their original order. While the mixes have been preserved, all ten tracks have been re-mastered for full fidelity. The LP is housed in new packaging featuring an updated design coordinated between the label and all original band members some fourteen years later. Very few records possess the inherent traits that allow them to somehow become more significant as time moves forward. Unquestionably, Christie Front Drive's S/T is one of them.

    Turn
    Dyed on 8
    Long Out
    Lot
    Pipe
    Dirt
    Slide
    Now I Do
    4010
    Away
    Christie Front Drive
    $15.99
    Vinyl LP - Sealed Buy Now
  • Acrobatic Tenement Acrobatic Tenement Quick View

    $19.99
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    Acrobatic Tenement

    Though Acrobatic Tenement may only be a blueprint for the band's later albums, it comes fully formed -- and as forceful as a bullet to the head. Cedric Dixler's barked emotional ferocity is perfectly complemented by nimble dual guitars, while Pall's bass snakes in and out of the heady mix. The result is a lurching masterpiece of an album that threatens to explode -- or implode -- at any moment. Unlike most hardcore bands, At the Drive-In know the value of subtlety, a trick they use to create an elaborate punk/metal soundscape of rhythms and tempo shifts. Not that these guys don't rock; in fact, slowing down once in a while gives the harder sections even more intensity. This is great music in the tradition of the Stooges and Fugazi, and is reminiscent of both those bands at their best. Not just a great album of the post-everything '90s, but a true timeless masterpiece of oblique lyrical insights and furiously rocking good tunes.

    -All Music Guide
    1. Star Slight
    2. Schaffino
    3. Ebroglio
    4. Initiation
    5. Communication Drive-In
    6. Skips on the Record
    7. Paid Vacation Time
    8. Ticklish
    9. Blue Tag
    10. Coating of Arms
    11. Porfirio Diaz
    At The Drive-In
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Beatles: Live At The BBC (On Sale) The Beatles: Live At The BBC (On Sale) On Sale Quick View

    $59.99 $47.49 Save $12.50 (21%)

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    The Beatles: Live At The BBC (On Sale)


    Newly Remastered For This Reissue


    In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K. and number three in the U.S. and selling more than five million copies within six weeks. Now comes a new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.


    In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, 'There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes.'


    Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's 'I'm Talking About You' and a rocking cover of the standard 'Beautiful Dreamer.' On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's 'Lucille,' Chuck Berry's 'Memphis, Tennessee,' Chan Romero's 'The Hippy Hippy Shake,' Ray Charles' 'I Got A Woman,' and two songs they learned from records by Carl Perkins, 'Glad All Over' and 'Sure To Fall.'


    The Beatles' tribute to the BBC's most important pop show of the early '60s - 'Happy Birthday, Dear Saturday Club' - is another surprise. As John Lennon recalled in 1980, 'We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too.' Paul remembers, 'We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to.'


    Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, 'You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them.' On their busiest BBC day, 16 July 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.


    The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. 'Everything was done instantly,' remembered George Harrison, 'But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!'


    On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number ones and other favorites such as: 'I Saw Her Standing There,' 'Twist And Shout,' 'Do You Want To Know A Secret,' 'Boys,' 'Please Mister Postman,' 'Money,' 'And I Love Her,' and 'If I Fell.


    - On Abby Road


    This title is not eligible for further discount.

    LP 1
    1. Beatle Greetings (Speech)
    2. From Us To You (Opening)
    3. Riding On a Bus (Speech)
    4. I Got A Woman
    5. Too Much Monkey Business
    6. Keep Your Hands Off My Baby
    7. I'll Be On My Way
    8. Young Blood
    9. A Shot Of Rhythm And Blues
    10. Sure To Fall (In Love With You
    11. Some Other Guy
    12. Thank You Girl
    13. Sha La La La La! (Speech)
    14. Baby It's You
    15. That's All Right (Mama)
    16. Carol
    17. What Is It, George? (Speech)
    18. Soldier Of Love
    19. A Little Rhyme (Speech)
    20. Clarabella
    21. I'm Gonna Sit Right Down And Cry (Over You)
    22. Crying, Waiting, Hoping
    23. Dear Wack! (Speech)
    24. You Really Got A Hold On Me


    LP 2
    1. To Know Her Is To Lover Her
    2. A Taste Of Honey
    3. Long Tall Sally
    4. I Saw Her Standing There
    5. The Honeymoon Song
    6. Johnny B. Goode
    7. Memphis, Tennessee
    8. Lucille
    9. Can't Buy Me Love
    10. From Fluff To You
    11. Till There Was You
    12. Crinsk Dee Night (Speech)
    13. A Hard Day's Night
    14. Ringo? Yep!
    15. I Wanna Be Your Man
    16. Just A Rumour (Speech)
    17. Roll Over Beethoven
    18. All My Loving
    19. Things We Said Today
    20. She's A Woman
    21. Sweet Little Sixteen
    22. 1822! (Speech)
    23. Lonesome Tears In My Eyes


    LP 3
    1. Nothin' Shakin'
    2. The Hippy Hippy Shake
    3. Glad All Over
    4. I Just Don't Understand
    5. So How Come (No One Loves Me)
    6. I Feel Fine
    7. I'm A Loser
    8. Everybody's Trying To Be My Baby
    9. Rock And Roll Music
    10. Ticket To Ride
    11. Dizzy Miss Lizzy
    12. Kansas City/Hey-Hey-Hey-Hey!
    13. Set Fire To That Lot (Speech)
    14. Matchbox
    15. I Forgot To Remember To Forget
    16. Love These Goon Shows (Speech)
    17. I Got To Find My Baby
    18. Ooh! My Soul
    19. Ooh! My Arms (Speech)
    20. Don't Ever Change
    21. Slow Down
    22. Honey Don't
    23. Love Me Do
    24. From Us To You (Closing)

    The Beatles
    $59.99 $47.49 Save $12.50 (21%)
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • They Only Come Out At Night They Only Come Out At Night Quick View

    $29.99
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    They Only Come Out At Night

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


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


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


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


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


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

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

    $15.99
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    Drive Like Jehu

    Colored Vinyl


    Repressed again on colored vinyl with liner notes. The San Diego post-hardcore band's debut album from 1991, containing the legendary Rick Froberg & John Reis guitar team dipped in battery acid, wired to a power station, wailing and screaming, with nervous riffs piled on and taking off for the planet Mars. Both John and Rick were also well-known to bludgeon ear drums in highly respected bands such as Pitchfork, Rocket From The Crypt, Hot Snakes, The Sultans, The Night Marchers and Obits. Produced by Drive Like Jehu & Donnell Cameron at Westbeach Recorders. Cover artwork by Rick Froberg.

    1. Caress
    2. Spikes To You
    3. Step On Chameleon
    4. O Pencil Sharp
    5. Atom Jack
    6. If It Kills You
    7. Good Luck In Jail
    8. Turn It Off
    9. Future Home Of Stucco
    10. Monstrosity
    Drive Like Jehu
    $15.99
    Colored Vinyl LP - Sealed Buy Now
  • Driving Towards The Daylight Driving Towards The Daylight Quick View

    $34.99
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    Driving Towards The Daylight

    Recorded at Studio At The Palms in Las Vegas, NV, The Village Recorder in Los Angeles, CA and The Cave in Malibu, CA, Driving Towards The Daylight is a balanced back-to-basics album that highlights Bonamassa s signature style of roots blues with rock-and-roll guts, while honoring the traditions of the original blues musicians. To challenge Joe and move him out of his comfort zone, a unique group of musicians was gathered including Aerosmith guitarist Brad Whitford (guitar), Blondie Chaplan (guitar), Anton Fig (drums and percussion), Arlan Schierbaum (keyboard), Michael Rhodes (bass), Carmine Rojas (bass), Jeff Bova and The Bovaland Brass, Pat Thrall (guitar), and Brad s son Harrison Whitford (guitar).



    The album features five Bonamassa-penned originals including the bruising opener Dislocated Boy, the road warrior title track (and first single) Driving Towards The Daylight, I Got All You Need, Heavenly Soul, and Somewhere Trouble Don t Go. Other tracks include Bonamassa's versions of Tom Waits New Coat Of Paint, Lonely Town Lonely Street, by Bill Withers (Lean On Me, Ain't No Sunshine) and A Place In My Heart by Bernie Marsden of White Snake (Here I Go Again). On the album closer, Australian rock singer Jimmy Barnes sings lead vocals on his 1987 hit Too Much Ain't Enough Love.

    1. Dislocated Boy
    2. Stones in My Passway
    3. Driving Towards the Daylight
    4. Who S Been Talking
    5. I Got All You Need
    6. A Place in My Heart
    7. Lonely Town Lonely Street
    8. Heavenly Soul
    9. New Coat of Paint
    10. Somewhere Trouble Don't Go
    11. Too Much Ain't Enough Love
    Joe Bonamassa
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Drive Soundtrack (Gold Vinyl) (Awaiting Repress) Drive Soundtrack (Gold Vinyl) (Awaiting Repress) Quick View

    $29.99
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    Drive Soundtrack (Gold Vinyl) (Awaiting Repress)

    Gold Colored Vinyl


    Various Artists with Original Motion Picture Score by Cliff Martinez. A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.


    The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (''Nightcall''), The Chromatics (''Tick of the Clock''), Desire (''Under Your Spell''), College featuring Electric Youth (''A Real Hero''), and Riziero Ortolani featuring Katyna Ranieri (''Oh My Love''). Rolling Stone Magazine named Drive the No. 1 movie of 2011.


    The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD.


    ''One thing that was unique for me about this project was having songs exert such a strong influence on the score,'' said Martinez. ''That helped to create a unified, one-size-fits-all, style of soundtrack... the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.''


    This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band.


    Martinez has since received compositional credit on many of Steven Soderbergh's projects including Kafka, The Limey, Solaris, Gray's Anatomy, Schizopolis, Traffic (which earned four Oscars and earned Martinez a Grammy nomination), and the upcoming film Contagion. He also composed the music for Espion(s) and A L'Origine, two French films released in 2009 - the latter earned a Cesar Award nomination for best original score. His other credits include Pump Up The Volume, Wicker Park, Wonderland, and The Lincoln Lawyer.

    LP1
    1. Nightcall - Kavinsky & Lovefoxxx
    2. Under Your Spell - Desire
    3. A Real Hero - College feat. Electric Youth
    4. Oh My Love - Riz Ortolani feat. Katyna Ranieri
    5. Tick of the Clock - The Chromatics
    6. Rubber Head - Cliff Martinez
    7. I Drive - Cliff Martinez
    8. He Had a Good Time - Cliff Martinez
    9. They Broke His Pelvis - Cliff Martinez
    10. Kick Your Teeth - Cliff Martinez


    LP2
    1. Where's The Deluxe Version? - Cliff Martinez
    2. See You in Four - Cliff Martinez
    3. After The Chase - Cliff Martinez
    4. Hammer - Cliff Martinez
    5. Wrong Floor - Cliff Martinez
    6. Skull Crushing - Cliff Martinez
    7. My Name on a Car - Cliff Martinez
    8. On The Beach - Cliff Martinez
    9. Bride of Deluxe - Cliff Martinez

    Cliff Martinez
    $29.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Analog Drive System (ADS) Analog Drive System (ADS) Quick View

    $1,000.00
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    Analog Drive System (ADS)



    The ADS design includes two pure analog frequency generators featuring low distortion and noise; a high current Class-A/B amplifier that is transformer-coupled to the turntable output; analog control logic for low noise operation; 33/45 RPM analog speed adjustment controls with center detent positions that are factory calibrated for 60/81Hz; analog logic controlled run/stop switching with the output RMS voltage @ 120VAC on startup, followed by a step down to 90VAC after an 8-second delay for quick starting of heavy platters.


    Operational features

    The ADS includes a lighted power on/off switch allowing it to remain powered up during listening sessions for the oscillators to remain warmed up for lowest distortion. There is a separate run/stop switch to control the motor operation. The ADS also utilizes separate 60 Hz and 81 Hz oscillators to eliminate unnecessary switching circuitry in the oscillator circuits for long term speed stability and low oscillator distortion. Turntable speed is chosen using a switch located between the 33 RPM and 45 RPM speed adjustment controls; LEDs indicate the Run/Stop condition and chosen speed. Speed adjustment controls provide a center detent position that is factory calibrated to 60 and 81Hz +/- .02 Hz in their center detented position. The controls also provide fine speed adjustment of approximately 3 Hz through continuously variable linear adjustment controls. The circuitry provides a startup voltage of approximately 120VAC for 8 seconds on startup to assist quick speed ramp of heavier platters, then reduces to 92VAC for its steady state run voltage.


    Speed Control and adjustment

    The front panel contains a two-position push-button switch for selecting either 33 RPM or 45 RPM operation. Pressing the switch either latches it in or releases the switch to its outward position for 33 RPM operation. There are separate speed adjustment controls for 33 and 45 RPM. The controls have a detented center position that is factory calibrated for 60 Hz (33 RPM) and 81 Hz (45 RPM). The speed is also continuously adjustable +/- 3 Hz for fine tuning of the platter speed using a stroboscopic disk and 60 HZ light source. Blue LED indicators adjacent to the controls indicate which speed is set at a glance.


    Motor Stop and Run

    The ADS is meant to be left powered on during the listening session. The platter is started and stopped by the front panel Run/Stop momentary push-button switch. There is an LED indicator the glows red when stopped and green when the platter is turning.


    System power

    There is an IEC power module on the rear panel to supply AC power to the ADS. The IEC module contains a fuse drawer that holds a 1-amp slow blow fuse protecting the ADS from electrical system malfunctions.


    AC power to the ADS is controlled by the power switch located on the left-hand side of the front panel. When the ADS is powered up, the indicator in the switch glows blue indicating the internal power supplies are functioning properly.


    Output to Turntable

    The 125 VAC max output to the motor is supplied by the identified AC receptacle on the rear panel. The receptacle output provides a maximum 20 watts. Higher wattage loads will seriously damage the ADS.


    VPI Accessories
    $1,000.00
    Analog Drive System Buy Now
  • 2014 Forest Hills Drive 2014 Forest Hills Drive Quick View

    $24.99
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    2014 Forest Hills Drive

    J. Cole, the Grammy nominated and platinum selling rapper, has released details on his third full length LP 2014 Forest Hills Drive via Roc Nation / Columbia. The album name is derived from the address of his actual childhood home in Fayetteville, North Carolina. The project is a meditation on the value of love relative to worldly success. The 2014 Forest Hills Drive house marked a change for a young Cole and it spawned his path in rap. With an elevated sense of domestic pride (from trailer park to tree-lined street) to actually having privacy for the first time (his own room) this proved an instrumental time and the story flourishes from there. The house, eventually foreclosed on when Cole was still too young to help, was recently purchased back by him this past fall (his first property purchase) and he promptly invited fans to come and listen to the album at the end of November before anyone (including his label and press.)


    J. Cole chose to forgo a traditional industry album rollout in order to have it be a more personal experience for his fans. He wanted the album to be ingested as a whole. He wanted to limit pre-album hype and context. There were no singles released leading up to release and no early promotion to garner press. He wanted it to be pure for fans and he wanted the tale to be heard by them first and the perception to be personal and theirs alone.

    LP 1
    1. Intro
    2. January 28th
    3. Wet Dreamz
    4. 03' Adolescence
    5. A Tale of 2 Citiez
    6. Fire Squad
    7. St. Tropez


    LP 2
    1. G.O.M.D.
    2. No Role Modelz
    3. Hello
    4. Apparently
    5. Love Yourz
    6. Note to Self

    J. Cole
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Drive Soundtrack (Pre-Order) Drive Soundtrack (Pre-Order) Quick View

    $29.99
    Buy Now
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    Drive Soundtrack (Pre-Order)

    Various Artists with Original Motion Picture Score by Cliff Martinez. A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.


    The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (''Nightcall''), The Chromatics (''Tick of the Clock''), Desire (''Under Your Spell''), College featuring Electric Youth (''A Real Hero''), and Riziero Ortolani featuring Katyna Ranieri (''Oh My Love''). Rolling Stone Magazine named Drive the No. 1 movie of 2011.


    The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD.


    ''One thing that was unique for me about this project was having songs exert such a strong influence on the score,'' said Martinez. ''That helped to create a unified, one-size-fits-all, style of soundtrack... the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.''


    This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band.


    Martinez has since received compositional credit on many of Steven Soderbergh's projects including Kafka, The Limey, Solaris, Gray's Anatomy, Schizopolis, Traffic (which earned four Oscars and earned Martinez a Grammy nomination), and the upcoming film Contagion. He also composed the music for Espion(s) and A L'Origine, two French films released in 2009 - the latter earned a Cesar Award nomination for best original score. His other credits include Pump Up The Volume, Wicker Park, Wonderland, and The Lincoln Lawyer.


    LP1
    1. Nightcall - Kavinsky & Lovefoxxx
    2. Under Your Spell - Desire
    3. A Real Hero - College feat. Electric Youth
    4. Oh My Love - Riz Ortolani feat. Katyna Ranieri
    5. Tick of the Clock - The Chromatics
    6. Rubber Head - Cliff Martinez
    7. I Drive - Cliff Martinez
    8. He Had a Good Time - Cliff Martinez
    9. They Broke His Pelvis - Cliff Martinez
    10. Kick Your Teeth - Cliff Martinez


    LP2
    1. Where's The Deluxe Version? - Cliff Martinez
    2. See You in Four - Cliff Martinez
    3. After The Chase - Cliff Martinez
    4. Hammer - Cliff Martinez
    5. Wrong Floor - Cliff Martinez
    6. Skull Crushing - Cliff Martinez
    7. My Name on a Car - Cliff Martinez
    8. On The Beach - Cliff Martinez
    9. Bride of Deluxe - Cliff Martinez

    Cliff Martinez
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Driving Towards The Daylight Driving Towards The Daylight Quick View

    $29.99
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    Driving Towards The Daylight

    On May 21, 2012, internationally renowned guitar superstar Joe Bonamassa will release a brand new solo album 'Driving Towards The Daylight' on Provogue Records. 'Driving Towards The Daylight' was produced by Kevin 'Caveman' Shirley (Black Crowes, Aerosmith, Led Zeppelin). This is their seventh collaboration in six years and Joe's 13th album.


    Recorded at The Village Recorder in Los Angeles, CA and Studio At The Palms in Las Vegas, NV, 'Driving Towards The Daylight' is a balanced back-to-basics album that highlights Bonamassa's signature style of roots blues with rock-and-roll guts, while honouring the traditions of the original blues musicians.


    "We've taken some really traditional old blues songs - the Howlin' Wolf song 'Who's Been Talkin' and the Robert Johnson song 'Stones In My Passway,' and we've tried to imagine how they would do them in a rock context," said Shirley. "It's a very exciting return to the blues in a very visceral way. It's vibrant and it's gutsy and it's really, really rugged."


    The album features five Bonamassa-penned originals including the bruising opener 'Dislocated Boy', the road warrior title track (and first single) 'Driving Towards The Daylight', 'I Got All You Need', 'Heavenly Soul' and 'Somewhere Trouble Don't Go'. Other tracks include Bonamassa's versions of Tom Waits' 'New Coat Of Paint', Bill Withers' 'Lonely Town Lonely Street', and 'A Place In My Heart' by Bernie Marsden. On the album closer, Australian rock singer Jimmy Barnes sings lead vocals on his 1987 hit 'Too Much Ain't Enough Love'.


    To challenge Joe and move him out of his comfort zone, a unique group of musicians was gathered including Aerosmith guitarist Brad Whitford (guitar), Blondie Chaplin (guitar), Anton Fig (drums and percussion), Arlan Schierbaum (keyboard), Michael Rhodes (bass), Carmine Rojas (bass), Jeff Bova and The Bovaland Brass, Pat Thrall (guitar), and Brad's son Harrison Whitford (guitar).


    Brad Whitford, speaking from the studio in Vegas, said, "This is definitely more influenced by the stuff that the guys and musicians in this room love, early '60s English and American rock and blues. I guess we'll never get that out of our system and its fun to come in here and find our own path down that highway."


    Bonamassa's last studio album 'Dust Bowl 'released in March 2011 charted at no.12 in the UK

    1. Dislocated Boy
    2. Stones In My Passway
    3. Driving Towards The Daylight
    4. Who's Been Talking
    5. I Got All You Need
    6. A Place In My Heart
    7. Lonely Town Lonely Street
    8. Heavenly Soul
    9. New Coat Of Paint
    10. Somewhere Trouble Don't Go
    11. Too Much Ain't Enough Love (w/ Jimmy Barnes)
    Joe Bonamassa
    $29.99
    Vinyl LP - Sealed Buy Now
  • Driving And Dreaming Driving And Dreaming Quick View

    $11.99
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    Driving And Dreaming


    Exclusive 10 Inch, 45 RPM Vinyl


    Born near Detroit, Michigan, Marshall Crenshaw began playing guitar at age ten and he received his first break playing John Lennon in the off-Broadway company of Beatlemania. In 1987, he played Buddy Holly in the Richie Valens biopic "La Bamba." While living in NYC, he recorded the single "Something's Gonna Happen" for Alan Betrock's Shake Records, which led to a deal with Warner Bros. His debut album, Marshall Crenshaw was acclaimed as a pop masterpiece upon its release in 1982 and established him as a first-rate songwriter, singer and guitarist. The record spawned the Top 40 single "Someday, Someway," which rockabilly singer Robert Gordon covered and scored a hit with a year earlier, and other classics such as "(You're My) Favorite Waste of Time," "Whenever You're On My Mind" and "Cynical Girl." The great songs continued with the Life's Too Short album on MCA ("Fantastic Planet of Love"), three albums for Razor & Tie and the 2009 release Jaggedland ("Someone Told Me," "Passing Through," "Never Coming Down


    "His intelligence, integrity, and passion for the great song always show up in his music," wrote Robert Christgau in his Consumer Guide of Marshall Crenshaw. Over a span of 30 years, Crenshaw has released 13 albums, all of which have received the highest marks from critics and have earned him a fiercely loyal fan base.


    "I wanted to think of a different way of working that would inspire me and keep me motivated," Marshall Crenshaw says of his newest endeavor: a subscription-only service that addresses the recent seismic changes in the music-industry landscape by cutting out the record-company middle man to distribute his new recordings directly to fans.


    The subscription service, which the veteran singer/guitarist/songwriter/producer recently launched via a successful Kickstarter funding campaign, will provide fans with a steady stream of new Marshall Crenshaw music via a series of exclusive three-song 10-inch, 45-rpm vinyl EPs , six of which the artist plans to release over a two-year period.


    Each EP will consist entirely of newly recorded, never-before-released material, encompassing a new original Crenshaw composition, a classic cover tune, and a new reworking of a time-honored favorite.


    "I really do think that vinyl sounds best, and that playing a vinyl record is still the optimum listening experience," Crenshaw asserts. "And with the sound quality that you get at 45 rpm, I think that these things are going to deliver the goods, sonically."

    1. Driving and Dreaming
    2. Never To Be Forgotten (Bobby Fuller Four cover)
    3. Someday Someway
    Marshall Crenshaw
    $11.99
    10 45 RPM Vinyl LP - Sealed Buy Now
  • I Love You But I Must Drive Off This Cliff Now I Love You But I Must Drive Off This Cliff Now Quick View

    $16.99
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    I Love You But I Must Drive Off This Cliff Now

    Got at Girl starring Mary Elizabeth Winstead and Dan "The Automator" Nakamura - are thrilled to announce the release of I Love You But I Must Drive Off This Cliff Now, on Bulk Recordings. The pair's enthralling debut album, sees Nakamura - whose innumerable, inimitable credits include influential production (Kool Keith/Dr. Octagon, Gorillaz) and membership in such visionary collaborations as Deltron 3030, Lovage, and Handsome Boy Modeling School - and Winstead - known for her work in the films Scott Pilgrim Vs. The World, The Spectacular Now, and next seen in Kill the Messenger - sweetly detached vocal delivery and nuanced lyricism.


    Winstead and Nakamura first crossed paths while both worked on 2010s Scott Pilgrim vs. The World, the actor acting and the musician contributing to the score. Winstead - who counts Lovage's Music To Make Love To Your Old Lady By as "one of my favorite albums of all time" - approached Nakamura after a cast and crew dinner to let him know she was a big fan, assuming that would be that. "About a year later, Dan came up to me at the premiere and said, 'We should do something sometime,'" Winstead says. "I was like, okay! I would love to! I didn't think it was real."


    Right from the jump, the two seemingly disparate artists found they were both surfing similar waves of inspiration. Each were especially enthused by the daft, dewy and even slightly degenerate sounds of 1960s French pop, that uniquely Gallic soufflÉ of girl group soul, cafÉ jazz, lush arrangements and groovy eroticism.


    "It was a meeting of the minds," says Nakamura. "A kindred spirit kind of thing." He sent a skeletal track to Winstead, suggesting she begin thinking of songwriting in terms of character and story. For the nascent lyricist, the task came with no little pressure. Winstead and Nakamura soon commenced writing together, collaborating on lyrics as they learned more about each other's creative strengths and interests.


    "I've had the fortune of working with a lot of very talented people," Nakamura says. "When it's right, it's right. That makes it work really easily. Working with Mary is like working with Del (The Funkee Homosapien) or working with Damon (Albarn) - it's really natural. It just works."


    I Love You But I Must Drive Off This Cliff Now is surprisingly seamless, a perfectly realized union of atmospheric ambience and ambitious songcraft. The Automator is of course a master of genre subversion and experimental futurism, effortlessly transmogrifying hip-hop, psychedelia, found sounds, and all manners of pop and world music with his singular taste for prolix wordplay, multiple personas and conceptual adventure. For Got A Girl, he has assembled a rich, enveloping sound world all its own, with hints of Laurel Canyon folk, yacht rock, and sunshine pop stylized and synthesized through sumptuous arrangements, intricate electronics, and unfettered melodic invention. The sonic landscape calls up far flung locales both real and imagined, knit together by restless grooves, elastic dubby beats, and Winstead's complex characterizations.


    - Glide Magazine

    1. Did We Live Too Fast
    2. I'll Never Hold You Back
    3. Close To You
    4. Everywhere I Go
    5. Last Stop
    6. There's A Revolution
    7. Things Will Never Be The Same
    8. Put Your Head Down
    9. Friday Night
    10. La La La
    11. Da Da Da
    12. Heavenly
    Got A Girl
    $16.99
    Vinyl LP - Sealed Buy Now
  • A Day At The Races A Day At The Races Quick View

    $29.99
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    A Day At The Races

    In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel -- the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen -- the pastoral folk of 39, the metallic menace of Death on Two Legs -- dovetailed with an indulgence of camp and a truly, well, operatic scale. Here, the eccentricities are trimmed back somewhat -- they still bubble up on The Millionaire Waltz, an example of the music hall pop that dominated Night, the pro-Native American saga White Man is undercut somewhat by the cowboys 'n' indians rhythms -- in favor of a driving, purposeful hard rock that still could have some slyly hidden perversities (or in the case of the opening Tie Your Mother Down, some not-so-hidden perversity) but this is exquisitely detailed hard rock, dense with minutiae but never lush or fussy. In a sense, it could even function as the bridge between Sheer Heart Attack and Night at the Opera -- it's every bit as hard as the former and nearly as florid as the latter -- but its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they're globe-conquering titans instead of underdogs on the make.

    - Stephen Thomas Erlewine (All Music)
    1. Tie Your Mother Down
    2. You Take My Breath Away
    3. Long Away
    4. The Millionaire Waltz
    5. You And I
    6. Somebody To Love
    7. White Man
    8. Good Old-Fashioned Lover Boy
    9. Drowse
    10. Teo Torriatte (Let Us Cling Together)
    Queen
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Covered In Black Covered In Black Quick View

    $18.99
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    Covered In Black


    And they are glorious, beautiful. Sounding a bit like She &
    Him might were they produced by Sufjan Stevens - to create a
    sort of She & She & She & She, they are four alt-pop Brontës
    who beam right into your stereo like a comforting aural torch
    you never need to buy batteries for. - Drowned In Sound


    "Best referenced midway between the Bangles and Go-Gos in
    terms of a girl group approach, there's a kind of slacker
    sensibility at work here, one that never muffles the drive or
    conviction. I was meant for something more, Cottingham
    sings on the final track, aptly entitled Anything and indeed a
    lyric has never sounded so true." - Blurt


    Precociousness always catches its observer off guard; we are
    witness to a stubborn incongruity, a disproportionate relationship
    between limited years and elevated levels of skill, insight, or
    vision. It confounds common experience, and we wonder. When
    Ortolan's debut album Time On A String was released in 2010,
    three quarters of the family foursome were yet under drinking
    age. Along with copious kudos given to the quality of the music
    and the maturity of the songwriting, every single review made
    mention of their age. Wonder indeed.


    What may be the greater marvel though, is when a nascent talent
    starts to grow into itself; when prodigious promise begins to
    deliver something beyond spectacle, when it begins to nourish
    those who are witness to it. Such is the case with Ortolan's latest,
    Covered In Black.


    The pulse at the heart of Ortolan's music has always been
    Stephanie Cottingham's voice, a curious combination of
    innocence, wisdom, and wit (all rare commodities in the greater
    landscape of popular music today). These beguiling qualities
    remain, but here her voice is imbued with a greater richness. The
    bandwidth of color, hue, and shade has widened; the reds are
    redder and the blues are bluer. Even more significant though, is
    Cottingham's development as an interpreter of her own songs.
    Her voice remains a thing to behold, but in the tradition of Kitty
    Wells, Etta James, or Emmylou Harris, she is becoming a
    storyteller. Each note is now is its own scene in a greater drama.
    Each vocal push and lilt tells of loss and love, fear and
    friendship.


    As much as Ortolan is about Stephanie Cottingham's voice and
    songwriting, it is about family, and the picture is incomplete
    without the powerful presence of Jill (keys), Briana (bass), and
    Lara (drums). Floor toms drum and drive, strumming guitars
    strum and strum faster, basses rock and keyboards swirl and
    swoop. Their commitment to one another is palpable, and is as
    important to the music as the notes and rhythms they're playing.


    That their voices also join Stephanie's throughout the record is
    not insignificant. There is an excess of animosity in the world: so
    much time is spent competing, resisting, debating, conflicting,
    arguing. There is something so vital and humane in joining voices
    for once, in unison. One of the simplest and most powerful
    activities of human beings is singing together, and this is a
    central ingredient to Ortolan's music and life. Nothing is
    pretended-it's what they do: voices are raised and raised
    together -- to cry, to question, to pray, to laugh, to celebrate.


    The color black is achieved through the mixing of different
    paints and opposing pigments; as such, black represents the
    presence of color, not the absence of it, and Ortolan's latest is
    covered in it.

    1. Bottle's Broken
    2. Holding This Fire
    3. Votes Are In
    4. Covered In Black
    5. Surprise

    6. Spring
    7. Green Were The Days
    8. You Don't Know
    9. Above The Mountain

    10. Miles
    Ortolan
    $18.99
    Vinyl LP - Sealed Buy Now
  • Live In Little Five Live In Little Five Quick View

    $18.99
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    Live In Little Five

    Five albums, fourteen years, hundreds of shows and thousands of miles have melded the Athens, GA power trio The Whigs into a live tour-de-force. For the first time, fans old and new can take their legendary live show home in all its limited edition vinyl glory. The ten-song collection spans the band's entire catalog, featuring long-enduring fan favorites alongside new, unreleased material. Recorded and produced by acclaimed engineer David Barbe (Drive-By Truckers, Deerhunter, Animal Collective), Live In Little Five captures the band at the height of their rock 'n' roll might.
    1. Like A Vibration (Live)
    2. Production City (Live)
    3. Violet Furs (Live)
    4. Soon Comes Fast (Live)
    5. Waiting (Live)
    6. Right Hand On My Heart (Live)
    7. Already Young (Live)
    8. Cleaning Out The Cobwebs (Live)
    9. Black Lotus (Live)
    10. Staying Alive (Live)
    The Whigs
    $18.99
    Vinyl LP - Sealed Buy Now
  • Kids In Love Kids In Love Quick View

    $19.99
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    Kids In Love

    Love is all you need. It's been said many times and many ways of course, but it's truer now than ever.


    When The Mowgli's first landed on the scene, their message of positivity and love resonated with audiences everywhere. The group's 2013 major label debut, Waiting for the Dawn [Photo Finish], debuted at #4 on the Billboard Heatseekers Chart and yielded the hit "San Francisco". Following its release, the seven-piece-Colin Louis Dieden [vocals, guitar], Katie Jayne Earl [vocals, percussion], Dave Appelbaum [keyboards], Josh Hogan [guitar, vocals], Matthew Di Panni [bass], Spencer Trent [guitar, vocals], and Andy Warren [drums]-performed on Jimmy Kimmel LIVE!, The Tonight Show with Jay Leno, CONAN, Watch What Happens Live, and more. Between headline tours and runs supporting everybody from Walk The Moon to Manchester Orchestra, they even cut a song for the Relativity Media hit film Earth To Echo. Along the way, their interpretation of love became even clearer, and it defines their sophomore outing, Kids In Love.


    "Our first album essentially said, 'What's up everyone? We're The Mowgli's, and we believe love can change the world," explains Katie. "Over the past couple of years, we really came to terms with who we are as a band. With Kids In Love we're exploring the intricacies of love. It's such a broad concept. This time around, we get into intimate love, personal love, as well as universal love. We've found art is the best vehicle to ponder what this really means."


    "Before, the concept was painted in very broad strokes," Colin goes on. "Our intention was to start a movement and a culture around what we do. We put all of that under a microscope on this album and talked about personal experiences and stories, the lack of love, and finding it again."


    "We've learned so much about the business, ourselves, and this message," adds Josh. "We've become more direct. It's a little wiser."


    In order to properly convey that sentiment, the group teamed up with producer Tony Hoffer [The Kooks, Silversun Pickups, Fitz & The Tantrums] in his Los Angeles studio during the summer of 2014. With Hoffer at the helm, they fine-tuned their sound into an elegant amalgam of influences. Additionally, they recorded with prior collaborators Captain Cuts [Smallpools, Tove Lo] - a production team that includes Ryan Rabin of Grouplove, and worked with Matt Radosevich [Walk The Moon, One Direction] on two additional tracks. "We wanted to create songs that we knew we would enjoy playing live, songs we hoped that speak to people's personal experiences with love and life and loss and everything that comes with being a kid - or really anyone - in love," Katie explains.


    "We've been on tour incessantly, and this album was really written all over the country," Colin recalls. "It was composed in green rooms, hotels, parking lots, and everywhere in between. I went to Nashville for a week on a whim and tried to learn how to write country music. I was so lucky to work with some of the best in the business. I wanted to bring some of those storytelling elements into the music too. We really grew up, and the songs reflect that journey."


    The first released track "Through The Dark" builds from a shimmering acoustic guitar into an unshakable harmony between Josh and Colin. It shines its own kind of musical light.


    "Everybody goes through dark times," Josh asserts. "We're trying to put a positive spin on that though, and show you can get through that darkness no matter what."


    Colin continues, "In a weird way, it feels like the answer to Waiting for the Dawn. It's a hopeful and encouraging song."


    Then, there's the first single "I'm Good." It begins with a sun-soaked clean guitar and resounding percussion before snapping into a delightful refrain that's undeniably unforgettable. You'll feel good after one listen


    Elsewhere on the album, "Whatever Forever" is augmented by driving handclaps and a group chorus that proves infectious. Lyrically, it stemmed from some shared ink within the band. "Colin and I both got a tattoo of that phrase a few years ago in a hotel bar during Hurricane Sandy," smiles Josh. "We'd seen it on the wall of a bar, and it felt like the perfect new life motto. We're not worried about anything; we're just going for it."


    "That's a personal favorite," concurs Colin. "After one show, I had a girl walk up to me and say, 'I've been dealing with so much and hurting so badly. I adopted 'Whatever Forever' as my mantra. I needed that.' Sometimes, you need to distance yourself from what hurts."


    Ultimately, The Mowgli's open up their hearts once more, and the results are nothing short of inspiring. "We just want people to feel good," Katie concludes. "It's a domino effect. If someone leaves a show feeling great, maybe they pay it forward. If we can contribute a little bit of joy, companionship, and happiness, we're doing our part to make the world a little brighter."


    "I want them to feel inspired to do something positive," Josh agrees. "It's all about sharing that." Colin leaves off, "I want this to be a positive transformative experience. It's almost like falling in love. When you're in a good mood, you tend to react positively. I hope it adds more positivity and love to the world."

    1. You're Not Alone
    2. I'm Good
    3. Bad Dream
    4. What's Going On
    5. Through the Dark
    6. Whatever Forever
    7. Make It Right
    8. Love Me Anyway
    9. Shake Me Up
    10. Home To You
    11. Kids In Love
    12. Sunlight
    The Mowgli's
    $19.99
    Vinyl LP - Sealed Buy Now
  • Apache (Bend In Cover) (On Sale) Apache (Bend In Cover) (On Sale) On Sale Quick View

    $12.45 $9.84 Save $2.61 (21%)

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    Apache (Bend In Cover) (On Sale)

    After ouring throughout Europe, landing viral videos with The Creators Project, remixes driving clubs wild around the globe, and collaborating with John Stanier (Battles), The National and more - Rone's musical universe expanded to include live shows and beyond in 2013. Culminating in a sold out hometown show at Paris' huge, prestigious Olympia concert venue, 2014 is a new day for Rone. On April 8th,Castex will be celebrating the release of his new single on his first proper American tour, including a concert at the legendary Coachella festival. Apache contains three brand new tracks, A-side, "Bachi-Bouzouk" asserts itself as a weapon for the dancefloor - a few crystalline notes before a sleazy acid loop drags the listener through its infinite variations. A deliciously cerebral ballad "Apache" provides a signature Rone break from the disco. On the B-side the celestial introduction of "Origin" soon transforms into an infernal torrent of noise and abstract tones.
    1. Bachi-Bouzouk
    2. Apache
    3. Origin
    Rone
    $12.45 $9.84 Save $2.61 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In A New Setting (Speakers Corner) In A New Setting (Speakers Corner) Quick View

    $34.99
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    In A New Setting (Speakers Corner)

    The vibraphonist presents himself in a new setting in this recording from 1964. Clearly Milt Jackson wanted to free himself occasionally from the straightjacket of the Modern Jazz Quartet. Sonny's Blues is proof of this: it is percussive and swinging, and without the eagle eyes of John Lewis in the background. This time the young McCoy Tyner, who had worked with John Coltrane (A Love Supreme was recorded in the same month), was at the piano. Jimmy Heath, responsible for the drive not only as a composer but also as instrumentalist, and Bob Cranshaw on the bass, contribute important impetus to the short blues, ballad-like and bop themes. None of the twelve numbers became a real jazz hit, but each has kept its own individual charm to this day.
    If you set value on an excellent product being excellently packaged then you are well advised to purchase this LP. Unlike the CD version in its jewel case, this album is now being re-released with its original gatefold cover from the truly beautiful Limelight series, for which the designer alone should have received a Grammy.



    Musicians:



    • Jimmy Heath (tenor saxophone)

    • Milt Jackson (vibraphone (vibes))

    • McCoy Tyner (piano)

    • Bob Cranshaw (bass)

    • Connie Kay (drums)



    Recording: December 1964

    Production: Luchi De Jesus



    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. Sonny's Blues
    2. I'm Gonna Laugh You Out Of My Life
    3. Spanish Fly
    4. No Moon At All
    5. Slow Death
    6. Clay's Blues
    7. Lazy Melody
    8. Project-S
    9. Ev-ry Time We Say Goodbye
    10. That's In
    11. Ineffable
    Milt Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bob Dylan In Concert: Brandeis University 1963 Bob Dylan In Concert: Brandeis University 1963 Quick View

    $24.99
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    Bob Dylan In Concert: Brandeis University 1963

    Last Known Archival Recording of Dylan Before He Became a Star


    Professionally Recorded on 7-Inch Reel-to-Reel Tape: Phenomenal Sonics Capture the 21-Year-Old Bard Solo and Acoustic


    Features Stripped-Down, Intense Versions of Songs from the Then-Forthcoming The Freewheelin' Bob Dylan and Still Long-Off The Times They Are-A Changin'


    Early, archival insights into the burgeoning genius of a young Bob Dylan don't come any better than this: A previously unknown live recording of a 21-year-old Dylan taped at the Brandeis First Annual Folk Festival in Waltham, Massachusetts, on May 10, 1963, Bob Dylan In Concert - Brandeis University 1963 captures the rollicking wit, deadpan delivery, and driving intensity of the young artist's onstage persona in an assortment of end-of-the-world songs (none of them commercially available at the time) performed in front of an appreciative audience two weeks prior to the release of The Freewheelin' Bob Dylan. Indeed, these two performances took place just weeks before Dylan's Blowin' in the Wind became a smash for Peter, Paul, and Mary and months before his appearance at the Newport Folk Festival would forever change the course of music history.


    The Bob Dylan In Concert - Brandeis University 1963 concert tape was discovered recently in the archives of the noted music writer and Rolling Stone co-founder Ralph J. Gleason, where it sat on a shelf for more than forty years. It had been forgotten, until it was found last year in the clearing of the house after my mother died, said Toby Gleason, Ralph's son. It's a seven inch reel-to-reel that sounds like it was taped from the mixing desk.


    Drawn from two sets that spring night at the Brandeis Folk Festival, tracks on Bob Dylan In Concert - Brandeis University 1963 include Honey, Just Allow Me On More Chance (incomplete), Talkin' John Birch Paranoid Blues, Ballad Of Hollis Brown, Masters of War, Talkin' World War III Blues, Bob Dylan's Dream, and Talkin' Bear Mountain Picnic Massacre Blues.


    Previously available as a limited time offer, Bob Dylan In Concert - Brandeis University 1963 has been reissued in response to overwhelming popular demand for a wide release. The new Columbia/Legacy edition features liner notes penned exclusively for this release by noted Bob Dylan scholar Michael Gray, author of The Bob Dylan Encyclopedia and the three-volume Song & Dance Man: The Art of Bob Dylan, who provided an explication of the album's seven songs and historical/cultural context for the performances.

    1. Honey, Just Allow Me One More Chance (incomplete)

    2. Talkin' John Birch Paranoid Blues
    3. Ballad of Hollis Brown
    4. Masters of War
    5. Talkin' World War III Blues
    6. Bob Dylan's Dream
    7. Talking Bear Mountain Picnic Massacre Blues

    Bob Dylan
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Beatles: On Air - Live At The BBC Volume 2 The Beatles: On Air - Live At The BBC Volume 2 Quick View

    $59.99
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    The Beatles: On Air - Live At The BBC Volume 2


    Features 63 Tracks Total With 37 Previously Unreleased Performances And 23 Tracks Of In-Studio Banter


    Includes a 48 Page Booklet With Rare Photos And An Introduction By Paul McCartney


    In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K., number three in the U.S. and selling more than five million copies within six weeks. A new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2, in 180-gram vinyl with a 48-page booklet. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.


    In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, "There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes."


    Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's "I'm Talking About You" and a rocking cover of the standard "Beautiful Dreamer." On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's "Lucille," Chuck Berry's "Memphis, Tennessee," Chan Romero's "The Hippy Hippy Shake," Ray Charles' "I Got A Woman," and two songs they learned from records by Carl Perkins, "Glad All Over" and "Sure To Fall."


    The Beatles' tribute to the BBC's most important pop show of the early '60s - "Happy Birthday, Dear Saturday Club" - is another surprise. As John Lennon recalled in 1980, "We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too." Paul remembers, "We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to."


    Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, "You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them." On their busiest BBC day, July 16, 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.


    The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. "Everything was done instantly," remembered George Harrison, "But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!"


    On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number on¬es and other favorites such as: "I Saw Her Standing There," "Twist And Shout," "Do You Want To Know A Secret," "Boys," "Please Mister Postman," "Money," "And I Love Her," and "If I Fell."


    Like its critically acclaimed predecessor, On Air - Live at the BBC Volume 2 includes audio of The Beatles talking to DJs Brian Matthew and Alan Freeman and Pop Go The Beatles hosts Lee Peters and Rodney Burke. When first broadcast, pop fans were amazed to hear such witty irreverence on the rather formal BBC and it is great fun to hear these extracts now. In addition, On Air releases, for the first time, the group's candid interviews for the Pop Profile series recorded in November 1965 and May 1966.


    Newly remastered for reissue on November 11, The Beatles' first Live at the BBC album sounds and looks better than ever. This collection of the group's BBC sessions mixed versions of their hits with a treasure trove of 30 songs The Beatles performed on air but never released on record in the 1960s. The compelling track list ranged from a rare performance of the little known Lennon-McCartney original "I'll Be On My Way" to covers of classic rock 'n' roll and contemporary rhythm and blues songs. At the time of its release, Live at the BBC was hailed by Rolling Stone as "an exhilarating portrait of a band in the process of shaping its own voice and vision." It earned a GRAMMY® Award nomination for Best Historical Album.


    Live at the BBC was assembled by George Martin in 1994 and On Air - Live at the BBC Volume Two was compiled and researched by producers Kevin Howlett and Mike Heatley. Both albums have been meticulously mastered by engineers Guy Massey and Alex Wharton at Abbey Road Studios. The booklets for both collections include Kevin Howlett's essays on the history of The Beatles' BBC radio sessions and his detailed commentaries on all of the tracks.

    1. And Here We Are Again
    2. Words of Love
    3. How About it, Gorgeous
    4. Do You Want To Know A Secret
    5. Lucille
    6. Hey, Paul..
    7. Anna (Go To Him)
    8. Hello!
    9. Please Please Me
    10. Misery
    11. I'm Talking About You
    12. A Real Treat
    13. Boys
    14. Absolutely Fab
    15. Chains
    16. Ask Me Why
    17. Till There Was You
    18. Lend Me Your Comb
    19. Lower 5E
    20. The Hippy Hippy Shake
    21. Roll Over Beethoven
    22. There's A Place
    23. Bumper Bundle
    24. P.S. I Love You
    25. Please Mister Postman
    26. Beautiful Dreamer
    27. Devil In Her Heart
    28. The 49 Weeks
    29. Sure To Fall (In Love With You)
    30. Never Mind, Eh?
    31. Twist and Shout
    32. Bye, Bye
    33. John - Pop
    34. George - Pop Profile
    35. I Saw Her Standing There
    36. Glad All Over
    37. Lift Lid Again
    38. I'll Get You
    39. She Loves You
    40. Memphis, Tennessee
    41. Happy Birthday Dear Saturday Club
    42. Now Hush, Hush
    43. From Me to You
    44. Money (That's What I Want)
    45. I Want To Hold Your Hand
    46. Brian Bathtubes
    47. This Boy
    48. If I Wasn't In America
    49. I Got A Woman
    50. Long Tall Sally
    51. If I Feel
    52. A Hard Job Writing Them
    53. And I Love Her
    54. Oh, Can't We? Yes We Can
    55. You Can't Do That
    56. Honey Don't
    57. I'll Follow The Sun
    58. Green With Black Shutters
    59. Kansas City/ Hey-Hey-Hey
    60. That's What We're Here For
    61. I Feel Fine
    62. Paul - Pop
    63. Ringo - Pop
    The Beatles
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
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