- Lowest Price
- Highest Price
Enjoy The Ride'
Music1993's Music is the official debut full-length album from the Omaha, NE-bred, rap/reggae/funk/metal quintet 311 featuring Nick Hexum (vocals/guitar/programming), Tim Mahoney (guitar), Chad Sexton (drums), P-Nut (bass) and SA Martinez (vocals/turntables). The album includes reworked versions of material from the group's previously self-released EPs Dammit! (1990), Unity (1991) and Hydroponic (1992) along with what were some brand new penned cuts. The diverse outing offers an early glimpse of the formula that the band would turn into mainstream success on subsequent releases ie raw energy, infectious grooves, catchy hooks and a positive, feel-good message. Includes the popular single Do You Right.1. Welcome
2. Freak Out
7. My Stoney Baby
8. Nix Hex
10. Feels So Good
11. Do You Right$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Who Never Rests"Who Never Rests" kinda says it all. Khan is an extremely prolific producer, having produced electronic music under at least ten pseudonyms, including Bizz OD, 4E, El Turco Loco, Captain Comatose, Kid, and Khan. "Who Never Rests" drips with sleaze and sophistication. There's a party, and Satan's standing in the corner, soaking in sweat, and drinking champagne with the gothic bunny himself. Khan's a torch singer in a greasepaint clown suit, ready to strap you in and take you to Hell. But don't worry, he'll bring you back in one piece after he's had his way with you, so enjoy the ride.1.Excommunication
5.I Got To
6.Who Never Rests....
7.Take It Out on Me
8.You Like to Party?
9.On the Run
11.Hey Lil' Sister
13.Favor After Favor$15.99Vinyl LP - Sealed Buy Now
ADAD-EPI-3415xRoll The Tanks
Broke Til MidnightEast coast-to-LA transplants Roll The Tanks have signed to Epitaph and will release release their hook-laden debut album Broke Til Midnight in 2014.
Broke Til Midnight hits right in the gut upon first listen. A record that leaves no room for uncertainty in 13-tracks that beg listeners to hit repeat and enjoy the ride. It helps that band members Danny Carney (vocals/guitar), Aaron Stuart (guitar/ vocals), Mike Wakeman (bass/vocals), and Joe Sirois (drums) are fans of enduring songsmiths Tom Petty & The Heartbreakers, The Pixies, and The Clash from where they draw inspiration to carry on the torch. "We're going to make records because that's what we want to do - make records," says Carney. "No clunkers, no fillers. Records where you almost die making them." Though the band didn't die while making the album, they did have to wait until 12 AM for when their paychecks cleared at the bank in order to pay their bar tabs; hence the album title Broke Til Midnight.
Epitaph Label CEO and Bad Religion guitarist/songwriter Brett Gurewitz shares his thoughts on the signing:
"Roll The Tanks write the kind of songs that make you want to be a songwriter. The kind of inspiring rock n roll songwriting that made me want to devote myself to this crazy life in the first place. They bring to mind Strummer, Pixies, Petty, The Kinks but not because that's what they sound like, rather because they're cut from the same cloth. These guys are a great band, I can't wait for people to hear them."
An unpretentious, classic rock inspired "band's band," Roll The Tanks are primed and ready to carry the torch for energetic, solid rock music. They know the value of a dollar from grinding their days away waiting tables, driving trucks, and working as carpenters to pay the bills so they can dedicate their evenings (and as much time as they can put into the stage and the road) to honing their already formidable songwriting chops. Music is their passion. And as their name implies, they are prepared to flatten all obstacles.1. 24th & Buckets
2. Broke Til Midnight
3. Toeing The Line
4. Waiting on a Storm
5. Goddnight Jimmy Lee
6. Computer Money
7. Record Players
9. Lock Your Daughters Up
10. Assumption Army
11. Insufficient Funds
12. My Soapbox
13. Pistolero$19.99Vinyl LP - 2 LPs Sealed Buy Now
ZenithLike Bert & Ernie and Felix & Oscar, the bond of friendship can be peculiar. It is indisputable, though, that there exists a palpable, visceral energy that attracts strangers to form a perfect union. And, in those flawless entities we find a truer sense of being, a holy, deeper meaning that art only strives to approximate.
Eastern Midwestern shoots for the moon, and only most-artfully turns back on itself. Whether it's the genteel storytelling of the Middle West, or the affected attitude of the jagged Eastern seaboard, this unique foursome of de-facto New Yorkers aims to please even the most discerning ear.
They dare you not to hum back a melody, to not swing your arms in grand air guitar gestures, or flail faux-fills down dribbling air-toms. You'll have no control as your inner-bassist contorts the corners of your mouth into Bass Face, your under bite leading your head in an approving Rock Nod.
Enjoy your ride to Zenith and back! It is the capital of your favorite fictional state: Winnemac, so equally eastern and so equally midwestern.1. Why Would They Want Us
7. I'll Always Wonder
8. Guessed It Wrong
9. Much The Same
10. Call You
11. Tangerine$16.99Vinyl LP - Sealed Buy Now
See The LightSee the Light will be released in 2013, Less Than Jake's first proper full length in over 5 years.
Chris says - "What can we say? It's been one hell of a ride. 21 years in and we still enjoy the process of creating and recording new music. It keeps us sane and happy. Life has a way of bringing things full circle and we are beyond stoked to be releasing our new record as part of the Fat Wreck Chords family. Our new album See The Light is pure Less Than Jake. 13 songs that were written, recorded and produced in our hometown of Gainesville, Florida. You never know what people are going to think when you release new music. All you can do is what comes from your heart and we feel like we have accomplished what we set out to do with these new songs. Hopefully our fans will feel the same passion for this album as we do. See ya on the road!!"
Roger adds, "If you're expecting retreads and repeats, this record will disappoint. It's all new songs and new vibes, only recorded in our old school way." The guys are in the throes of putting together a massive tour across North America in support of the new album, but in the meantime, catch them in the Southeastern US, Japan and even Brazil!1. Good Enough
2. My Money is on the Long Shot
4. The Loudest Songs
5. Do the Math
6. Bless the Cracks
7. John the Baptist Bones
8. American Idle
9. The Troubles
10. Give Me Something to Believe In
12. A Short History Lesson
13. Weekends All Year Long$15.99Vinyl LP - Sealed Buy Now
Devil MusicThe Men are Rich Samis, Kevin Faulkner, Nick Chiericozzi and Mark Perro. We created Devil Music in our practice space over a weekend in January.
We wanted to give ourselves something enjoyable to listen to with this record... Something that had our personality in it, not just another record to get reviewed, to get into festivals, to get on tv, to participate in some sort of endless, winless game. This isn't a campaign.
Jordan Lovelace (mem. of Pampers) engineered and recorded Devil Music. Jonathan Schenke (mem. of Eaters and engineer of 100's of records) mastered the sessions on a Neve console in New York. These fine gentlemen knew we were after a raw four track sound. They used our strokes on the tape to get us where we wanted to go. Every record sounds a bit different than you think it will.
Some newer things came along for the ride like cassette cut ups, damaged vocal cords from years of yelling, a saxophone and of course the ten new songs. Some old ideas are still in the mix: the tracks were done live, including the vocals. The packaging/artwork was designed and produced by us.1. Dreamer
3. Ridin' On
4. Lion's Den
7. Hit the Ground
8. Devil Music
10. Fire$19.99Vinyl LP - Sealed Buy Now
Gold: Their Great Hits (Pre-Order)
Single 33 1/3 RPM LP Includes Poster Insert
Mastering By Kevin Gray At Cohearent Audio
Mastered From The Original Analog Tapes
200-Gram Plating And Pressing By Quality Record Pressings
Get your motor runnin' baby - Steppenwolf's Gold: Their Great Hits took its title literally. The towering rock album success rang in at No. 24 on the Billboard Pop Albums chart and became certified gold for record sales in excess of 500,000 units by the Record Industry Association of America (RIAA) in April 1971.
AllMusic praised the production and engineering of most of the tracks and called it a nearly perfect introduction to the band. Acoustic Sounds and Analogue Productions want to introduce you to the most sonically perfect version of this historic album you've ever heard on vinyl. Our 200-gram 33 1/3 RPM reissue was remastered from the original analog tapes by Kevin Gray at Cohearent Sound and plated and pressed by Gary Salstrom and his crew at Quality Record Pressings, makers of the world's finest-sounding LPs.
The Canadian-American rock band, named for Hermann Hesse's mystical novel, rocketed to worldwide fame after their third single Born to Be Wild dropped in 1968. The song and Steppenwolf's version of Hoyt Axton's The Pusher figured prominently in the 1969 counterculture cult film Easy Rider, and both show up on Gold's track list. Two other singles on this stunning album compilation also cracked the Top 10 on the charts: Magic Carpet Ride and Rock Me.
Magic Carpet Ride was released in 1968 on the album The Second. It was written by band members John Kay and Rushton Moreve, peaked at No. 3 in the U.S. and stayed on the charts for 16 weeks, longer than any other Steppenwolf song.
You also get the Don Covay soul cover Sookie, Sookie, which got airplay on some soul stations nationwide, as well as rock 'n' roll radio. Gold also includes Hey Lawdy Mama the hit studio single from Steppenwolf Live.
Steppenwolf enjoyed worldwide success from 1968 to 1972, when clashing personalities ultimately broke up the core group after a farewell concert in Los Angeles on Valentine's Day, 1972. Today, John Kay remains as the only original Steppenwolf member.1. Born to Be Wild
2. It's Never Too Late
3. Rock Me
4. Hey Lawdy Mama
5. Move Over
6. Who Needs Ya
7. Magic Carpet Ride
8. The Pusher
9. Sookie, Sookie
10. Jupiter's Child
11. Screaming Night Hog$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
Tyranny And Mutation (Speakers Corner)Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.
After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?
- Eric Bloom (guitar, keyboards, vocal)
- Allen Lanier (keyboards, guitar)
- Donald 'Buck Dharma' Roeser (guitar, vocal)
- Joe Bouchard (bass, vocal, keyboards)
- Albert Bouchard (drums, vocal)
Recording: 1972 at Columbia Studios, New York City, by Tim Geelan
Production: Murray Krugman and Sandy Pearlman
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. The Red & The Black
2. O.D.'d On Life Itself
3. Hot Rails To Hell
4. 7 Screaming Diz-Busters
5. Baby Ice Dog
6. Wings Wetted Down
7. Teen Archer
8. Mistress Of The Salmon Salt (Quicklime Girl)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Silver KobaltIn between work for Björk, The Cinematic Orchestra and Anoushka Shankar, the prodigious Hang player and percussionist Manu Delago has inked a deal with Tru Thoughts to release his own new album, 'Silver Kobalt'. The ambitious LP draws lines from pop to the avant-garde.
Aged just 30, Manu Delago is the world's leading Hang player (with 5 million YouTube views for his DIY performance video "Mono Desire") and possesses equally virtuosic skills as a percussionist and drummer alongside ever maturing instincts as a songwriter and producer. The accessible yet startlingly original sound of 'Silver Kobalt' draws on the experience and ideas built up by the London based Austrian native across a high-flying and diverse career to date. From overachieving teenaged rock bands, through extensive classical training; from his exploits at the cutting edge of art pop as the lynchpin of Björk's band, to a London Symphony Orchestra commission which saw him playfully subverting their expectations; this endlessly curious artist has been honing his own style rich in melody, wit and invention.
The title, 'Silver Kobalt', plays on the strangely linked themes of magnets, goblins and human behaviour. Throwing a pair of small magnets in the air one day, Delago recorded their frantic, thrumming sound for the track "Plus Minus"; he also experimented with the detuning effect of a magnet on the Hang. Magnet fascination deepening, he read that some rare elements are permanently magnetised, of which one is cobalt. Then, up popped the pleasing story that cobalt was actually named after the German word for 'goblin' ('kobold') by hapless silver miners who suspected little kobolds had taken all the silver and left them with this substance. Further reading revealed also that all humans contain cobalt which we need to survive. "I really enjoyed this string of information", he says. "As well as this fun idea of little goblins within us, it really struck a chord because I had been thinking a lot about attraction and repulsion - what makes people magnetically drawn to some things, away from others - and that is a strong theme in the music. 'Silver Kobalt' tied it all together."
Tying together the many sonic threads is co-producer Matt Robertson (Björk, The Prodigy, The Streets, Bat For Lashes), following his work on Delago's acclaimed 2013 LP 'Bigger Than Home', the record on which he began to truly develop his current sound. This is a sound that revolves around the unique timbre of the Hang, but encompasses much more, from acoustic percussion, bassoon, piano and chimes to multi-layered beats and a variety of synths.
The hypnotic, nursery rhyme-like Hang melody of lead single "Disgustingly Beautiful" feat. Isa Kurz opens the album; the affecting vocals of Kurz (also the pianist and violinist on record and in the live outfit Manu Delago Handmade) ride a bass-heavy undercurrent, with added beats from Grammy nominated producer j.viewz. On the spiky yet melodically catchy "Plus Minus", the aforementioned magnet theme is extended into the composition, with two main lines that are pulled together and pushed apart. "Drumheart feat. Anil Sebastian" is pristine bassy pop lifted onto another plane by the haunting, androgynous vocals of the up-and-coming singer.
Stealthily moving into a fascinating instrumental section, "Down to the Summit" (which, unusually, uses the Indian drone instrument Surpeti for harmony) leads to the punchy, subby Hang sound and four-handed piano tinkering of "Wandering Around" and on to the joyful "Simon is Psychling", which calls to mind a DJ with speakers on a bike, circling a big field, one lap bringing a bassoon solo, another an industrial noise-fest. Restoring calm, "Sun In The North feat. Isa Kurz" is a potent lyrical snapshot from a day on the beach on Reunion Island in the Indian Ocean, its rhythms inspired by playing with Indian musicians there. Cobalt gets its glory in the shape-shifting "Chemical Reaction feat. Rahel", and the lovelorn "Dearest" was conceived on tour in Australia where Delago captured the fairytale vocals of celebrated Australian folk singer Katie Noonan. "Almost Thirty", in Delago's words, "draws a bow from Eurotrash Dance Music to Austrian folk music, with some brainy immature rhythm ejaculations in between"; a banger that skirts the border between strange-town and club-land, it is a thrilling way to see out both his third decade on Earth and the album.
Having been given his first drum kit aged two, also learning the accordion and piano in childhood, Manu Delago was a professional performer by his teens, but it was in 2003, when he began playing the Hang - an enchanting new sound sculpture from Switzerland - that he discovered his passion for writing music. On graduating from the university Mozarteum in Innsbruck, he moved to London and studied at Guildhall School of Music & Drama and Trinity College of Music. With this pedigree, the lessons learned from collaborating with his heroes, and influences from The Prodigy to Bon Iver, Michael Jackson to Stravinsky and Beyonce to Rage against the Machine, his music is as impeccably realised as it is impossible to classify. Delago has featured heavily in the world's media, having toured on six continents and played festivals including Shambala, Green Man, Haldern Pop, Reeperbahn, Eurosonic and Popfest Vienna.1. Disgustingly Beautiful feat. Isa Kurz
2. Plus Minus
3. Drumheart feat. Anil Sebastian
4. Down to the Summit
5. Wandering Around
6. Simon is Psychling [sic]
7. Sun in the North feat. Isa Kurz
8. Dearest feat. Katie Noonan$14.99Vinyl LP - Sealed Buy Now
Hard BelieverHard Believer is the eagerly-awaited new studio album from Fink: Fin Greenall (vocals/guitar), together with Tim Thornton (drums/guitar) and Guy Whittaker (bass). It will be their first release on the R'COUP'D imprint, a label newly created by Greenall with the backing of the Ninja Tune team.
Recorded in seventeen days at Hollywood's legendary Sound Factory studios with producer Billy Bush (Garbage, Beck, Foster the People), Hard Believer is shot through with rawness and controlled aggression; an album replete with calm beginnings seguing into powerfully hypnotic loops and climactic finales. It is a masterful collection of songs from an artist at the peak of his creative powers.
"We wanted to go deeper this time, and be more ambitious with the music," Fin explains, "to move the sound forward without losing touch of where we're from."
Urban, bluesy, and alive, the album presents ten brand new songs, including the mighty "Shakespeare", a tale of young love gone tragically sour as the mood darkens from acoustic to guttural rock; the spiky yet delicate "Looking Too Closely", riding an irresistible piano-and-guitar groove; "Green and the Blue", on which a vulnerable Greenall meditates on the constants in life that see you through tough times; "Two Days Later", a deeply personal lament and one of only two songs on the record that start and remain down-tempo; and the breathtaking "Pilgrim", the latest collaboration with songwriter Blair Mackichan, co-writer of "This Is The Thing" from Fink's 2007 album Distance and Time, and "Honesty" from 2011's Perfect Darkness.
Since making the transition from world-class club DJ and electronic producer, to the first ever singer-songwriter signed to legendary British label Ninja Tune, Greenall has released four critically acclaimed albums, worked in the studio with the likes of John Legend, Ximena Sariñana, Amy Winehouse and Professor Green and enjoyed incredible live success with the hugely popular 18-month Perfect Darkness world tour, which accumulated two live records: 2012's Wheels Turn Beneath My Feet, and 2013's Fink Meets the Royal Concertgebouw Orchestra. All this and Fink is still a name which - while evoking an impassioned response from many a fellow artist and from the avid fanbase - remains a mystery to a wider majority. This looks set to change...
The term Hard Believer comes from deep-south Americana; it means somebody who is difficult to persuade, who requires proof. In truth, all anyone has to do here is listen to the powerful collection of songs on Hard Believer. The belief will surely follow.1. Hard Believer
2. Green and the Blue
3. White Flag
5. Two Days Later
7. Truth Begins
8. Looking Too Closely
9. Too Late
10. Keep Falling$29.99Vinyl LP - 2 LPs Sealed Buy Now
Completement FouYelle's third album will be released on the hit-maker's own Kemosabe Records and the team-up makes good sense. Though these Frenchies may not have one of the household names we're used to seeing next to that man's handle (Katy Perry, Robin Thicke, Britney Spears) they've long possessed an originality of voice and strength in songwriting that transcends whatever their trappings. Of course, they see it a bit differently. "We just do things we love," says Yelle, nÉe Julie Budet. "This is the only rule we have. At the end of the day this is what makes Yelle: Spontaneity."
And Yelle once again make an album that is pure Yelle. Complètement Fou is equally wild and wry, celebratory and melancholy, sensual and strange, forceful and full of fun. Cofounder and key composer GrandMarnier (Jean-François Perrier) laid down the frame for each song. Then Luke and his ace team - Oliver, Cirkut, Kool Kojack, A.C, Billboard, JMIKE, and MadMax - amplified what was already there instead of inventing a new identity. Collaboration was new territory, but it was the perfect path forward to advance the bouncy, synthesizer-rich sound of 2011s Safari Disco Club.
Look no further than the titular track to hear that growth in action: "Complètement Fou" opens with chopped rave keys, round sequencer blips, a mighty low-end kick, and playful effects à la Basement Jaxx. Then comes Yelle's voice - a transcendent thing that compliments those lush electronics so well. While "Coca Sans Bulles" tows the dark/light line between '80s electro oddness and Daft Punk disco, "Jeune Fille Garnement" slinks/surges like the Knife's freaky outrÉ techno. "Ba$$in" swirls rap with Eurodance; "Dire Qu'on Va Tous Mourir" puts R&B through a Oneohtrix filter.
And then there's "Moteur Action," a song whose summer breeziness suggests a top-down highway ride, oversized sunglasses on, scarf trailing behind. Though knowing Yelle, the lyrics aren't so blithe as those ebullient oohs might have you believe. Our heroine explains the album's primary themes as "relationships, love, bodies, dance, and sensuality, but also death." Ecstasy prevails in parts too. We'll let you seek your own translation of "Nuit de Baise," but "Florence en Italie" was inspired by Stendhal Syndrome, which causes viewers of particularly moving art to swoon and pass out.
Yelle sought a lyrical partner for Complètement Fou as well: "a French dandy called JÉrôme Echenoz," in her words, though he's best known as Tacteel (of TTC, for those who remember the details of Yelle's 2007 debut, Pop Up). "We used to do everything by ourselves," she says, "but we wanted to open the circle this time around because we love people!" She insists there are no direct dis songs in the vein of "Je Veux Te Voir," only "some winks here and there not personal, more about society." To wit, she counts Votaire's monumental 1759 satire Candide among the LP's influences.
At the heart of Yelle today is the same spirit that brought the pair formerly known as Julie and Jean-François together, as great friends, in 2000. They initially called their project YEL - an acronym for "You Enjoy Life" - but the exuberant, feminized, Francofied shout they've taken for a moniker suits them perfectly. We yell when we are happy with the world and we yell when we're pissed off at its ways. But we probably yell our best when we're complètement fou.
- France Rocks1. Complètement Fou
3. Coca Sans Bulles
4. Les Soupirs Et Les Refrains
5. Nuit De Baise I
7. Moteur Action
8. Florence En Italie
9. Un Jour Viendra
10. Nuit De Baise II
11. Jeune Fille Garnement
12. Dire Qu'on Va Tous Mourir
13. Bouquet Final$26.99Vinyl LP + CD - Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
ADAD-VAG-9610xJ Roddy Walston And The Business
J Roddy Walston & The BusinessNot too many bands would move to Baltimore, MD in search of their big break -- as the city's most famous citizen, John Waters, once put it, No one moves here -- and fewer still would consider making the jump to Charm City from Chattanooga, TN. But J. Roddy Walston and the Business are clearly not your average rock & roll band, and after listening to their self-titled second album (and first for Vagrant Records), this trajectory actually makes some sense. The band's music suggests a meeting of the minds between the Deep South and the East Coast -- Walston's raw, twangy vocals and rollicking piano style and Billy C. Gordon's thick guitar lines cut with sharp interjections of slide, could both come straight from a Tennessee roadhouse, but the heavy stomp of Logan Davis' bass and Steve Colmus' drums is all-beef, no-filler hard rock stomp, the stuff of guys who've spent half their life trying to perfect Led Zeppelin's glorious thud and are within spitting distance of catching it. Put these two sides together, have them spend a few hundred nights playing bars where they struggle to be heard over flying beer bottles and shouts for more bourbon, and you could get something a lot like J. Roddy Walston and the Business.
These ten songs have swagger to spare, but there's little in the way of crowd-pleasing gestures; this band is here to rock but you have to take or leave them on their own terms, and the material is strong enough that plenty of listeners are likely to climb aboard for the ride. Whether they're living on the edge in Brave Man's Death, sharing tales of unsatisfying lovers in Pigs and Pearls, or mixing risky metaphors in Don't Break the Needle, J. Roddy Walston and the Business are a real-deal, roots-conscious hard rock band in an era when such things are believed to have gone the way of the 8-track tape. Picture a band that captures the lean and glorious Southern arrogance of the early Black Crowes and the FTW attitude of Appetite for Destruction-era Guns N' Roses -- all without obviously lifting licks from either act -- and you get one enjoyably butt-kicking surprise of an album.
- Mark Deming (All Music Guide)1. Don't Break The Needle
2. Full Growing Man
3. Used To Did
4. Pies N' Pearls
5. Brave Man's Death
6. Don't Get Old
7. I Don't Wanna Hear It
8. Uh Oh Rock N' Roll
10. Use Your Language$19.99Vinyl LP - Sealed Buy Now
$24.99 $22.49 Save $2.50 (10%)
Screaming For Vengeance (On Sale)Screaming for Vengeance on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Double-Platinum 1982 Blockbuster Remains Judas Priest's Most Commercially Successful LP
Includes Electric Eye, Screaming for Vengeance, You've Got Another Thing Comin'
Dual Magnesium-Burn Guitars, Leather-Tough Percussion, Molten-Hot Melodies Help Form Triangular Equilibrium of Speed, Accessibility, and Attitude
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
You've got another thing comin'! Distinguished by dual magnesium-burn guitars, leather-tough percussion, molten-hot melodies, and the unmistakable piercing falsetto of operatic vocalist, Screaming for Vengeance became the soundtrack to millions of music lovers' lives in the early 1980s as Judas Priest continued to lay waste to its contemporaries' softer, cheesier hard-rock styles. An effort on which precision-based speed, mainstream accessibility, and resilient attitude meet in triangular equilibrium, the 1982 set remains the British metal legends' top-selling record.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP shows off the grand intersection of daring adventure and commercial purpose achieved via ironclad production values and entrenched grooves. The latter particularly benefit from this analog pressing, as the group never overlooks the importance of rhythm and pace even when stoking tempos to engine-combusting levels. Leagues ahead of the sonics gracing its peers' albums from the time, the sense of balance, separation, and realism is on par with that of big-budget rock creations.
Staked by the breakout "You've Got Another Thing Comin'," which burns white-hot with foot-pounding riffs, prize-fighting percussion, and singer Rob Halford's gun-for-hire blare, Screaming for Vengeance clutches hold of the jugular and doesn't let go. A return to the band's gritty, purist roots, the record revisits the themes of darkness, menace, and the unknown firmly established on the pioneering Stained Class and Killing Machine. Along with those albums, and British Steel, Screaming for Vengeance is the template for the catchy albeit uncompromisingly heavy crossover success Metallica, Megadeth, and Anthrax enjoyed years later.
With the one-two opening tandem of the instrumental "The Hellion" and stomping "Electric Eye," overseen by Halford as if he's embodying the persona of a wicked James Bond villain, Priest sounds utterly futuristic and terrifying, the instruments seemingly on a swivel and the sawed-off tones flooding the guitar solos with intimidation. A classic head-out-to-the highway anthem ("Riding on the Wind"), a racing proto-thrash banger ("Screaming for Vengeance"), and a scorching exorcism ("Devil's Child") function as the metal-hued bolts that hold the foundations of this Top 20-charting benchmark in place.
Perhaps more so here than on any other record, Priest spit-shines hooks and collusive six-string harmonic leads to perfection, giving listeners ying-yang doses of pain and pleasure, sweet and bitter. Songs at once invite sing-a-longs and fist-pumping responses. Screaming for Vengeance marked the last time Priest would sound this heavy in the 80s. No wonder it was voted the 12th best metal album of all time in Martin Popoff's definitive book of the same name.
This title is not eligible for further discount.1. The Hellion
2. Electric Eye
3. Riding on the Wind
5. (Take These) Chains
6. Pain and Pleasure
7. Screaming for Vengeance
8. You've Got Another Thing Comin'
10. Devil's Child$24.99 $22.49 Save $2.50 (10%)Vinyl LP - Sealed Buy Now
Desperate Ground180 Gram Vinyl LP
Vinyl LP pressed at RTI
Desperate Ground, the new LP from The Thermals, is exactly what the title implies. A
dangerous path. A crucial moment. A split second in time when you must stand and defend,
kill or be killed. Nowhere to run. Nowhere to hide.
The Thermals' sixth LP and first for Saddle Creek, Desperate Ground, is a true scrappy and
scratchy return-to-form for The Thermals, with all the raw power and unhinged adolescent
energy that made their early LP's so insanely enjoyable. Lyrically, the album is a brash and
irresponsible ode to human violence, a black celebration of the inevitability of war and death.
A dark and yet joyous affair, Desperate Ground tells the (murky) tale of a lone rogue in the
night. One man, one path, one sword. An unceasing urge to destroy. A never-ending battle
against the forces of nature. A destiny impossible to avoid. All told, Desperate Ground is a
loud, violent thrill ride, a punk LP as bloody action film. It's The Wipers meets "Die Hard" and
Desperate Ground was produced by John Agnello (Dinosaur Jr, Sonic Youth) in Hoboken,
NJ. Agnello and The Thermals completed mixing just hours before Hurricane Sandy ravaged
New Jersey. Desperate Ground indeed.1 Born To Kill
2 You Will Be Free
3 The Sunset
4 I Go Alone
5 The Sword By My Side
6 You Will Find Me
7 Faces Stay With Me
8 The Howl Of The Winds
9 Where I Stand
10 Our Love Survives$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now