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Where Have All The Merrymakers Gone?
Available For The First Time On Vinyl!
On Exclusive Clear Vinyl Limited To 1000 Copies
Includes Liner Notes And Essay Written By Singer Sean Nelson
Nearly two decades after its release, Seattle indie rock band Harvey Danger's cherished debut full-length album, Where have all the merrymakers gone?,
will be released on vinyl LP for the first time ever via No Sleep Records.
The Vinyl packaging for Where Have All The Merrymakers Gone? will feature new artwork, designed by band members Aaron Huffman, Evan Sult and
Sean Nelson, that features the same house where the band lived together during their early years - as depicted in the original cover art - now updated to
reflect the passage of time.
Originally released in 1997, Where have all the merrymakers gone? catapulted the young band to stardom with the massive radio and video success of
their anthemic hit song "Flagpole Sitta." The album has since sold over half a million copies with the single still receiving regular airplay on radio stations
across the country.
For many critics, Harvey Danger's history begins and ends with "Flagpole Sitta." However, a revisitation of Where have all the merrymakers gone? reveals
an album that transcends it's most famous song with music that is smart, sardonic and dynamic and a band that was far more than simply a "one hit
Harvey Danger emerged from the garages and basements of mid-'90s Seattle playing music that walked a line between indie-rock and pop-punk, with an
uncommon emphasis on the clever, heartfelt lyrics. They never sought worldwide notoriety, but managed the best they could when it was thrust upon
them. Simply put it was four kids, Aaron Huffman (bass), Jeff Lin (guitar), Evan Sult (drums) and Sean Nelson (vocals), who created a song and an album
that made a mark on rock music and whose pleasures have only deepened with time.
In preparation for the upcoming release, singer Sean Nelson wrote a foreword for the vinyl release, looking back on the album and its unexpected
"Under the long shadow of 17 years' worth of memory, I must say that listening back to the 10 songs that changed everything for us is a bracing
sensation. To hear the person you were when you weren't yet who you are now is to understand how little you understood, and to recognize how little you
even could have understood. This is doubly bracing when you consider that the person you were then had everything riding on the depth of his
understanding. It's tempting to be hard on your past self, the one who made all those idiotic mistakes, who scorched so many friendships, who insisted he
knew exactly what we was doing while steering car after car into ditch after ditch. And yet, temptations aside, it feels a lot better, and in a much bigger
way, to hoist hindsight's binoculars to your deteriorating eyes and spy something you love." (full essay from Nelson can be found in the liner notes of the
vinyl LP).1. Carlotta Valdez
2. Flagpole Sitta
3. Wooly Muffler
4. Private Helicopter
5. Problems and Bigger Ones
6. Jack The Lion
7. Old Hat
8. Terminal Annex
9. Wrecking Ball
10. Radio Silence$24.99Colored Vinyl LP - Sealed Buy Now
02:54Sister duo 2:54, consisting of Colette and Hannah Thurlow, have established themselves as one of 2012's most important breakthrough UK bands. Occupying a low-lit, vivid space, they unite a distinct concoction of ideas and influences that taps a rock and punk lineage notoriously anchored by the likes of Queens of the Stone Age and Kyuss. However, their sound neatly neighbors the darker, atmospheric reaches of R&B's finest, as well as timeless walls of sound.
The fact 2:54 have picked up fans from all the above worlds and more is testament not only to their sophisticated and nuanced tastes, but just how compelling a proposition the music they make is. Yet it's only now, with this their first full-length offering that the power of what they do will be revealed for all to see.
Recorded mostly by Mercury-winning producer Rob Ellis (PJ Harvey etc), and mixed by the legendary Alan Moulder (Smashing Pumpkins, Nine In Nails etc), their debut album collects together a cohesive and captivating selection of highlights from their already burgeoning catalog. The 10-songs that together make up 2:54 are ripe with danger and beauty. This is a record that thrums with life, signaled immediately with the gale-force opener, Revolving, a real bittersweet blizzard.
From then on the sisters Thurlow proceed to mine their own distinctive brand of haunted, freaked grooves and cloud-bursting melody, channeling love, loss and longing to spellbinding effect. This is an album with truly no filler. First spin will leave the propulsive, woozy thrust of Easy Undercover's refrains ringing in heads, as will the dueling guitars and surging, urgent cry of Sugar's dance floor rhythms. The smouldering solemnity of Circuitry, the delicate, scorched beauty of Watcher and the album closer Creeping are realized here in magnificent and malevolent new form that few will be prepared for.
Over the course of its 10-tracks it becomes clear that this is a rarefied, captivating affair, a beautifully sustained exercise in mood and tension that almost feels in a league and scene all its own. It's a bewitching snapshot of 2:54 thus far and also a glimpse of the heady future that awaits them.1. Revolving
2. You're Early
3. Easy Undercover
4. A Salute
10. Creeping$16.99Vinyl LP - Sealed Buy Now
Live 81-82Few bands were as cataclysmic, chaotic, and iconoclastic as Australia's Birthday Party. And while they spawned a few imitators (most notably Bogshead, Scratch Acid, and the short-lived batcave movement), their fractured sound and aura of wickedness were so far removed from the norm of early-'80s rock music that no group even came close to duplicating their murderous persona and manic, driving racket.
Live 1981-82 collects 17 tracks from concerts in London, Germany, and Greece, and for a band whose music seemed to cling to sanity by the most delicate of threads, these recordings are surprisingly coherent and faithful to the album versions.
Taking into account the barrage of feedback, the pile-driving bass, and singer Nick Cave's howling, the sound is also quite good (the only exception being the single cut from Greece, a cover of the Stooges Funhouse).
As for the performances, the band is in excellent form. Cave delivers the songs with conviction and energy, punctuating them with his startling vocabulary of shiver-inducing screams, grunts, snorts, groans, and growls. Considering the schizophrenia that was so much a part of the band's music, Cave's ability to convincingly deliver his gut-wrenching angst is nothing short of remarkable.
While Cave's Manson-meets-Morrison persona drew most of the attention, it was the Birthday Party's ability to swing--hard--that put them over the top. Drummer Phil Calvert is a beacon in the sea of chaos as guitarists Mick Harvey and Roland S. Howard disembowel their guitars, blasting shards of jazz and blues across the horizon. The late bassist Tracy Pew is the real revelation. Rock solid and never missing a beat, Pew emerges as the constant amidst the wreckage, providing the rich base from which these bad seeds sprung.
Live 1981-81 is a near-perfect document of one of rock's most extreme, creative, and dangerous forces.
-S. Duda1. Junkyard
2. A Dead Song
3. The Dim Locator
4. Zoo - Music - Girl
5. Nick The Stripper
6. Blast Off!
7. Release The Bats
8. Bully Bones
9. King Ink
10. (Sometimes) Pleasure Heads Must Burn
11. Big - Jesus - Trash - Can
12. Dead Joe
13. The Friend Catcher
14. 6 Gold Blade
15. Hamlet (Pow, Pow, Pow)
16. She's Hit
17. Funhouse$24.99Vinyl LP - Sealed Buy Now
In Flight (Pure Pleasure)Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.
Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.
In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.
- Richard S. Ginell (AllMusic)
- George Benson (vocal, guitar)
- Jorge Dalto (clavinet, piano)
- Ronnie Foster (electric piano, synthesizer)
- Phil Upchruch (guitar, bass)
- Stanley Banks(bass)
- Harvey Mason (drums)
- Ralph MacDonald (percussion)
Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt
Production: Tommy Lipuma
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Nature Boy
2. The Wind And I
3. The World Is A Ghetto
4. Gonna Love You More
5. Valdez In The Country
6. Everything Must Change$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now