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  • The Ultimate Analogue Test LP The Ultimate Analogue Test LP Quick View

    $39.99
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    The Ultimate Analogue Test LP

    Editors Editors Editors Editors


    Analogue Productions set out to produce the ultimate test record.


    We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.


    Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.


    This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.


    Side 1

    General Reference Level

    This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
    Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)

    Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
    Adjust preamp channel balance for equal output.
    Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.


    Azimuth Adjustment

    Track 2 1kHz reference level Left channel only

    Measure Right channel output.

    Track 3 1kHz reference level Right channel only

    Measure Left channel output.

    The object is to sit the stylus exactly perpendicular in the groove.

    Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.


    High Frequency Adjustment

    Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.

    Track 4 1 kHz tone at -20 below reference level, Lateral

    Reference for High Frequency test.

    Track 5 10 kHz reference tone at -20dbu, Lateral
    Adjust the high frequency until the output level equals that of Track 4.

    Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)

    The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.


    Low Frequency Adjustment

    Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.

    Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)

    Play Track 7 and measure the output with your AC millivolt meter.

    Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.

    Track 8 100 Hz reference tone at 0 vu (Lateral)
    Adjust LF Eq to reference (which is your reading from Track 1).


    Track 9 VTA adjust

    This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.

    Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.


    Track 10 Standard Wow & Flutter test signal; 3150Hz
    The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.

    Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.


    Side 2

    Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)

    Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.

    It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.


    Track 2 Pink noise lateral

    Track 3 Pink noise vertical

    Used for cartridge "demagnetizing"

    You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.


    Track 4 1kHz @ reference level, vertical
    This out-of-phase signal should cancel to nothing when summed to mono.

    Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.


    Track 5 1kHz to 10Hz sweep @ -20 below

    reference level, vertical
    Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.

    Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.


    Track 6 Silent groove for bearing rumble and table isolation

    During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.


    This title is not eligible for discount.

    Analogue Productions
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Ultimate Collection (Box Set) (Pre-Order) The Ultimate Collection (Box Set) (Pre-Order) Quick View

    $129.99
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    The Ultimate Collection (Box Set) (Pre-Order)

    Extremely Limited Edition, Individually Numbered, 1500 Copies Worldwide


    180 Gram Audiophile Black Vinyl


    3 Gatefold Sleeves


    Includes 16-Page Booklet With Pictures And Liner Notes


    Remastered For Vinyl


    Deluxe Lift-Off Box Set With Gold Foil Finish


    First Time On Vinyl


    America's greatest composer, inspired by the work of one of America's greatest filmmakers


    Over the 90-year history of sound film, there have been a handful of instances where a director and a composer have formed a longtime partnership that resulted in a series of classical scores, creating music that stands the test of time.


    None, however, have been as long or as fruitful as the 43-year collaboration of Steven Spielberg and John Williams. None have encompassed such a wide range of subject matter or, more significantly, have had such an enormous impact on worldwide popular culture.


    From the ominous shark signature of Jaws to the five-note alien greeting of Close Encounters of the Third Kind; from the heroic march of Raiders of the Lost Ark to the moving themes for Schindler's List.


    The music Williams has written for more than two dozen Spielberg projects has not only served them brilliantly but entered the wider public consciousness.


    With a record fifty Academy Award® nominations (more than any other composer) Williams has demonstrated, again and again, his ability to connect with audiences, both in the movie theatre and in the concert hall. Seventeen of those nominations and three of Williams' five Oscar® wins (Jaws, E.T. and Schindler s List) have been for Spielberg films.


    The sheer variety of music, the depth of compositional skill on display, the powerful emotions that it evokes, makes John Williams & Steven Spielberg: The Ultimate Collection an extraordinary accomplishment.


    Both 'The Spielberg-Williams Collaboration' and 'Williams On Williams' were released on cd in the early 1990s. Earlier this year 'The Spielberg/Williams Collaboration Part III' was released on cd and digital platforms. This latest collaboration includes new recordings of selections from most of the Maestro's scores for the director since 1997.


    All three albums are now pressed on vinyl for the first time, as part of this special super deluxe box-set.


    Williams and Spielberg fans have been waiting a long time for this exclusive vinyl box for and now it's finally here. All audio has been exclusively mastered in the cutting room for the ultimate listening experience.


    This 6LP deluxe box-set has a gold foil finishing and contains an exclusive 16-page booklet with photos and liner notes. All 3 gatefold jackets are pressed on thick cardboard with matt finish and the 180 gram audiophile records are housed in anti-static polybags. 12 secret inscriptions are written in the run-out grooves of all sides.


    Please note this box is individually numbered, strictly limited and only available for a very short period of time.


    This is truly the best work of one of America's greatest composers, inspired by the work of one of America s greatest filmmakers

    LP 1
    1. The Raiders' March (From Raiders Of The Lost Ark)
    2. Theme (From Always)
    3. Adventures On Earth (From E.T. The Extra-Terrestrial)
    4. Theme (From Sugarland Express)
    5. Theme (From Jaws)
    6. Out To Sea/the Shark Cage Fugue (From Jaws)


    LP 2
    1. Exsultate Justi (From Empire Of The Sun)
    2. Parade Of The Slave Children (From Indiana Jones II)
    3. Over The Moon (From E.T. The Extra-Terrestrial)
    4. March (From 1941)
    5. Cadillac Of The Skies (From Empire Of The Sun)
    6. Scherzo For Motorcycle And Orchestra (From Indiana Jones III)
    7. Excerpts (From Close Encounters Of The Third Kind)


    LP 3
    1. Flying (From E.T. The Extra-Terrestrial)
    2. Theme (From Jurassic Park)
    3. Remembrances (From Schindler's List)
    4. Flight To Neverland (From Hook)
    5. The Battle For Hollywood (From 1941)
    6. Smee's Plan (From Hook)
    7. The Barrel Chase (From Jaws)


    LP 4
    1. My Friend, The Brachiosaurus (From Jurassic Park)
    2. Jim's New Life (From Empire Of The Sun)
    3. The Dialogue (From Close Encounters Of The Third Kind)
    4. The Lost Boys' Ballet (From Hook)
    5. Theme (From Schindler's List)
    6. The Basket Chase (From Raiders Of The Lost Ark)
    7. The Face Of Pan (From Hook)
    8. The Banquet (From Hook)


    LP 5
    1. The Adventures Of Mutt (From Indiana Jones IV)
    2. Dry Your Tears, Afrika (From Amistad)
    3. The Bfg (From The Bfg)
    4. With Malice Toward None (From Lincoln)
    5. The Duel (From The Adventures Of Tintin)
    6. A New Beginning (From Minority Report)
    7. Escapades For Alto Saxophone And Orchestra I (From Catch Me If You Can)
    8. Escapades For Alto Saxophone And Orchestra II ((From Catch Me If You Can)
    9. Escapades For Alto Saxophone And Orchestra III (From Catch Me If You Can)


    LP 6
    1. Marion's Theme (From Raiders Of The Lost Ark)
    2. Hymn To The Fallen (From Saving Private Ryan)
    3. Dartmoor, 1912 (From War Horse)
    4. Viktor's Tale (From The Terminal)
    5. Prayer For Peace (From Munich)
    6. Immigration And Building (From The Unfinished Journey)
    7. With Malice Toward None (Alternate Version) (From Lincoln)

    John Williams & Steven Spielberg
    $129.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 6 LPs Sealed PRE-ORDER Buy Now
  • Elvis' Christmas Album 55th Anniversary Elvis' Christmas Album 55th Anniversary Quick View

    $31.99
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    Elvis' Christmas Album 55th Anniversary

    Friday Music is Proud to Announce the 55th Anniversary Edition of Elvis' Christmas Album on 180 Gram Vinyl with the Rare Gatefold Cover & Super Rare LP Booklet!


    55 years ago, Elvis recorded what would become one of the most memorable and best loved Christmas LP's of all time, Elvis' Christmas Album. The 1957 album was a blockbuster as it topped the pop charts for a month, making this one of the biggest albums of his career & ultimately selling over 13 Million copies! Featuring twelve hits like Blue Christmas, Silent Night & Peace In The Valley, the album has truly stood the test of time.

    1. Santa Claus Is Back In Town
    2. White Christmas
    3. Here Come Santa Claus
    4. I'll Be Home For Christmas
    5. Blue Christmas
    6. Santa Bring My Baby Back
    7. O Little Town Of Bethlehem
    8. Silent Night
    9. (There Will Be) Peace In The Valley
    10. I Believe
    11. Take My Hand, Precious Lord
    12. It Is No Secret (What God Can Do)
    Elvis Presley
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • A Meeting By The River (200 Gram Vinyl) A Meeting By The River (200 Gram Vinyl) Quick View

    $54.99
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    A Meeting By The River (200 Gram Vinyl)

    1994 Grammy Winner For Best World Music Album


    Included In Tom Moon's 2008 Book 1,000 Recordings To Hear Before You Die


    The sound is about as good as it gets, with almost no sense of recording gear between the listener and musicians, who are laid out in a solid horizontal line. The remarkable air and tangible 'thereness' will take your breath away. - Wayne Garcia, The Absolute Sound, August 2008


    As spontaneous as music-making gets, this East meets West improv session between two masters of slide-based stringed instruments is like eating at the most exotic Indian restaurant that adds Tex-Mex flavors to its dishes. The sound is very natural, almost achingly beautiful. - Playback, June 2008


    This record is a must-have for fans of Ry Cooder's explorations into global sounds. The playing is out of this world, and, on these cuts, it has less of a world music feel, and is almost bluesy at times. With the original sessions captured at 15 i.p.s. on all custom deParavicini gear, this is the ultimate stereo test record. The sound is as real, open and airy as it gets; not one more molecule of tone could possibly be put onto these black discs! - Jeff Dorgay, Tone Audio, No. 15, 2008


    Passionate, mysterious, intricate, earthy, ethereal, moody and mystical, the rich musical improvisations on this recording defy categorization The recording is as astonishing as the music: a harmonically complex, three-dimensional, two-microphone purist production that will easily take its place at the top of the sonic heap in your record collection and that's a guarantee this is among the most spacious, convincing three-dimensional recordings you will ever hear An essential record in any 21st-century vinyl collection. Music = 11/11; Sound = 11/11 - Michael Fremer, Music Angle, www.musicangle.com


    The quintessential 2 mic Blumlein recording, a musical extravaganza - on 45rpm it destroys the early '90s CD! - Danny Kaey, Positive-Feedback Online


    Astonishingly, the four conversational yet adventurous tracks captured on A Meeting by the River were unrehearsed jams between the two masters, who had met only minutes before the session. The lesson is that Cooder and Bhatt not only knew how to play but how to listen. - Daniel Durchholz, Stereophile, February 2007


    American composer, musicologist and guitar legend Ry Cooder teams with North Indian musician Vishwa Mohan Bhatt to create an exquisite musical realm, with both musicians playing exceptional slide guitar. Their collaboration evokes musical elements from many cultures and styles. Percussion by Sukhvindar Singh on tabla and Cooder's 14-year-old son Joachim on dumbek. This recording won a Grammy Award in 1994 for Best World Album.


    Originally released in 1993.


    This title is not eligible for discount.

    1. A Meeting By The River
    2. Longing
    3. Ganges Delta Blues
    4. Isa Lei
    Ry Cooder & V.M. Bhatt
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Nothing Can Hurt Me (Soundtrack) Nothing Can Hurt Me (Soundtrack) Quick View

    $24.99
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    Nothing Can Hurt Me (Soundtrack)

    2011's RSD saw an Omnivore vinyl reissue of the "test pressing" of Big Star's 1975 swansong Third, meticulously recreated right down to the master tape box and tracking sheets. Early in 2012, the band's frontman Alex Chilton was celebrated via the label's release of Free Again: The 1970 Sessions. Now, Omnivore is handling the soundtrack to the Magnolia Pictures documentary Big Star: Nothing Can Hurt Me, and it will premiere as a RSD-exclusive yellow double vinyl edition limited to 4,000 copies worldwide. The 2012 SXSW Film Festival selection tells the story of the ultimate cult band, a group that never saw any considerable commercial success but influenced an entire generation of pop musicians. Nothing Can Hurt Me chronicles Alex Chilton's ascent to fame


    As lead singer of The Box Tops through the recording of Big Star's three albums, to the 1978 death of Chilton's collaborator Chris Bell.


    The 21 previously unreleased tracks on the soundtrack's four vinyl sides encompass vintage unissued mixes, alternate takes, demos, and new mixes made for the motion picture of Big Star, Chilton and Bell songs. The soundtrack includes 21 previously unheard period mixes, new mixes made specifically for the film, and alternate takes and demos.

    LP1
    1. My Soul (Demo, 1973)
    2. Give Me Another Chance (Control Room Monitor Mix 1972)
    3. In The Street (Movie Mix, 2012)
    4. When My Baby's Beside Me (Alternate Mix 1972)
    5. Studio Banter (1972)
    6. Try Again (Movie Mix, 2012) - Rock City
    7. My Life Is Right (Alternate Mix, 1972)
    8. The Ballad Of El Goodo (Alternate Mix, 1972)
    9. Feel (Alternate Mix, 1972)
    10. Don't Lie To Me (Alternate Mix, 1972)
    11. Way Out West (Alternate Mix)


    LP2
    1. Thirteen (Alternate Mix, 1972)
    2. You Get What You Deserve (Alternate Mix, 1972)
    3. Holocaust (Rough Mix, 1974)
    4. Kanga Roo (Rough Mix, 1974)
    5. Stoke It Noel (Backward Intro, 1974)
    6. Big Black Car (Rough Mix, 1974)
    7. Better Save Yourself (Movie Mix, 2012) - Chris Bell
    8. I Am The Cosmos (Movie Mix, 2012) - Chris Bell
    9. All We Ever Got From Them Was Pain (Movie Mix, 2012) - Alex
    10. September Gurls (Movie Mix, 2012)

    Big Star
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Innerworld Innerworld Quick View

    $18.99
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    Innerworld

    In a click-bait driven music scene, it's rare to find an album that stands the test of time, but Toronto-based synth duo Electric Youth may have managed that rare feat with their spectral, stunning debut
    album Innerworld. "We wanted to make something that had the sense of being timeless," says Austin
    Garrick, the band's instrumentalist alongside vocalist Bronwyn Griffin. "Our ultimate goal is to make a
    record that will be the favourite album of people that aren't born yet.


    With their swooning collaboration with College, "A Real Hero", featured in Nicolas Winding Refn's
    universally acclaimed neo-noir 'Drive', a place in the history books is arguably already theirs. After
    cracking the Top 10 of the iTunes dance charts in 15 countries, the band stepped back from the limelight
    to take their time to work on a full-length. "We get asked a lot 'how have guys not already put out an
    album - that would have been a good time to do it'", admits Austin. "But at the end of the day, more
    important for us than capitalising on timing is really making sure that we would have the record that we
    wanna have.


    Recording took place between the duo's Toronto studio and their home studio in LA. Each space served
    its different purpose - in Toronto Austin was able to make use of his extensive vintage synth collection,
    making up what he estimates is 80% of analogue sounds on the album. In LA meanwhile, the pair
    recorded Bronwyn's vocals, of which they share writing duties for -- in their space -- which includes a film
    projection room. Fritz Lang's boundary-breaking twenties classic 'Metropolis' was a favourite. It's easy to
    see how the vast scope of Lang's movie inspired the wide-eyed vistas of Innerworld, where soundscapes
    bleed into vocals and songs take you on journeys into roads unexplored.


    The artwork for Innerworld is similarly starry-eyed, with British artist Paul Roberts painting Austin and
    Bronwyn as intrepid children for the cover. "He was in a group called Sniff 'n' the Tears who had a big hit
    in the 70's with their song "Drivers Seat", which we came to know through its use in 'Boogie Nights'. We
    loved his album covers which he would paint and from there we discovered he went on to incredible work
    as an artist" says Austin. "The initial intention was for it to be more about the landscape, but we liked it
    and it did make sense to us, going back to the concept of Innerworld Bronwyn and I have known each
    other since we were 10 years old and a lot of the time we're still the same kids in our mind, in our inner
    world. And so for us you could say, in our inner world that's what we look like - those two kids." With
    their music's unquenchable sense of wonder, perhaps they're not too far from those kids today. "David
    Lynch never wants to define the meanings of his films," says Austin. "Similarly, we don't like to get too
    specific about the meaning of our music." When it sounds this good, who needs to put their music into
    a box? Let their inner world wash over you.

    1. Before Life
    2. Runaway
    3. WeAreTheYouth
    4. Innocence
    5. Without You
    6. If All She Has Is You
    7. The Best Thing
    8. Tomorrow
    9. Another Story
    10. She's Sleeping Interlude
    11. A Real Hero
    12. Outro
    Electric Youth
    $18.99
    Vinyl LP - Sealed Buy Now
  • Nothing Can Hurt Me Nothing Can Hurt Me Quick View

    $72.99
    Buy Now
    x

    Nothing Can Hurt Me

    Limited Edition - on Translucent Yellow Vinyl


    2011's RSD saw an Omnivore vinyl reissue of the "test pressing" of Big Star's 1975 swansong Third, meticulously recreated right down to the master tape box and tracking sheets. Early in 2012, the band's frontman Alex Chilton was celebrated via the label's release of Free Again: The 1970 Sessions. Now, Omnivore is handling the soundtrack to the Magnolia Pictures documentary Big Star: Nothing Can Hurt Me, and it will premiere as a RSD-exclusive yellow double vinyl edition limited to 4,000 copies worldwide. The 2012 SXSW Film Festival selection tells the story of the ultimate cult band, a group that never saw any considerable commercial success but influenced an entire generation of pop musicians. Nothing Can Hurt Me chronicles Alex Chilton's ascent to fame


    As lead singer of The Box Tops through the recording of Big Star's three albums, to the 1978 death of Chilton's collaborator Chris Bell.


    The 21 previously unreleased tracks on the soundtrack's four vinyl sides encompass vintage unissued mixes, alternate takes, demos, and new mixes made for the motion picture of Big Star, Chilton and Bell songs. The soundtrack includes 21 previously unheard period mixes, new mixes made specifically for the film, and alternate takes and demos. For the limited, first-edition RSD pressing, the 2-LP set will be released on 180-gram RTI HQ translucent yellow vinyl, with mastering by Larry Nix at L. Nix Mastering. The project was overseen by the documentary's executive producer, John Fry, at the legendary Ardent Studios in Memphis.

    LP1
    1. My Soul (Demo, 1973)
    2. Give Me Another Chance (Control Room Monitor Mix 1972)
    3. In The Street (Movie Mix, 2012)
    4. When My Baby's Beside Me (Alternate Mix 1972)
    5. Studio Banter (1972)
    6. Try Again (Movie Mix, 2012) - Rock City
    7. My Life Is Right (Alternate Mix, 1972)
    8. The Ballad Of El Goodo (Alternate Mix, 1972)
    9. Feel (Alternate Mix, 1972)
    10. Don't Lie To Me (Alternate Mix, 1972)
    11. Way Out West (Alternate Mix)


    LP2
    1. Thirteen (Alternate Mix, 1972)
    2. You Get What You Deserve (Alternate Mix, 1972)
    3. Holocaust (Rough Mix, 1974)
    4. Kanga Roo (Rough Mix, 1974)
    5. Stoke It Noel (Backward Intro, 1974)
    6. Big Black Car (Rough Mix, 1974)
    7. Better Save Yourself (Movie Mix, 2012) - Chris Bell
    8. I Am The Cosmos (Movie Mix, 2012) - Chris Bell
    9. All We Ever Got From Them Was Pain (Movie Mix, 2012) - Alex
    10. September Gurls (Movie Mix, 2012)

    Big Star
    $72.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Holland Holland Quick View

    $39.99
    Buy Now
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    Holland

    Holland In 33 1/3 RPM Stereo Only; Bonus Track Together With 12-inch EP Included!


    Bonus Track We Got Love Restored; Left Off Of Original U.S. Pressings!


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!


    A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    The Beach Boy's Holland, the group's 19th studio album, was recorded in Baambrugge, Netherlands in the summer of 1972 and released in January 1973. Our Analogue Productions reissue also includes a bonus 12-inch EP: Mount Vernon and Fairway (A Fairy Tale). Plus the restoration of We Got Love, eliminated from original U.S. copies of the album!


    By mid-1972, with Wilson's focus waning from the Beach Boys to other creative outlets, and his personal and health-related issues mounting, Wilson was producing less music for the band than ever before. They decamped for the Netherlands hoping to jump-start Brian's creative energies.


    Wilson contributed little to the album, concentrating his musical efforts on Mount Vernon and Fairway, a 10-minute long musical fairy tale eventually included with the album as a bonus EP.


    The title of the bonus EP was named after the intersection where the Love family lived in Los Angeles, and where the Wilsons and Loves would gather for family celebrations back in the 1940s and '50s when Brian, Mike, Carl and Dennis were all growing up. As a concept for a Beach Boys track, Mount Vernon and Fairway initially received a less than enthusiastic response from the other band members when Brian first presented the idea to the group, and this only fueled Brian's steadily worsening depression. Eventually, Carl stepped in to produce the recording for Brian, and the decision was made to include the fairy tale in the album package as a separate EP. Brian himself designed the EP's picture sleeve.


    Although Mount Vernon and Fairway (A Fairy Tale) was narrated by Jack Rieley, the voice of the Pied Piper was supplied by Brian in a slightly grainier-sounding cartoon voice.


    The instrumental tracks for Mount Vernon and Fairway (A Fairy Tale) were later released on Good Vibrations: Thirty years of The Beach Boys as Fairy Tale Music.


    Upon the band's return from the Netherlands in the fall, Holland was rejected by Reprise Records for not having a potential hit single. Added to the track list was an unfinished Brian Wilson song Sail On, Sailor, that he'd originally co-written with Ray Kennedy, and finally completed with the help of Van Dyke Parks, Jack Reiley and Tandyn Almer. It would ultimately become Holland's most famous track. A casualty of the album's tracklist reshuffling was another Fataar/Chaplin tune, written with Mike Love, called We Got Love. A live version was included on the group's 1973 release The Beach Boys In Concert.


    Early test pressings of Holland, made in the U.S. and U.K. featured We Got Love, as did a few hundred copies pressed and sold in Germany. Early French and Canadian pressings of Holland mention We Got Love on the jacket, but the song is not on those albums. For this Holland reissue Acoustic Sounds/Analogue Productions has brought back We Got Love as a bonus track!


    The highlights (of Holland are) Carl's 'The Trader,' Brian's 'Sail on, Sailor' and 'Funky Pretty' ... Al Jardine and Mike Love's three-part 'California Saga' shows the effects of their environmentalist spirituality ...(the conclusion, 'California,' is a solid return to the harmony-laden sun-and-surf '60s). 'Only with You' is yet another tender Dennis Wilson ballad, (a rare songwriting collaboration with Mike Love), given an excellent reading by Carl. - AllMusic.com


    This title is not eligible for discount.

    1. Sail On Sailor
    2. Steamboat
    3. California Saga
    4. Part One: Big Sur
    5. Part Two: The Beaks Of Eagles
    6. Part Three: California
    7. The Trader
    8. Leaving This Town
    9. Only With You
    10. Funky Pretty


    12" Mount Vernon EP
    1. Mt. Vernon And Fairway - Theme
    2. I'm The Pied Piper
    3. Better Get Back In Bed
    4. Magic Transistor Radio
    5. I'm The Pied Piper
    6. Radio King Dom
    7. We've Got Love
    8. Sail On Sailor (45 RPM)

    Beach Boys
    $39.99
    200 Gram Audiophile Virgin Vinyl LP + 12 - Sealed Buy Now
  • Nuclear Soul Nuclear Soul Quick View

    $18.99
    Buy Now
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    Nuclear Soul

    "...Lionize might just be one of today's most successfully original rock acts." - Classic Rock

    "A mighty funk n roll rumble." - Metal Hammer

    "Tight beats and infectious riffs." - Powerplay

    Over six albums Lionize have streamlined their blend of funky riffs, cyborg tales and reggae sensibilities into an original, more-ish rock whole; culminating with the propulsive Jetpack Soundtrack in 2014. Now, with seventh LP Nuclear Soul, they're raising the bar again with their most fearless, expansive-sounding songs yet. Assinger/guitarist Nate Bergman tells us: "It [the music] has elements of bands like Clutch and Deep Purple, but its not quite that - it's something all its own. I think the beauty of the band right now is that all these elements touch on something familiar,but also sound new."

    In writing and road testing Nuclear Soul the band aimed to redefine what it means to be a classic sounding rock'n'roll band. Thematically, they also harnessed the present political climate to powerful effect.

    "We had no rules or ideals," he continues. "We just wanted to take people on a musical journey that excited them, and showed how emotionally moving the band could be."

    Ultimately this is Lionize at their most stadium-ready - without compromising on soul,sass or substance. It's that wonderful space where vintage style and contemporary fire collide.

    1. Darkest Timeline
    2. Face of Mars
    3. Fire in Athena
    4. Power Grid
    5. Aint It a Shame
    6. Election Year
    7. March of the Clones
    8. Let You Down
    9. the Mad Scientist of Sunshine
    10. Nuclear Soul
    11. Blindness to Danger
    Lionize
    $18.99
    Vinyl LP - Sealed Buy Now
  • Justus Justus Quick View

    $29.99
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    Justus

    First time 180 Gram Audiophile Vinyl Release... Their final work together... captured in the audiophile domain... only from your friends at Friday Music... It Looks Like We've Made It Once Again!


    The Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories ever in the music business.


    In 1996, after a thirty year hiatus as a quartet, the original Monkees Davy Jones, Michael Nesmith, Micky Dolenz and Peter Tork went back to the studio and recorded what would ultimately be their final studio project, the Justus album. Noted for their return to the studio and touring around the legendary release, this final work also found The Monkees as the sole musicians, vocalists, writers and production team for all of the tracks assembled for the recording. The results truly showed one of the more organically produced albums ever from their superstar catalog of fine recordings.Originally an idea spearheaded by Michael Nesmith, the Justus album was conceptual in nature almost mirroring the original idea behind their classic Headquarters album, which like Justus, showcased these four musical talents as a team and offered no single track to radio but instead a full musical album listening experience.


    Opening up with a new take on Circle Sky, Michael Nesmith is on top of his game with this metal-like rocker originally from Head. Featuring a wall of loud guitars, retro lyrics and chorus, this classic track was performed at the reunion concerts around this album, and once again reemphasized the importance of the original quartet setting, making this a great intro track.


    Davy Jones belts out one of his finest compositions with the uptempo groove of Oh, What A Night. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites.
    Micky Dolenz and Davy Jones repeat the magic with their revisit of You And I from their Dolenz, Jones, Boyce & Hart era. Featuring a strong vocal performance by the duo and the stunning guitar work of both Monkees' Peter Tork and Michael Nesmith, this track truly captures the innocence and the feel of their sixties sound, as it became a time tested track well into their final tour of 2011.


    Much like their Instant Replay (FRM 113) album, Micky Dolenz contributes a good helping of original compositions to the Justus project. Either rockers like Dyin' Of A Broken Heart, the blues balladry of It's My Life, or the Rolling Stones vibe of Regional Girl, the Justus album was a watershed for Dolenz's writings and vocal prowess which truly makes this 1996 session a true winner.


    Peter Tork was always one of the more intriguing writers and musicians of the band, and it is fitting that the more progressive sounds would derive from his pen with the classic I Believe You as well as his fine prog-rock track Run Away From Life featuring the powerful vocals of Davy Jones.
    The late great Davy Jones gets the honor of closing out this wonderful album with his classic ballad It's Not Too Late. With his stunning vocal and heartfelt lyrics, and the brilliant chorus from the his Monkees brethren, the song in itself is a fitting tribute to these four geniuses, as the legacy of this superstar band will forever stand the test of time.


    Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the first time vinyl album release of their 1996 masterwork Justus. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Rhino Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition clear vinyl as well as a first time gatefold cover presentation.

    1.Circle Sky
    2.Never Enough
    3.Oh, What A Night
    4.You And I
    5.Unlucky Stars
    6.Admiral Mike
    7.Dyin' Of A Broken Heart
    8.Regional Girl
    9.Run Away From Life
    10.I Believe You
    11.It's My Life
    12.It's Not Too Late
    The Monkees
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Teacher Don't Teach Me Nonsense Teacher Don't Teach Me Nonsense Quick View

    $19.99
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    Teacher Don't Teach Me Nonsense

    Teacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.


    Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.


    Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.

    1. Teacher Don't Teach Me Nonsense
    2. Look and Laugh
    3. Just Like That
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
  • Being There (Awaiting Repress) Being There (Awaiting Repress) Quick View

    $24.99
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    Being There (Awaiting Repress)

    Includes Full Length CD


    LP Cut from Original Masters and Pressed at Pallas in Germany!


    Outtasite! Stunning 1996 Double Album Has Been Long Out-of-Print with Originals Fetching Hundreds of Dollars on eBay! Do Not Miss Out This Time!


    Also Available: 180-gram LP Versions of Wilco's A.M. and Summerteeth CUT FROM ORIGINAL MASTER TAPES and Pressed at Pallas! Unbelievable Sound!


    Motivated by leader Jeff Tweedys desire to improve on his bands debut A.M. and informed by numerous life circumstancesthe birth of his first child, a recent marriage, a new mortgage, and a decision to quit smoking potBeing There begins a cycle of creativity and ambition in Wilcos career that has yet to let up. Far more mature and advanced than anything Tweedy and Co. had done before, the eclectic double album finds the group moving beyond straightforward country-rock and embracing a gambit of styles that encompass power-pop, romantic balladry, barroom-brawling rock, and immersive psychedelia. A journey that is ultimately about finding solace in rock n roll, Being There is a seminal record in every sense. The album has only bettered with the passage of time.


    Jay Bennett, a guitarist and multi-instrumentalist who joined the band before the recording sessions, is also largely responsible for the artistic growth. His keen pop sensibilities and keyboard playing expand Wilcos core rootsy sound, while Tweedy pushes himself as a songwriter. Introspective, surreal, and personal, tunes such as the explosive Misunderstood and meditative Hotel Arizona signal the arrival of a singular talent coming to terms with his own anxiety, restlessness, and dreams. And the band is up to the challenge. In addition to blending myriad sounds, Wilco gets more comfortable with the studio and adorns several arrangements with horns, strings, and hand claps.


    To preserve the musics spontaneous feel and accentuate the dynamic contrasts, Wilco practiced, rehearsed, and recorded one song a day. Nothing is overthought or overly polished. The production reflects these decisions. Sonics are warm, organic, loose, and noticeably real. Its no wonder that Tweedy successfully convinced Reprise to release Being There as a double album and sell it for the price of a single disc. To help make it happen, he personally volunteered to take a decreased royalty rate in exchange for the unconventional pricing and resultant revenue losses. Tweedys gamble paid off. And how.


    Now, hear this absorbing double album in the highest-possible fidelity for the first time ever! Mastered from the original tapes and pressed at Germanys legendary Pallas facilities, this 180-gram 2-LP version of Being Here is guaranteed to beat every other available version. (Plus, it comes with a CD of the complete album: You can't lose.) But dont delay! Wilcos Reprise LPs have been fetching hundreds of dollars on EBay for years. Get yours from Music Direct today!


    Wilco have not made your standard rock & roll road album. Tweedy's songs use the one-nighter clichÉs of Grand Funk Railroad's We're an American Band as a means of exploring deeper issues, particularly faith and commitment and how those qualities are tested by geographical and emotional distances. Being There is an album of parallel journeys that frequently overlap, a tour of the heart that becomes a search for renewal. -Greg Kot, Rolling Stone, October 1996

    1. Misunderstood
    2. Far, Far Away
    3. Monday
    4. Outtasite (Outta Mind)
    5. Forget The Flowers
    6. Red-Eyed And Blue
    7. I Got You (At The End Of The Century)
    8. What's The World Got In Store (LP Version)
    9. Hotel Arizona
    10. Say You Miss Me
    11. Sunken Treasure
    12. Someday Soon
    13. Outta Mind (Outta Sight)
    14. Someone Else's Song
    15. Kingpin
    16. (Was I) In Your Dreams
    17. Why Would You Wanna Live
    18. The Lonely 1
    19. Dreamer In My Dreams
    Wilco
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Still Climbing Still Climbing Quick View

    $18.99
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    Still Climbing

    Leslie West is set to releases his album Still Climbing in 2013 via Provogue Records / Mascot Label Group.


    Originality, excitement, honesty and survival are all part of what makes a legend, and those qualities ripple through every song on the album. It's a testimonial to the strength and durability of West's artistry. Born October 22, 1945, as he approaches his 68th birthday, West has packed some of the most soulful and searing vocal performances of his half-century career into these 11 tracks. His guitar has never sounded more massive or riff-orientated.


    What's different on Still Climbing is that I wanted my guitars to sound as big as I look. So I used four of my Dean Signature model guitars with my Mountain of Tone humbucking pickups. I plugged them into my Blackstar amps - no pedals - and turned them up loud and raw, and what you hear is exactly what I did in the studio. These Blackstar amps deliver everything I need without 'confidence' pedals. I played one of the early tracks we recorded for Slash, and he said, 'That is as heavy as it gets.'


    Still Climbing is co-produced by West and Mike Metal Goldberg, who engineered all of the sessions. Songs like Dyin' Since The Day I Was Born, Hatfield or McCoy, and Busted, Disgusted or Dead establish a new litmus test for heavy.


    The latter features West and Johnny Winter on duelling slide guitars. West also gave up smoking cigarettes and pot after a bout with bladder cancer, so it's no wonder many of Still Climbing's numbers explore the theme of survival and, ultimately, triumph. To that end, West avows, Not only am I lucky to be here, but because I stopped smoking my voice is now stronger than it's ever been - as strong as my guitar playing.


    His inclusion of Feeling Good, a song by British actor-musician Anthony Newley that was made famous by Steve Winwood's group Traffic, is a testimonial to all of that. Its lyrics celebrate a new dawn for me as West and his long-time buddy Dee Snider (Twisted Sister) trade vocal lines.


    West has always been an outstanding vocalist, earning comparisons to soul legends like Otis Redding since his 1969 debut Mountain, which gave his historic band its name. On Still Climbing West revisits the catalogue of another classic soul man, Percy Sledge, with the enduring When a Man Loves a Woman. He's joined by now 32 year-old soul man Jonny Lang, who he met 15 years ago when Lang was a rising guitar prodigy. West says they cut the tune side-by-side in the studio, their soaring guitars and voices twining to bring fresh blood and a blues-soaked arrangement to the song.


    When a Man Loves a Woman, Never Let Me Go and Fade Into You explore a romantic theme. In 2009 West married his wife Jenni, who co-wrote many of Still Climbing's songs with the guitar giant.


    Balls, guts, heart - more words that are part of West's legend and describe the roaring crescendos and deep emotional roots of Still Climbing - and West himself. You know, when it comes to talent, we don't all move at the same rate of speed, West muses. Some people start at the top of their game and after 10 or 20 years you wonder what the hell happened to them. I like to joke that the older I get the better I used to be, but after giving up drugs and smoking, my voice can hit notes that I never could reach before. I'm thankful for that.

    1. Dyin' Since The Day I Was Born (With special guest Mark Tremonti)
    2. Busted, Disgusted or Dead (With special guest Johnny Winter)
    3. Fade Into You
    4. Not Over You At All
    5. Tales Of Woe
    6. Feeling Good (with special guest Dee Snider)
    7. Hatfield or McCoy
    8. When A Man Loves A Woman (With special guest Jonny Lang)
    9. Long Red
    10. Don't Ever Let Me Go (With special guest Dylan Rose)
    11. Rev Jones Time (Somewhere Over The Rainbow)
    Leslie West
    $18.99
    Vinyl LP - Sealed Buy Now
  • Strange Hearts Strange Hearts Quick View

    $18.99
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    Strange Hearts

    In a year full of bail-outs and bank failures, Secret Cities found themselves fortunate to occupy the basement of a recently abandoned bank in Kansas City, Missouri. Complete with bulletproof glass, functioning pneumatic tubes, and a giant vault, this space served as the band's studio as they recorded their sophomore effort, Strange Hearts.


    After recording their debut at a glacial pace over five years, Secret Cities decided to try something radically different. Working against a self imposed deadline, Strange Hearts was written and recorded within three intense, creatively fertile (if sleepless) months. The effort paid off with a taught pop record, crystallized like coal under enormous pressure.


    Filtering the classic romanticism of Dusty Springfield and the Shangri-Las through their own kaleidoscopic aesthetic, these songs pulse with an alluring mixture of melancholy and hopeful innocence, as warm and inviting as they are elusive and peculiar. While carefully crafted, the album possesses a newfound brevity and directness rooted in the excitement of creation. Ultimately, Strange Hearts is the sound of a young band testing its limits and finding that it hasn't hit them yet.

    1. Always Friends
    2. Ice Cream Scene
    3. The Park
    4. Love Crime
    5. No Pressure
    6. Pebbles
    7. Strange Hearts
    8. Interlude
    9. Brief Encounter
    10. Forest of Love
    11. Portland
    Secret Cities
    $18.99
    Vinyl LP - Sealed Buy Now
  • Never Were The Way She Was Never Were The Way She Was Quick View

    $25.99
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    Never Were The Way She Was


    180g LP In Gatefold Jacket Includes Art Print Poster


    "Stetson demolishes clichÉsto unleash fresh, unexpected energies...at once
    exhilarating and frightening." - Pitchfork


    "Calmly ravishing and emotionally centered...Ms. Neufeld has a warmly
    expressive sound palette,." - The New York Times


    Two of Constellation's acclaimed solo instrumental artists join forces on this
    tremendous new album of original compositions for horn and violin.


    Colin Stetson has developed a unique and renowned voice as a performer and
    composer, chiefly on bass and tenor saxophones, where he rallies an array of
    technical strengths and innovations (circular breathing, contact micing of his own
    body and the body of his instrument, vocalizations through the reed) to make some
    of the most captivatingly organic, darkly soulful and otherworldly solo instrumental
    work of recent years. His brilliant trilogy of New History Warfare records (2007-
    2013) has been resoundingly celebrated by critics, fans and fellow musicians
    across many genres: avant/jazz, modern classical/Miminalism, electronic/noise,
    industrial/dark ambient, black metal and indie rock.


    The solo violin work of Sarah Neufeld has emerged more recently, and especially
    through 2011-2014, in the period between her primary band Arcade Fire's last two
    albums. While no stranger to modern/minimalist composition with her Bell Orchestre
    ensemble dating back to the early 2000s, Neufeld has lately forged a newly distinctive,
    deliberate and evocative solo violin practice combining rock, folk, ambient and
    modernist sensibilities, culminating with her debut solo album Hero Brother in 2013.


    Stetson and Neufeld first began playing in duo formation while on tour together as
    soloists in 2012, joining each other on stage for one or two of their respective
    pieces. Stetson had also collaborated in the past with Bell Orchestre and Arcade
    Fire, and with Neufeld and Shahzad Ismaily in an improv trio dating back to 2010
    (including the Blue Caprice soundtrack). Duo compositions for their debut album
    emerged throughout 2014, and were road-tested that spring with performances at
    the Festival de Musique Actuelle de Victoriaville (Canada) and Moers Festival
    (Germany). The album was recorded without overdubbing, looping, sampling,
    cutting or pasting at their farmhouse attic studio in rural Vermont by Hans Bernhard
    and mixed in Montreal by Mark Lawson (Arcade Fire).


    Never were the way she was is guided by the metaphorical narrative of the life of
    a girl who ages slow as mountains; excited, exalted, and ultimately exiled in her
    search for a world that resembles her experience. The album's expansive sonic
    trajectory and multiplicity of structures and voicings belies the fundamental
    economy of two acoustic instruments combining in real time. The result is a musical
    chronicle that powerfully establishes its own spatial and temporal horizon, a
    soundtrack that requires no images but profoundly compels the imaginative. From
    the filigreed ostinato polyrhythms of "The sun roars into view" and "In the vespers"
    to the stately long tones of "And they still move", the dark drone-inflected sea-saw
    waltz of "With the dark hug of time" to the growling, pulsing thrust of the album's
    epic centerpiece "The rest of us", Stetson and Neufeld offer up an incredible (and
    impressively diverse) integration of composition, performance, timbre and texture
    while holding their respective instruments in sparkling juxtaposition. Never were
    the way she was is a sum quite definitively and thrillingly greater than its parts.

    1. The sun roars into view
    2. Won't be a thing to become
    3. In the vespers
    4. And still they move
    5. With the dark hug of time
    6. The rest of us
    7. Never were the way she was
    8. Flight
    Colin Stetson and Sarah Neufeld
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Nightfly (45 RPM Box Set) (Out Of Stock) The Nightfly (45 RPM Box Set) (Out Of Stock) Quick View

    $99.99
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    The Nightfly (45 RPM Box Set) (Out Of Stock)

    Mastered From The Original Master Tapes With Mobile Fidelity's One-Step Process: The Nightfly US1S 45RPM Box Set Is The Ultimate Analog Version Of Donald Fagen's 1982 Landmark Debut


    Lavish Packaging Includes Opulent Box And Special Foil-Stamped Jackets: Deluxe Audiophile Pressing Strictly Limited To 6000 Numbered Copies


    Cinema For The Ears: The Nightly Remains One Of The Best-Sounding Albums Ever Made With Reference Production, Standout Playing, And Jazz-Like Arrangements That Embody Timeless Cool


    Donald Fagen's largely autobiographical The Nightfly remains one of the best-sounding albums ever made. Revered by audiophiles, the Steely Dan co-founder's 1982 set immediately became a demonstration disc at hi-fi shows and audio salons the world over. It also quickly emerged as an irreplaceable monitor-evaluating tool for recording-studio engineers and front-of-the-house testing device for concert-venue soundboard engineers who continue to use it today. Painstakingly recorded over eight months by illustrious producer Gary Katz and a Hall of Fame-worthy cast of perfectionist-minded musicians, The Nightfly endures as a rare trifecta of superlative performance, consummate songwriting, and crisp, benchmark production. Mobile Fidelity is honored to give this seminal effort unsurpassed treatment befitting the most serious music connoisseurs.


    Fagen's solo debut reaches three-dimensional sonic and emotional heights never before attained by analog recordings on Mobile Fidelity's opulent UD1S (UltraDisc One-Step) box set. Strictly limited to 5,000 numbered copies, this ultra-hi-fi collector's edition literally and figuratively brings you closer to music that picks up where Steely Dan's Gaucho leaves off. You'll enjoy deep-black backgrounds, boundless soundstaging, pointillist details, staggering dynamics, and arguably, the most lifelike tonalities and nuances ever committed to vinyl. Experienced via UD1S, The Nightfly places Fagen and his session pros in your listening room. Every note, breath, and movement is reproduced with exquisite accuracy, wowing clarity, and impeccable balance. Consider this edition your new go-to reference.


    The lavish packaging and beautiful presentation of Mobile Fidelity's The Nightfly pressing befit its extremely select status. Housed in a deluxe box, this UD1S version contains special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this reissue of The Nightfly is a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound quality and creativity, and who desire to fully immerse themselves in the art - and everything involved with the album, from the images to the textures and liner notes.


    Nominated for seven Grammy Awards, The Nightfly represent[s] certain fantasies that might have been entertained by a young man growing up in the remote suburbs of a northeastern city during the late fifties and early sixties, i.e., one of my general height, weight, and build, pens Fagen in the liner notes, revealing the work's thematic thrust and wistful, nostalgic appeal. At their core, songs look at the world via an optimistic, mindfully innocent lens and through the eyes of an adolescent holed up in his bedroom with his ear to a radio whose exciting transmissions inspire thoughts of futuristic cities, late-night deejays, otherworldly hopes, and Cold War romances. Cinema for the ears, The Nightfly comes on like a film transferred to wax - its stories filled with relatable vulnerability, ambition, and warmth.


    It is also timelessly cool, with everything from the iconic album cover - complete with Fagen in the role of a cigarette-smoking disk jockey spinning a Sonny Rollins album on an RCA turntable at 4:09 in the morning - to the flawless playing honoring the laid-back, hip, stylish jazz pedigree of the arrangements. Indeed, The Nightfly's fame owes as much to the stunning contributions by stickler musicians - saxophonist Michael Brecker, trumpeter Randy Brecker, guitarist Larry Carlton, drummer Steve Jordan, bassist Marcus Miller, drummer Jeff Porcaro, and Harmonica Frank Floyd included - as it does the particulars behind its creation, which involved cutting-edge technology, novel microphoning techniques, and pioneering recording methods that gave Fagen exactly what he demanded. His insistence on dialing in exacting drum sounds is by itself the stuff of legend.


    The results of the meticulous sessions transcend eras and generations - part of its very design. Virtually every track connects with classic 50s and 60s styles. Green Flower Street doubles as an homage to the jazz standard On Green Dolphin Street. The title track draws imagery from blues pioneer Charley Patton. Ruby Baby references soul greats the Drifters. Maxine nods to harmonies perfected by big-band vocal quartets like the Four Freshmen. The Goodbye Look acknowledges the bossa-nova craze of Fagen's youth. In all respects, The Nightfly rules the airwaves.


    More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

    Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a convert. Delicate converts are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.


    This title is not eligible for discount.

    1. I.G.Y.
    2. Green Flower Street
    3. Ruby Baby
    4. Maxine
    5. New Frontier
    6. The Nightfly
    7. The Goodbye Look
    8. Walk Between Raindrops
    Donald Fagen
    $99.99
    Vinyl LP UltraDisc One-Step 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock
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