Note: we are getting to some of my favorite Beatle songs, watch over the next few days and tell me if you agree!
The Beatles - In My Life
Wednesday, March 4, 2009
Mr. Music
I am continuing our new feature: Ask "Mr. Music." Now in its 23rd year of syndication (1986-2008), Jerry Osborne's weekly Q&A feature will be a regular post every Wednesday from now on. Be sure to stop by Jerry's site (www.jerryosborne.com) for more Mr. Music archives, record price guides, anything Elvis, buy & sell collectibles, record appraisals and much more. I thank Jerry for allowing the reprints.
FOR THE WEEK OF FEBRUARY 23, 2009
DEAR JERRY: I am a bit confused by a piece I just heard on one of those entertainment news and gossip TV shows.
In short, they said Kelly Clarkson just made musical history by making the biggest jump to No. 1 ever on the Billboard 100 top sellers.
Clarkson's “My Life Would Suck Without You” reportedly sold about 300,000 digital downloads in its debut week, and zoomed from No. 97 to No. 1.
While this is an impressive leap, compare it to the following quote from one of your July 2000 columns, which popped up during an internet search:
“On September 13, 1997, Mariah Carey's “Honey” became the first record to debut at No. 1 on the Hot 100. Just one month later, Elton John's Princess Diana tribute, “Candle in the Wind 1997,” backed with “Something About the Way You Look Tonight,” also debuted at No. 1.
“And it almost happened a third time — that very same month.
“Sandwiched between Mariah and Elton, “4 Seasons of Loneliness,” by Boyz II Men, debuted at No. 2 on September 27.”
My math indicates all three of these 1997 hits out jumped “My Life Would Suck Without You.” Am I wrong? —Millie Johanson, Milwaukee
DEAR MILLIE: Your math skills are impeccable, though your news source may have omitted one little qualifier.
The point must be a jump from one chart position to another, rather than the highest debut position.
When it comes to the long jump, Kelly Clarkson is no stranger to that event. In 2002, she first set the record for biggest leap to No. 1 when “A Moment Like This” sailed from No. 52 to No. 1.
Kelly now reclaims her throne by a sliver, edging out “Womanizer,” by Britney Spears. Last November Britney moved to No. 1 from No. 96.
DEAR JERRY: Around the time the Monkees became America's top group is when, for the first time ever, I could enjoy music in my Mustang from something other than the car radio.
Making this possible was the introduction of car players for 8-track tapes.
Thankfully, my klutzy Monkees cartridges were soon replaced by cassettes, and finally compact discs.
When did new cars first come with 8-track players, and was there any system used in autos before 8-tracks? —Earl Grower, Buffalo, N.Y.
DEAR EARL: On April 3, 1965, Ford first announced, via the music industry trades, their intention to offer optional factory-installed players for 8-track cartridges that September with the introduction of their 1966 models.
Not remembered nearly as well as the 8-track is its predecessor, the 4-track cartridge system.
Developed in 1956, ironically in conjunction with Ford Motor Company, 4-track tapes and players didn't get off the ground until around 1962.
Even then, 4-track players could only be obtained as an accessory and not factory-installed.
When Ford opted to go with the 8-track format, it would be the proverbial nail in the coffin for 4-tracks.
A decade later a very similar tape format war ensued, this time with competing video cassettes.
Sony introduced Betamax in 1975, but it was JVC and their VHS format, unveiled in '76, that would become the world standard.
IZ ZAT SO? By the end of the 1960s, audio cassettes took over as the format of choice for music on tape.
Cassettes and vinyl LPs dominated throughout the '70s, with both analog formats finally giving way to the digital revolution in the mid-'80s.
However, just as vinyl records continue to be made by some companies, a few independent labels stuck with 8-tracks until 2004.
FOR THE WEEK OF FEBRUARY 23, 2009
DEAR JERRY: I am a bit confused by a piece I just heard on one of those entertainment news and gossip TV shows.
In short, they said Kelly Clarkson just made musical history by making the biggest jump to No. 1 ever on the Billboard 100 top sellers.
Clarkson's “My Life Would Suck Without You” reportedly sold about 300,000 digital downloads in its debut week, and zoomed from No. 97 to No. 1.
While this is an impressive leap, compare it to the following quote from one of your July 2000 columns, which popped up during an internet search:
“On September 13, 1997, Mariah Carey's “Honey” became the first record to debut at No. 1 on the Hot 100. Just one month later, Elton John's Princess Diana tribute, “Candle in the Wind 1997,” backed with “Something About the Way You Look Tonight,” also debuted at No. 1.
“And it almost happened a third time — that very same month.
“Sandwiched between Mariah and Elton, “4 Seasons of Loneliness,” by Boyz II Men, debuted at No. 2 on September 27.”
My math indicates all three of these 1997 hits out jumped “My Life Would Suck Without You.” Am I wrong? —Millie Johanson, Milwaukee
DEAR MILLIE: Your math skills are impeccable, though your news source may have omitted one little qualifier.
The point must be a jump from one chart position to another, rather than the highest debut position.
When it comes to the long jump, Kelly Clarkson is no stranger to that event. In 2002, she first set the record for biggest leap to No. 1 when “A Moment Like This” sailed from No. 52 to No. 1.
Kelly now reclaims her throne by a sliver, edging out “Womanizer,” by Britney Spears. Last November Britney moved to No. 1 from No. 96.
DEAR JERRY: Around the time the Monkees became America's top group is when, for the first time ever, I could enjoy music in my Mustang from something other than the car radio.
Making this possible was the introduction of car players for 8-track tapes.
Thankfully, my klutzy Monkees cartridges were soon replaced by cassettes, and finally compact discs.
When did new cars first come with 8-track players, and was there any system used in autos before 8-tracks? —Earl Grower, Buffalo, N.Y.
DEAR EARL: On April 3, 1965, Ford first announced, via the music industry trades, their intention to offer optional factory-installed players for 8-track cartridges that September with the introduction of their 1966 models.
Not remembered nearly as well as the 8-track is its predecessor, the 4-track cartridge system.
Developed in 1956, ironically in conjunction with Ford Motor Company, 4-track tapes and players didn't get off the ground until around 1962.
Even then, 4-track players could only be obtained as an accessory and not factory-installed.
When Ford opted to go with the 8-track format, it would be the proverbial nail in the coffin for 4-tracks.
A decade later a very similar tape format war ensued, this time with competing video cassettes.
Sony introduced Betamax in 1975, but it was JVC and their VHS format, unveiled in '76, that would become the world standard.
IZ ZAT SO? By the end of the 1960s, audio cassettes took over as the format of choice for music on tape.
Cassettes and vinyl LPs dominated throughout the '70s, with both analog formats finally giving way to the digital revolution in the mid-'80s.
However, just as vinyl records continue to be made by some companies, a few independent labels stuck with 8-tracks until 2004.
Album Cover Art
An interesting cover, this prog-rock group is well known for their inventive album cover art.
Roadside Monument's odd blend of emotional hardcore and math rock juxtaposed with the raging spazzcore of Frodus is a heady combination. The Roafside songs are anything but boring, as the previous reviewer suggested, but, when compared to Frodus, they are quite subdued. DC's Frodus steals the show with the astonishing "Lights on for Safety," perhaps one of that bands finest moments (control is always automatic). For fans of the DC punk sound, as exemplified by Dischord Records, this split is worth hearing.
Roadside Monument's odd blend of emotional hardcore and math rock juxtaposed with the raging spazzcore of Frodus is a heady combination. The Roafside songs are anything but boring, as the previous reviewer suggested, but, when compared to Frodus, they are quite subdued. DC's Frodus steals the show with the astonishing "Lights on for Safety," perhaps one of that bands finest moments (control is always automatic). For fans of the DC punk sound, as exemplified by Dischord Records, this split is worth hearing.
New Vinyl Releases
Here are some great new vinyl releases, buy them here:
http://tinyurl.com/d5445p
Bitter Tears/Jam Tarts in the Jake [LP] (includes download codes)/Carrot Top
Boozoo Bajou/Grains [LP]/K7 Records
Buddy & Julie Miller/Written In Chalk [LP] (feats. Robert Plant & Emmylou Harris) New West Records
Cult/Love (180 Gram Vinyl)/Vinyl 180VYL
Cult/Love + She Sells Sanctuary 12'' [LP+12''] (180 Gram)
Daniele Baldelli/Cosmic Sound: Another Flying Trip through the Alkemy of Music Mediane
Grandmaster Flash/The Bridge (Concept Of A Culture) [2 LP]/Strut
Justin Townes Earle/Midnight At The Movies/Bloodshot
Marianne Faithfull/Easy Come Easy Go [2 LP]/Decca U.S.
Marissa Nadler/Little Hells [LP]/Kemado Records
Method Man/Redman/Blackout 2 [2 LP]/Def Jam
Nashville Pussy/From Hell To Texas[LP]/Steamhammer
Thin Lizzy/Still Dangerous - Live At The Tower Theatre Philadelphia 1977 [LP] (Gatefold + bonus 7'') (new 2009 release) VH1 Classic Records "Double gatefold collectors LP will feature bonus 7” single (w/2 unreleased songs)
Townes Van Zandt/Live at the Old Quarter (Houston Texas) [2 LP] (180 Gram)/Fat Possum
Townes Van Zandt/Our Mother The Mountain [LP] (180 Gram Vinyl)/Fat Possum
U2/No Line On The Horizon [2 LP] (180 Gram) [Limited Edition] Interscope
Features:* Limited Edition, 7500 copies* 180g Vinyl* Double LP* Gatefold sleeve* 16-page booklet
http://tinyurl.com/d5445p
http://tinyurl.com/d5445p
Bitter Tears/Jam Tarts in the Jake [LP] (includes download codes)/Carrot Top
Boozoo Bajou/Grains [LP]/K7 Records
Buddy & Julie Miller/Written In Chalk [LP] (feats. Robert Plant & Emmylou Harris) New West Records
Cult/Love (180 Gram Vinyl)/Vinyl 180VYL
Cult/Love + She Sells Sanctuary 12'' [LP+12''] (180 Gram)
Daniele Baldelli/Cosmic Sound: Another Flying Trip through the Alkemy of Music Mediane
Grandmaster Flash/The Bridge (Concept Of A Culture) [2 LP]/Strut
Justin Townes Earle/Midnight At The Movies/Bloodshot
Marianne Faithfull/Easy Come Easy Go [2 LP]/Decca U.S.
Marissa Nadler/Little Hells [LP]/Kemado Records
Method Man/Redman/Blackout 2 [2 LP]/Def Jam
Nashville Pussy/From Hell To Texas[LP]/Steamhammer
Thin Lizzy/Still Dangerous - Live At The Tower Theatre Philadelphia 1977 [LP] (Gatefold + bonus 7'') (new 2009 release) VH1 Classic Records "Double gatefold collectors LP will feature bonus 7” single (w/2 unreleased songs)
Townes Van Zandt/Live at the Old Quarter (Houston Texas) [2 LP] (180 Gram)/Fat Possum
Townes Van Zandt/Our Mother The Mountain [LP] (180 Gram Vinyl)/Fat Possum
U2/No Line On The Horizon [2 LP] (180 Gram) [Limited Edition] Interscope
Features:* Limited Edition, 7500 copies* 180g Vinyl* Double LP* Gatefold sleeve* 16-page booklet
http://tinyurl.com/d5445p
How to rescue our record shops
Here is the state of the record store in the UK:
How to rescue our record shops
Indie stores everywhere are closing – but we can still save them, says Elisa Bray
Many of my teenage days were spent in Camden, at tiny, sweaty gigs or in independent record-shops. As a ritual, before gigs we would amble into the little shops along the high street, our mission being to rummage through the 50p bargain bins and the promo boxes. There was usually a competition to see who could find the best musical bargain for £3; we would later return eagerly home to test out the new music.
Most of the time, we didn't know much about the small bands whose songs we had picked at random. Once, in 1999, I struck gold – the very first UK release by Sigur Rós, their EP featuring "Svefn-g-englar". When we first listened to it, it sounded like nothing we'd ever heard before: beautifully fragile, with otherworldly vocals building to a towering, breathtaking climax. It's still my favourite of the Icelandic band's tracks to date. In those days before MySpace, shopping at independent stores was the best way to discover new music. There, thumbing my way through the always brimming indie-rock section or the left-field electronica offerings, I found all the minor artists who didn't get a look in at the big stores.
Sadly, out of those most-visited Camden shops of ours, only Music and Video Exchange remains. The sad fate of Rhythm Records, which opened in 1978, was sealed in 2000, but last year was by far the worst for independent shops. In 2008, more than one-quarter of these stores went out of business, as the industry journal Music Week has reported. Among them was Disque, in Islington, which specialised in dance music spanning hip-hop, techno, electro, soul and funk. Outside London, Derby's popular Reveal also shut up shop – today, a link on the website takes you to their "shop" on eBay. At the end of this month, Selectadisc in Nottingham will close its doors after 40 years in the business.
The demise of independent record shops has been pretty much inevitable since the digital revolution began, but now we're seeing a record number of independents closing. Only 300 remain in the UK today, a sad fact for the many music-fans for whom shopping in independent record-stores rather than in the clinical aisles of the high-street chain is a treat. Browsing through the dusty rows of CDs, you would often unearth a forgotten treasure and usually leave with something unexpected. There, within the murky warrens of CD racks, is a treasure trove where you could find deleted singles by The Smiths, Pink Floyd singles on 7in vinyl, and rare, one-off coloured vinyl discs.
Sister Ray, a Soho-based indie since 1987, narrowly avoided closure when its co-founder bought it out of administration last year. When I asked them which was their most valuable treasure, they said it was an original copy of the "Silent Sun" 7in by Genesis, priced at £300 (not a demo version). With collectors' items such as these selling for that kind of sum, the staff not only have to know their own stock and the market, and be keen to help in recommending music, but they will also phone their customers to let them know if such items have come in.
The rarity of such a release makes its purchase that much more satisfying. As an arthouse cinema is to dedicated film-fans, the independent record shop is a haven to like-minded music fans – visited by those who really love music. Trawling eBay (a practice partly to blame for the shops' demise) for a long-deleted vinyl single by The Smiths just does not have the same romantic appeal.
But, as these stores rely so much on their customers, I urge you to seek out the remaining independent record shops in your locality and see what you can discover: surprise and pleasure are in store.
SOURCE: http://www.independent.co.uk
How to rescue our record shops
Indie stores everywhere are closing – but we can still save them, says Elisa Bray
Many of my teenage days were spent in Camden, at tiny, sweaty gigs or in independent record-shops. As a ritual, before gigs we would amble into the little shops along the high street, our mission being to rummage through the 50p bargain bins and the promo boxes. There was usually a competition to see who could find the best musical bargain for £3; we would later return eagerly home to test out the new music.
Most of the time, we didn't know much about the small bands whose songs we had picked at random. Once, in 1999, I struck gold – the very first UK release by Sigur Rós, their EP featuring "Svefn-g-englar". When we first listened to it, it sounded like nothing we'd ever heard before: beautifully fragile, with otherworldly vocals building to a towering, breathtaking climax. It's still my favourite of the Icelandic band's tracks to date. In those days before MySpace, shopping at independent stores was the best way to discover new music. There, thumbing my way through the always brimming indie-rock section or the left-field electronica offerings, I found all the minor artists who didn't get a look in at the big stores.
Sadly, out of those most-visited Camden shops of ours, only Music and Video Exchange remains. The sad fate of Rhythm Records, which opened in 1978, was sealed in 2000, but last year was by far the worst for independent shops. In 2008, more than one-quarter of these stores went out of business, as the industry journal Music Week has reported. Among them was Disque, in Islington, which specialised in dance music spanning hip-hop, techno, electro, soul and funk. Outside London, Derby's popular Reveal also shut up shop – today, a link on the website takes you to their "shop" on eBay. At the end of this month, Selectadisc in Nottingham will close its doors after 40 years in the business.
The demise of independent record shops has been pretty much inevitable since the digital revolution began, but now we're seeing a record number of independents closing. Only 300 remain in the UK today, a sad fact for the many music-fans for whom shopping in independent record-stores rather than in the clinical aisles of the high-street chain is a treat. Browsing through the dusty rows of CDs, you would often unearth a forgotten treasure and usually leave with something unexpected. There, within the murky warrens of CD racks, is a treasure trove where you could find deleted singles by The Smiths, Pink Floyd singles on 7in vinyl, and rare, one-off coloured vinyl discs.
Sister Ray, a Soho-based indie since 1987, narrowly avoided closure when its co-founder bought it out of administration last year. When I asked them which was their most valuable treasure, they said it was an original copy of the "Silent Sun" 7in by Genesis, priced at £300 (not a demo version). With collectors' items such as these selling for that kind of sum, the staff not only have to know their own stock and the market, and be keen to help in recommending music, but they will also phone their customers to let them know if such items have come in.
The rarity of such a release makes its purchase that much more satisfying. As an arthouse cinema is to dedicated film-fans, the independent record shop is a haven to like-minded music fans – visited by those who really love music. Trawling eBay (a practice partly to blame for the shops' demise) for a long-deleted vinyl single by The Smiths just does not have the same romantic appeal.
But, as these stores rely so much on their customers, I urge you to seek out the remaining independent record shops in your locality and see what you can discover: surprise and pleasure are in store.
SOURCE: http://www.independent.co.uk
Music News & Notes
Neil Young's Fork In The Road Release Is Set
Neil Young is scheduled to release his new album, "Fork in the Road," on April 7. The entire album revolves around his 'Linc Volt' electric car project that he has been working on with auto guru Jonathan Goodwin.
The first single from the album, "Johnny Magic," is a tribute to Goodwin commented to Rolling Stone that he really doesn't know much about Young's other career.
“For the first month I thought he was Neil Diamond. I guess he is another singer. My wife told me ‘That’s Neil Young. He sings the older songs.’ To this day I’ve never listened to any of his music.”
Young has been playing nine of the ten songs on the album in concert since the end of last year with only the single being a brand new debut. General reaction to the new material has been mixed at best.
Participating on the album are Ben Keith , Chad Cromwell, Rick Rosas, Pegi Young and Anthony Crawford.
The track list:
When Worlds Collide
Fuel Line
Just Singing A Song
Johnny Magic
Cough Up The Bucks
Get Behind The Wheel
Off The Road
Hit The Road
Light A Candle
Fork In The Road
Buy Your Copy Today!
=================================
Cursive Spells Out Unique Pricing Plan For Latest Release
Rock band Cursive is offering up a digital download of its forthcoming Saddle Creek effort "Mama, I'm Swollen" at dramatically low prices leading up to its release on March 10. The promotion kicked off last Sunday, March 1, with cost at $1. On Monday, it was bumped up to $2, Tuesday at $3 and so on until it reaches $9. The sale is taking place on the Saddle Creek website.
Cursive are scheduled to release physical copies of the album, as CDs and a deluxe LPs and these will include download cards for bonus material and instant digital versions of the set.
Headed by frontman Tim Kasher, they will be performing on "The Late Show With David Letterman" on March 13.
Buy Your Copy Today!
=================================
The Fray Announces Summer Dates
The hot Denver-based rock band The Fray, which last month scored its first #1 album, has announced plans for a summer headlining tour. The 35-city trek kicks off on June 12 in Atlanta and ends up in Spokane, WA on August 7. Jacks Mannequin is the opening act for all dates.
The Fray's second album, "The Fray," was released by Epic on February 3 and debuted on the Billboard Hot 200 at #1. The album remains at #3, having sold a total of 306,000 copies to date according to Nielson SoundScan.
Buy Fray Music Here
Here is the beginning tour dates for The Fray with many more coming:
June 12: Atlanta, GA (Chastain Park Amphitheatre)
June 13: Charlotte, NC (Verizon Wireless Amphitheatre)
June 14: Virginia Beach, VA (Verizon Wireless Virginia Beach Amphitheater)
June 16: Washington, DC (Merriweather Post Pavilion)
June 17: Darien Lake, NY (Darien Lake Performing Arts Center)
June 19: Holmdel, NJ (PNC Bank Arts Center)
June 20: Hartford, CT (The Meadows Music Theatre)
June 21: Boston, MA (Comcast Center)
June 23: Toronto, ON (Molson Amphitheatre)
June 24: Philadelphia, PA (Susquehanna Bank Center)
June 25: Wantagh, NY (Nikon at Jones Beach Theater)
June 27: Detroit, MI (DTE Energy Music Theatre)
June 28: Chicago, IL (First Midwest Bank Amphitheatre)
June 29: Cincinnati, OH (Riverbend Music Center)
July 1: Cleveland, OH (Time Warner Cable Amphitheatre at Tower City)
July 2: Indianapolis, IN (Verizon Wireless Music Center)
July 3: St. Louis, MO (Verizon Wireless Amphitheater)
=================================
Arc Angels To Work On New Material
The Arc Angels, the Austin, Texas-based all-star group that was formed in the wake of Stevie Ray Vaughn's death, are ready to take off again.
After playing together periodically during the past several years, the band is planning to release a DVD this year and tour extensively -- including two appearances during this month's South By Southwest music festival and a May tour with Eric Clapton in England -- and to start work on its first album in 17 years.
"We feel like we have unfinished business here, and it always feels right when we're together," guitarist Doyle Bramhall II told Billboard.com. "The chemistry is sort of undeniable when we get together. We really enjoy playing with one another."
The Arc Angels formed during the early 1990's, following fellow Texan Stevie Ray Vaughan's Aug. 27, 1990 death in a helicopter crash in East Troy, Wisconsin. Vaughan's Double Trouble Rhythm Section -- drummer Chris Layton and bassist Tommy Shannon -- joined forces with Bramhall and Charlie Sexton at the Austin Rehearsal Center (ARC), which gave the group its name. But after one well-received album, 1992's "Arc Angels," the group broke up in 1994 -- partly, Bramhall acknowledges, due to his heroin addiction.
Buy Your Copy Today!
=================================
Beatles 101
The city of London already has a Beatles museum, a Beatles-themed hotel and an airport named after John Lennon. Now a Liverpool university said that it rolling out a graduate program entirely devoted to the Fab Four.
Liverpool Hope University said yesterday that its new master's program, "The Beatles, Popular Music and Society," would enable students the opportunity to study and analyze popular music and culture through the band's work.
"There have been over 8,000 books about The Beatles but there has never been serious academic study and that is what we are going to address," commented Mike Brocken, who is directing the program at the university, which is in the band's hometown in northwestern England.
Brocken, who said he learned to play his favorite album, "Revolver," on his tennis racket as a child, said students would be expected to study the Beatles' songs, stardom, hometown and cultural impact through four 12-week courses and a dissertation.
In one such course — studio sound and composition — a student could perform a Beatles song as an assignment.
Brocken said studying the band was really a way of examining society as a whole.
"If popular music is about anything, it's about people," he said. "If we look at popular culture, it simply provides us with a very complex mirror of ourselves."
Buy Beatles Music Here!
=================================
No Doubt Tour
For No Doubt’s upcoming tour, the band has announced a special deal: they’re giving away a free digital download of their entire catalog, from 1992’s No Doubt to 2003’s greatest hits compilation The Singles, to each person who purchases a full-priced ticket.
“Since the band is heading back to the road, we wanted to find a cool way to get people listening to our music and stoke them with a great deal at the same time,” guitarist Tom Dumont said in a statement. “With this download it’s easy for fans to get psyched up to hear our music live once again and that rocks.”
So why offer such an incredible deal? Maybe No Doubt are being cautious with the recession expected to cripple the summer touring season or maybe they’re rewarding their fans for their patience. Either way, the digital download is a pretty awesome and generous move on the part of Gwen Stefani and crew. There is a small catch, however: The digital download only comes with the purchase of a full-priced, $42.50 ticket and not lower-tiered or lawn tickets.
No Doubt Catalog
The Singles 1992-2003 (2003)
Everything In Time (B-Sides, Rarities, Remixes) (2003)
Rock Steady (2001)
Return Of Saturn (2000)
Tragic Kingdom (1995)
The Beacon Street Collection (1993)
No Doubt (1992)“Stand And Deliver”
Buy No Doubt Music Here!
=================================
666 From Iron Maiden
Iron Maiden is all set to show their new documentary, Flight 666, for one day only at 400 theaters around the world, officially dubbing April 21 as Maiden Day.
The film followed the band during their "Somewhere Back in Time Tour."
"This film is a testament to an extraordinary tour and to our incredible fans all over the world. Seeing it on the big screen will make you feel like you were there on that spectacular journey," manager Rod Smallwood said.
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Vinyl Collective Top Ten
Vinyl Collective Top 10 Sales of the past Week (Stop by the site and get your vinyl!- www.vinylcollective.com)
1. AUSTIN LUCAS/FRANK TURNER “Under the Influence Vol 8″ 7″ Red/White color in colo
2. THE GASLIGHT ANTHEM “Great Expectations” 7″ import
3. AUSTIN LUCAS/FRANK TURNER “Under the Influence Vol 8″ 7″ both colors
4. NEW FOUND GLORY “Not Without A Fight” LP
5. Suburban Home Pick 5 for $25 Sale (CDs, Vinyl, Pint Glasses)
6. AUSTIN LUCAS/FRANK TURNER “Under the Influence Vol 8″ 7″ White/Bllack half and h
7. TORCHE “Healer/Across The Shields” LP + DVD orange vinyl
8. RIVERDALES “Phase 3″ LP clear gold vinyl
9. TWO TONGUES “S/T” LP picture disc
10. O PIONEERS!!! “Neon Creeps” LP orange vinyl silk-screened jackets
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Yeah, Yeah, Yeah
The Yeah Yeah Yeahs have moved up their release of "It’s Blitz" after their new album leaked last week. Blitz will hit digital retailers March 10th, with the physical release to follow on March 31st. The album was originally slated for release on April 14th. “YYYs have been brimming with nervous excitement in anticipation of releasing this record to the world! Leaks are NO FUN but it’s out of our hands,” the band wrote on their Website.
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TIM EASTON TO RELEASE NEW ALBUM PORCUPINE ON NEW WEST RECORDS APRIL 28
Contemporary folk/rocker Tim Easton has been driven westward both geographically and musically since his college days in Ohio. On his 5th album, Porcupine due out April 28 from New West Records, the Joshua Tree, CA resident returns to his mid-western sound and lets a myriad of guitar riffs rooted in blues, rock, and folk set the color for observational lyrics capturing life from the desert to the sea, and around the world. The new album finds Tim's writing skills sharpened, possibly inspired by his friend and mentor Lucinda Williams. Easton, known for his non-stop touring (from Dublin to Anchorage to Bangor to Jacksonville), will be on the road with a band, supporting Porcupine beginning this Spring, including a stop in Austin, TX where Tim will appear at several events during the South By Southwest convention, including the New West Records day party, Pop Culture Press party, Ground Control Touring showcase and the Sin City Social Club party (dates below).
For Porcupine, Tim went back to Alex The Great and Club Roar studios in Nashville to work with Brad Jones and Robin Eaton who produced his debut album, Special 20. He wanted to "make some noise and get that jagged, midwestern rock and roll sound again" so he hand-picked the Ohio-based rhythm section - Sam Brown on drums (Gaunt, New Bomb Turks, RJD2) and Matt Surgeson on bass and backing vocals (Matt also played on Special 20). Renowned guitarist Kenny Vaughn, who Tim met playing in Lucinda's band for her Car Wheels tour, played second guitar.
Porcupine visits the rough edged and electric side of Tim's recordings, although it's an acoustic track that provides the record's shiniest moment in the pop-folk jangle of "Seventh Wheel." Tim wrote the song in as much time as it takes to sing it while staying at friend's house in Dublin, and the band demanded that he record it for the album after hearing the demo he made in Ireland. As for the title Porcupine, Tim explains "I thought the physical animal called the porcupine was a perfect symbol for the sound of this record in that it appears to be a gentle and harmless creature from a distance but up close it is in fact sharp and potentially dangerous."
Tim has released three critically acclaimed albums on New West thus far: The Truth About Us (2001), Break Your Mother's Heart (2003) and Ammunition (2006). He has toured with label mates John Hiatt and The Flatlanders, as well as with The Jayhawks and Lucinda Williams. Living in the village of Joshua Tree between tours has made more time available for other creative endeavors such as painting and writing. "There's not much else to do out here," Tim remarked, "so going for long hikes with my dogs or making music, paintings, and stories is what fills my average day at home." There will be an exhibition of Tim's paintings, which are folk art based pieces that focus on the guitar, at Yard Dog Gallery in Austin during this year's SXSW conference. A series of 500 individually painted vinyl album jackets will be part of the Porcupine release, and the New West CD release will feature Tim's art on the cover.
Neil Young is scheduled to release his new album, "Fork in the Road," on April 7. The entire album revolves around his 'Linc Volt' electric car project that he has been working on with auto guru Jonathan Goodwin.
The first single from the album, "Johnny Magic," is a tribute to Goodwin commented to Rolling Stone that he really doesn't know much about Young's other career.
“For the first month I thought he was Neil Diamond. I guess he is another singer. My wife told me ‘That’s Neil Young. He sings the older songs.’ To this day I’ve never listened to any of his music.”
Young has been playing nine of the ten songs on the album in concert since the end of last year with only the single being a brand new debut. General reaction to the new material has been mixed at best.
Participating on the album are Ben Keith , Chad Cromwell, Rick Rosas, Pegi Young and Anthony Crawford.
The track list:
When Worlds Collide
Fuel Line
Just Singing A Song
Johnny Magic
Cough Up The Bucks
Get Behind The Wheel
Off The Road
Hit The Road
Light A Candle
Fork In The Road
Buy Your Copy Today!
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Cursive Spells Out Unique Pricing Plan For Latest Release
Rock band Cursive is offering up a digital download of its forthcoming Saddle Creek effort "Mama, I'm Swollen" at dramatically low prices leading up to its release on March 10. The promotion kicked off last Sunday, March 1, with cost at $1. On Monday, it was bumped up to $2, Tuesday at $3 and so on until it reaches $9. The sale is taking place on the Saddle Creek website.
Cursive are scheduled to release physical copies of the album, as CDs and a deluxe LPs and these will include download cards for bonus material and instant digital versions of the set.
Headed by frontman Tim Kasher, they will be performing on "The Late Show With David Letterman" on March 13.
Buy Your Copy Today!
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The Fray Announces Summer Dates
The hot Denver-based rock band The Fray, which last month scored its first #1 album, has announced plans for a summer headlining tour. The 35-city trek kicks off on June 12 in Atlanta and ends up in Spokane, WA on August 7. Jacks Mannequin is the opening act for all dates.
The Fray's second album, "The Fray," was released by Epic on February 3 and debuted on the Billboard Hot 200 at #1. The album remains at #3, having sold a total of 306,000 copies to date according to Nielson SoundScan.
Buy Fray Music Here
Here is the beginning tour dates for The Fray with many more coming:
June 12: Atlanta, GA (Chastain Park Amphitheatre)
June 13: Charlotte, NC (Verizon Wireless Amphitheatre)
June 14: Virginia Beach, VA (Verizon Wireless Virginia Beach Amphitheater)
June 16: Washington, DC (Merriweather Post Pavilion)
June 17: Darien Lake, NY (Darien Lake Performing Arts Center)
June 19: Holmdel, NJ (PNC Bank Arts Center)
June 20: Hartford, CT (The Meadows Music Theatre)
June 21: Boston, MA (Comcast Center)
June 23: Toronto, ON (Molson Amphitheatre)
June 24: Philadelphia, PA (Susquehanna Bank Center)
June 25: Wantagh, NY (Nikon at Jones Beach Theater)
June 27: Detroit, MI (DTE Energy Music Theatre)
June 28: Chicago, IL (First Midwest Bank Amphitheatre)
June 29: Cincinnati, OH (Riverbend Music Center)
July 1: Cleveland, OH (Time Warner Cable Amphitheatre at Tower City)
July 2: Indianapolis, IN (Verizon Wireless Music Center)
July 3: St. Louis, MO (Verizon Wireless Amphitheater)
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Arc Angels To Work On New Material
The Arc Angels, the Austin, Texas-based all-star group that was formed in the wake of Stevie Ray Vaughn's death, are ready to take off again.After playing together periodically during the past several years, the band is planning to release a DVD this year and tour extensively -- including two appearances during this month's South By Southwest music festival and a May tour with Eric Clapton in England -- and to start work on its first album in 17 years.
"We feel like we have unfinished business here, and it always feels right when we're together," guitarist Doyle Bramhall II told Billboard.com. "The chemistry is sort of undeniable when we get together. We really enjoy playing with one another."
The Arc Angels formed during the early 1990's, following fellow Texan Stevie Ray Vaughan's Aug. 27, 1990 death in a helicopter crash in East Troy, Wisconsin. Vaughan's Double Trouble Rhythm Section -- drummer Chris Layton and bassist Tommy Shannon -- joined forces with Bramhall and Charlie Sexton at the Austin Rehearsal Center (ARC), which gave the group its name. But after one well-received album, 1992's "Arc Angels," the group broke up in 1994 -- partly, Bramhall acknowledges, due to his heroin addiction.
Buy Your Copy Today!
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Beatles 101
The city of London already has a Beatles museum, a Beatles-themed hotel and an airport named after John Lennon. Now a Liverpool university said that it rolling out a graduate program entirely devoted to the Fab Four.
Liverpool Hope University said yesterday that its new master's program, "The Beatles, Popular Music and Society," would enable students the opportunity to study and analyze popular music and culture through the band's work.
"There have been over 8,000 books about The Beatles but there has never been serious academic study and that is what we are going to address," commented Mike Brocken, who is directing the program at the university, which is in the band's hometown in northwestern England.
Brocken, who said he learned to play his favorite album, "Revolver," on his tennis racket as a child, said students would be expected to study the Beatles' songs, stardom, hometown and cultural impact through four 12-week courses and a dissertation.
In one such course — studio sound and composition — a student could perform a Beatles song as an assignment.
Brocken said studying the band was really a way of examining society as a whole.
"If popular music is about anything, it's about people," he said. "If we look at popular culture, it simply provides us with a very complex mirror of ourselves."
Buy Beatles Music Here!
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No Doubt Tour
For No Doubt’s upcoming tour, the band has announced a special deal: they’re giving away a free digital download of their entire catalog, from 1992’s No Doubt to 2003’s greatest hits compilation The Singles, to each person who purchases a full-priced ticket.
“Since the band is heading back to the road, we wanted to find a cool way to get people listening to our music and stoke them with a great deal at the same time,” guitarist Tom Dumont said in a statement. “With this download it’s easy for fans to get psyched up to hear our music live once again and that rocks.”
So why offer such an incredible deal? Maybe No Doubt are being cautious with the recession expected to cripple the summer touring season or maybe they’re rewarding their fans for their patience. Either way, the digital download is a pretty awesome and generous move on the part of Gwen Stefani and crew. There is a small catch, however: The digital download only comes with the purchase of a full-priced, $42.50 ticket and not lower-tiered or lawn tickets.
No Doubt Catalog
The Singles 1992-2003 (2003)
Everything In Time (B-Sides, Rarities, Remixes) (2003)
Rock Steady (2001)
Return Of Saturn (2000)
Tragic Kingdom (1995)
The Beacon Street Collection (1993)
No Doubt (1992)“Stand And Deliver”
Buy No Doubt Music Here!
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666 From Iron Maiden
Iron Maiden is all set to show their new documentary, Flight 666, for one day only at 400 theaters around the world, officially dubbing April 21 as Maiden Day.
The film followed the band during their "Somewhere Back in Time Tour."
"This film is a testament to an extraordinary tour and to our incredible fans all over the world. Seeing it on the big screen will make you feel like you were there on that spectacular journey," manager Rod Smallwood said.
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Vinyl Collective Top Ten
Vinyl Collective Top 10 Sales of the past Week (Stop by the site and get your vinyl!- www.vinylcollective.com)
1. AUSTIN LUCAS/FRANK TURNER “Under the Influence Vol 8″ 7″ Red/White color in colo
2. THE GASLIGHT ANTHEM “Great Expectations” 7″ import
3. AUSTIN LUCAS/FRANK TURNER “Under the Influence Vol 8″ 7″ both colors
4. NEW FOUND GLORY “Not Without A Fight” LP
5. Suburban Home Pick 5 for $25 Sale (CDs, Vinyl, Pint Glasses)
6. AUSTIN LUCAS/FRANK TURNER “Under the Influence Vol 8″ 7″ White/Bllack half and h
7. TORCHE “Healer/Across The Shields” LP + DVD orange vinyl
8. RIVERDALES “Phase 3″ LP clear gold vinyl
9. TWO TONGUES “S/T” LP picture disc
10. O PIONEERS!!! “Neon Creeps” LP orange vinyl silk-screened jackets
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Yeah, Yeah, Yeah
The Yeah Yeah Yeahs have moved up their release of "It’s Blitz" after their new album leaked last week. Blitz will hit digital retailers March 10th, with the physical release to follow on March 31st. The album was originally slated for release on April 14th. “YYYs have been brimming with nervous excitement in anticipation of releasing this record to the world! Leaks are NO FUN but it’s out of our hands,” the band wrote on their Website.
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TIM EASTON TO RELEASE NEW ALBUM PORCUPINE ON NEW WEST RECORDS APRIL 28
Contemporary folk/rocker Tim Easton has been driven westward both geographically and musically since his college days in Ohio. On his 5th album, Porcupine due out April 28 from New West Records, the Joshua Tree, CA resident returns to his mid-western sound and lets a myriad of guitar riffs rooted in blues, rock, and folk set the color for observational lyrics capturing life from the desert to the sea, and around the world. The new album finds Tim's writing skills sharpened, possibly inspired by his friend and mentor Lucinda Williams. Easton, known for his non-stop touring (from Dublin to Anchorage to Bangor to Jacksonville), will be on the road with a band, supporting Porcupine beginning this Spring, including a stop in Austin, TX where Tim will appear at several events during the South By Southwest convention, including the New West Records day party, Pop Culture Press party, Ground Control Touring showcase and the Sin City Social Club party (dates below).
For Porcupine, Tim went back to Alex The Great and Club Roar studios in Nashville to work with Brad Jones and Robin Eaton who produced his debut album, Special 20. He wanted to "make some noise and get that jagged, midwestern rock and roll sound again" so he hand-picked the Ohio-based rhythm section - Sam Brown on drums (Gaunt, New Bomb Turks, RJD2) and Matt Surgeson on bass and backing vocals (Matt also played on Special 20). Renowned guitarist Kenny Vaughn, who Tim met playing in Lucinda's band for her Car Wheels tour, played second guitar.
Porcupine visits the rough edged and electric side of Tim's recordings, although it's an acoustic track that provides the record's shiniest moment in the pop-folk jangle of "Seventh Wheel." Tim wrote the song in as much time as it takes to sing it while staying at friend's house in Dublin, and the band demanded that he record it for the album after hearing the demo he made in Ireland. As for the title Porcupine, Tim explains "I thought the physical animal called the porcupine was a perfect symbol for the sound of this record in that it appears to be a gentle and harmless creature from a distance but up close it is in fact sharp and potentially dangerous."
Tim has released three critically acclaimed albums on New West thus far: The Truth About Us (2001), Break Your Mother's Heart (2003) and Ammunition (2006). He has toured with label mates John Hiatt and The Flatlanders, as well as with The Jayhawks and Lucinda Williams. Living in the village of Joshua Tree between tours has made more time available for other creative endeavors such as painting and writing. "There's not much else to do out here," Tim remarked, "so going for long hikes with my dogs or making music, paintings, and stories is what fills my average day at home." There will be an exhibition of Tim's paintings, which are folk art based pieces that focus on the guitar, at Yard Dog Gallery in Austin during this year's SXSW conference. A series of 500 individually painted vinyl album jackets will be part of the Porcupine release, and the New West CD release will feature Tim's art on the cover.
Album Cover Art
This is from a local newspaper, I love the fact that more and more people are taking notice of album cover art; it truly is a wonderous and historic medium.
The lost art of album covers
Area music lovers pick their favorite works of cover art
By Sharon Roznik • The Reporter
George Bauman holds a Buddy Holly album in his hands and peers at the face behind the horn-rimmed glasses.
He wonders where the late singer's many talents would have taken him, had he lived.
Last November the Waupun native visited Clear Lake, Iowa, and the Surf Ballroom where Holly played his final concert just hours before the crash.
"I can clearly remember the day Feb. 3, 1959, when I came from school and my mother told me that Buddy Holly had been killed in a plane crash the night before," Bauman related. "I was very upset and played his music over and over on the old phonograph we had."
Before there were MTV and DVDs, YouTube and videos, the cardboard comfort of album covers connected teens with the musicians they loved.
As rock 'n roll evolved, so did album art, with the 1967 design for the Beatles' "Sgt. Pepper's Lonely Heart's Club Band" launching the revolution.
Local music lovers from the glory days of LPs share some of their top album cover pics:
Steve Hinkley says he doesn't have to think too hard to come up with a favorite cover. "Disraeli Gears," by Cream, (with or without a black light) surpasses them all.
"The title of the album was taken from an inside joke. Eric Clapton had been thinking of buying a racing bicycle and was discussing it with Ginger Baker, when a roadie named Mick Turner commented, 'it's got them Disraeli Gears,' meaning to say 'derailleur gears,' but instead alluding to 19th Century British Prime Minister Benjamin Disraeli. The band thought this was hilarious," Hinkley said.
Molly Hatchet's "Devil's Canyon" was a favorite for Tracy Peters because of the artistry.
"I am now 43, but at that time a bunch of girls, then 15, from Theisen (Middle School), not only loved the band, but were captivated by the cover and would re-draw it to hang up in our bedrooms. There were several bands that we did this to, but that one I remember the most," she said.
Led Zeppelin's "Houses of the Holy" takes Michael Pocan back to the 1980s, when he lived in Green Bay and had just returned home from the Marine Corps.
"My instant memory of that album would be sitting in the recreation room at my brother's house having some frosties, readjusting to civilian life," he said.
"Every Good Boy Deserves Favour" by the Moody Blues is Sue Jones' favorite album cover.
"I loved to look at the drawing of the little boy and the magician. The boy has such a look of amazement on his face," she said.
Some nights Frank Jozefowski heads down to his basement just to thumb through his hundreds of albums for "old times sake." His all-time favorite cover is the Car's "Candy-O," done by famed pin-up artist Alberto Vargas.
"Along with other sensory notations made about vinyl records, there was always the distinct smell of the package when you would remove the protective plastic covering. I also liked the stickers that would sometimes be slapped on the plastic covering, as I have saved a few of those as well," he said.
Another great album cover artist blew David Jacak away as an impressionable teen. His love of heavy metal and Ozzy Osbourne drew him to Boris Vallejo's album jacket for "The Ultimate Sin."
"Vallejo was an artist for the popular muscle mags at the time. This art work just always intrigued me with the futuristic beast and the sexy woman (what I thought at the time)," Jacak remarked.
In some way, Journey's album cover "Escape" influenced Russell Ellison (in a cheesy way, he says) to join the U.S. Army.
"All the Journey albums were cool, but I think 'Escape' was the best. Heck, they even made an Atari game out of it. From a person who grew up in the '80s, album cover art is kind of a lost thing," he said.
In 1968, David Schaefer was just a little shaver snooping through his big brother's stuff.
"All of the albums I had seen previously were gaudy. I was drawn to one by the starkness. The original album had raised white letters but then the album was re-released with embossed silver letters. I still listen to it today on my iPod," he said.
He's talking, of course, about The Beatles famous "White Album."
Another Beatles album, "Abbey Road," charmed Cynthia Parman with the cover shot of John, Ringo, George and Paul casually walking across the street.
"The simplicity of being able to have the freedom to do just that ... take a walk. There is some peacefulness to it, I think. This album was released in September of 1969. My, how time flies," she said.
SOURCE: http://www.fdlreporter.com
The lost art of album covers
Area music lovers pick their favorite works of cover art
By Sharon Roznik • The Reporter
George Bauman holds a Buddy Holly album in his hands and peers at the face behind the horn-rimmed glasses.
He wonders where the late singer's many talents would have taken him, had he lived.
Last November the Waupun native visited Clear Lake, Iowa, and the Surf Ballroom where Holly played his final concert just hours before the crash.
"I can clearly remember the day Feb. 3, 1959, when I came from school and my mother told me that Buddy Holly had been killed in a plane crash the night before," Bauman related. "I was very upset and played his music over and over on the old phonograph we had."
Before there were MTV and DVDs, YouTube and videos, the cardboard comfort of album covers connected teens with the musicians they loved.
As rock 'n roll evolved, so did album art, with the 1967 design for the Beatles' "Sgt. Pepper's Lonely Heart's Club Band" launching the revolution.
Local music lovers from the glory days of LPs share some of their top album cover pics:
Steve Hinkley says he doesn't have to think too hard to come up with a favorite cover. "Disraeli Gears," by Cream, (with or without a black light) surpasses them all.
"The title of the album was taken from an inside joke. Eric Clapton had been thinking of buying a racing bicycle and was discussing it with Ginger Baker, when a roadie named Mick Turner commented, 'it's got them Disraeli Gears,' meaning to say 'derailleur gears,' but instead alluding to 19th Century British Prime Minister Benjamin Disraeli. The band thought this was hilarious," Hinkley said.
Molly Hatchet's "Devil's Canyon" was a favorite for Tracy Peters because of the artistry.
"I am now 43, but at that time a bunch of girls, then 15, from Theisen (Middle School), not only loved the band, but were captivated by the cover and would re-draw it to hang up in our bedrooms. There were several bands that we did this to, but that one I remember the most," she said.
Led Zeppelin's "Houses of the Holy" takes Michael Pocan back to the 1980s, when he lived in Green Bay and had just returned home from the Marine Corps.
"My instant memory of that album would be sitting in the recreation room at my brother's house having some frosties, readjusting to civilian life," he said.
"Every Good Boy Deserves Favour" by the Moody Blues is Sue Jones' favorite album cover.
"I loved to look at the drawing of the little boy and the magician. The boy has such a look of amazement on his face," she said.
Some nights Frank Jozefowski heads down to his basement just to thumb through his hundreds of albums for "old times sake." His all-time favorite cover is the Car's "Candy-O," done by famed pin-up artist Alberto Vargas.
"Along with other sensory notations made about vinyl records, there was always the distinct smell of the package when you would remove the protective plastic covering. I also liked the stickers that would sometimes be slapped on the plastic covering, as I have saved a few of those as well," he said.
Another great album cover artist blew David Jacak away as an impressionable teen. His love of heavy metal and Ozzy Osbourne drew him to Boris Vallejo's album jacket for "The Ultimate Sin."
"Vallejo was an artist for the popular muscle mags at the time. This art work just always intrigued me with the futuristic beast and the sexy woman (what I thought at the time)," Jacak remarked.
In some way, Journey's album cover "Escape" influenced Russell Ellison (in a cheesy way, he says) to join the U.S. Army.
"All the Journey albums were cool, but I think 'Escape' was the best. Heck, they even made an Atari game out of it. From a person who grew up in the '80s, album cover art is kind of a lost thing," he said.
In 1968, David Schaefer was just a little shaver snooping through his big brother's stuff.
"All of the albums I had seen previously were gaudy. I was drawn to one by the starkness. The original album had raised white letters but then the album was re-released with embossed silver letters. I still listen to it today on my iPod," he said.
He's talking, of course, about The Beatles famous "White Album."
Another Beatles album, "Abbey Road," charmed Cynthia Parman with the cover shot of John, Ringo, George and Paul casually walking across the street.
"The simplicity of being able to have the freedom to do just that ... take a walk. There is some peacefulness to it, I think. This album was released in September of 1969. My, how time flies," she said.
SOURCE: http://www.fdlreporter.com
Limited Edition Steve Wynn 45 Available Now
First release in "Euclid Sessions" series available
Euclid Records press release:
Limited Edition Steve Wynn 45 Available Now – First Release in Euclid Sessions Series
ST. LOUIS: Euclid Records is proud to announce the arrival of the debut 7” 45 rpm release in the Euclid Sessions series, “John Coltrane Stereo Blues Pts. 1 and 2” by Steve Wynn and the Miracle 3. Recorded live in Euclid Records last November, this single has been eagerly anticipated by those who were in attendance. This release, like all future efforts in the series, will be strictly limited to 300 copies. $1 for each one pressed will be donated to the New Orleans Musicians Relief Fund (NOMRF) to benefit musicians displaced or suffering loss of equipment in the aftermath of Hurricane Katrina. Euclid Records is located at 601 East Lockwood in Webster Groves, MO.
Steve Wynn first recorded “John Coltrane Stereo Blues” when he was in the Dream Syndicate for their second LP, “Medicine Show,” back in 1984. Since then, it has been revived in a number of live contexts, but this is the first time the song has been available on record or disc since the Dream Syndicate disbanded. The Miracle Three includes Linda Pitmon on drums, Dave DeCastro on bass, and Jason Victor on lead guitar.
The record itself is available on colored vinyl, though these will be limited to those who subscribe to the series online. Each copy comes with a gorgeous silk screen print, individually signed and numbered by artist Phil Huling. There is also a delightful cardboard sleeve designed by the geniuses at Firecracker Press.
The 45s will be sold exclusively through the websites of Euclid Records (www.euclidrecords.com) and NOMRF (www.nomrf.org). The price for this debut release is $7.99.
Euclid Records press release:
Limited Edition Steve Wynn 45 Available Now – First Release in Euclid Sessions Series
ST. LOUIS: Euclid Records is proud to announce the arrival of the debut 7” 45 rpm release in the Euclid Sessions series, “John Coltrane Stereo Blues Pts. 1 and 2” by Steve Wynn and the Miracle 3. Recorded live in Euclid Records last November, this single has been eagerly anticipated by those who were in attendance. This release, like all future efforts in the series, will be strictly limited to 300 copies. $1 for each one pressed will be donated to the New Orleans Musicians Relief Fund (NOMRF) to benefit musicians displaced or suffering loss of equipment in the aftermath of Hurricane Katrina. Euclid Records is located at 601 East Lockwood in Webster Groves, MO.
Steve Wynn first recorded “John Coltrane Stereo Blues” when he was in the Dream Syndicate for their second LP, “Medicine Show,” back in 1984. Since then, it has been revived in a number of live contexts, but this is the first time the song has been available on record or disc since the Dream Syndicate disbanded. The Miracle Three includes Linda Pitmon on drums, Dave DeCastro on bass, and Jason Victor on lead guitar.
The record itself is available on colored vinyl, though these will be limited to those who subscribe to the series online. Each copy comes with a gorgeous silk screen print, individually signed and numbered by artist Phil Huling. There is also a delightful cardboard sleeve designed by the geniuses at Firecracker Press.
The 45s will be sold exclusively through the websites of Euclid Records (www.euclidrecords.com) and NOMRF (www.nomrf.org). The price for this debut release is $7.99.
Tuesday, March 3, 2009
Audiophile Audition-Turntable Review
I want to thank John over at http://www.audaud.com/index.php for the exclusive rights to reprint this great review!
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
The Wonderful World of Vinyl; Marantz TT-15S1 Turntable Reviewed
An introduction on getting back into vinyl or trying it for the first time and a review of a quality entry-level turntable system.
Marantz TT-15S1 Turntable
SRP: $1600
Marantz America, Inc.
100 Corporate Drive
Mahwah, NJ 07430
630-741-0300 (voice)
630-741-0301 (fax)
http://us.marantz.com/Products/1197.asp
Basic Description
Acrylic turntable including arm and cartridge (manufactured by Clearaudio for Marantz), 33 1/3 and 45 rpm speed belt drive system, Clearaudio Satisfy radial tonearm with adjustable stylus pressure from 0-5 gram; 3-18g cartridge compatibility; Cartridge output voltage at 1 kHz ~ 3.6 mV with recommended stylus pressure of 2.0 grams, Aluminum cantilever; Souther plastic record clamp; 350 mm D x 440 mm W x 110 mm H (to spindle), 6.125” to top of cueing lever when arm height is adjusted for mat; 3 year parts and labor warranty on tonearm and table—90 days on cartridge.
Associated Equipment
Krell KAV-400i Integrated Amplifier, Musical Fidelity A5 Integrated Amplifier, PS Audio GCPH Phono Stage, Whest Two Phono Stage, Bowers and Wilkins 803S speakers, Audioquest cabling. Accessories used are too numerous to list—please see future accessories reviews for more information.
Setup
It’s been a while since I’ve done any serious turntable setup, so I thought it would be useful to describe the procedure for those who are in the same boat. After unpacking all the pieces, I made sure the table I was using for assembly was level by using two separate bubble levels (which I later used on the playback surface). The manual is excellent and includes pictures and numbered steps to make the setup as easy as possible.
The three turntable legs unscrew, so in case it is impossible to have a completely level surface, the user can level the table by adjusting the legs. White gloves are included to keep the table clean during assembly and for handling the belt. An extra belt comes with the table, but there is no 45 adapter or dust cover. You can buy an aftermarket Gingko Dust Cover for $279 that measures 19” W x 14” D x 6.5” H. A basic 45 adapter costs $3 and a Clearaudio stainless steel adapter sells for $45. Other options will be discussed in a later accessories article.
The table comes with a tonearm, cartridge, record clamp, as well as tools and oil (which you may need in the future). In addition to the ground wire that is attached to the tonearm, there is a ground that attaches directly to the underside of the table. TIP #1: Wait till the ground wire is installed before removing the tape on the topside of the base that holds the bearing in place; otherwise it may fall out, spill oil, and generally make a mess.
The TT-15 comes with a soft mat, but whether it will be used needs to be determined before adjusting the height of the tonearm. I didn’t compare the sound of both, but the included clamp is only recommended to be used with the mat (or with warped records). A vinyl enthusiast I know said that his experience with tables of this type leads him to believe that it would be better to avoid the mat completely. Adjusting the height is incredibly easy—just slip the counterweight under the tonearm and use the small felt piece or not depending on whether you will by using a mat or not. This will be all that is necessary to adjust VTA (vertical tracking angle).
If the supplied Clearaudio Virtuoso Ebony cartridge (exclusive to this table) is used, then setup is very easy. The supplied screws thread right into the cartridge (without need of a nut above or below) and according to the manual, pushing the cartridge into the forward position is all you need to adjust offset. Most cartridges require a lot of work to properly align the cartridge, so it was nice to be able to have it set easily. If a different cartridge is used, the manual specifies that the stylus tip needs to be 32 mm back from the wood part of the arm. I went ahead and checked alignment with a DB Systems Protractor anyway. This is an indispensable tool for adjusting proper offset. I confirmed that the accuracy was within a small fraction of a degree although it was hard to tell definitively due to the fact that the cartridge has rounded sides. TIP#2: If you are going to use an alignment tool, make sure you secure the platter with tape so that the needle doesn’t get damaged by sliding off the tool.
Pinch-nosed pliers are a good tool to attach the cartridge leads, but I was able to do it successfully with my fingers (and nails). All that was left was stylus pressure and anti-skate. The quick and dirty way to adjust stylus force is by first leveling the tonearm parallel to the platter surface (so it floats) and then apply the recommended force to the stylus (most often accomplished by turned the weight on the tonearm toward the center of the platter). The cartridge instructions recommended 2.0 grams of force while the turntable manual indicated 2.2 grams. I chose to go with the lighter tracking force. If you ever see the needle bouncing off the record you know that you have applied too little force. Too much force can cause premature breakage of the needle and poor sound quality. You can always listen and make slight adjustments as well.
Initially I tried to adjust the stylus pressure using the prescribed method, but I’ve found over the years that this is not usually all that accurate. In this case, when I measured the pressure with a digital scale from Steve Blinn I found that I was off on the high side by >.1 gram. Like setting offset, make sure to secure the platter to avoid needle damage and set anti-skate afterwards to avoid bending the shaft of the cartridge.
The manual specifies the magnetic screw be set half way for proper anti-skate (which is what I did since I didn’t have a test record or oscilloscope to check to make sure it was set properly).
Lastly, I set up the motor. The pulley needs to be positioned at 3 mm above the height of the motor which turns out to be approximately the tip of the included screwdriver turned sideways. I would recommend a better screwdriver for actually tightening down the plastic screws for the pulley. The supplied one seemed too fat and I couldn’t tell if the screws were tightening or just slipping.
There is a cutout in the plinth (base) for the motor and it is best if the motor does not make contact with the base. However, the power switch is on the side of the motor and turning it on and off causes the motor to move requiring you to reposition it (if you are neurotic about such things) each time you turn the table on. The switch should be on the top or remotely located.
The spindle was a bit tight on some records so I gently smoothed it down, so I wasn’t fighting with the TT-15 to get records off. That concluded the setup. I used a couple of different amplifiers and phono preamplifiers while the turntable was under test (all listed above).
Operation and Maintenance
This turntable is fully manual meaning you will have to lift the arm to the record and then put it to rest when the arm moves into the exit groove. I would agree with the manual and give the platter a slight spin before turning on the motor—this will increase belt life and prevent slippage or possible locking up of the motor mechanism. Other than that, this turntable worked just as expected. I had an old 45 adapter lying around for use with a record or two that needed it. To change the speed, just lower the belt down on the pulley.
To dust the records off I used an Audioquest antistatic carbon fiber record brush. I tested speed accuracy with a KAB SpeedStrobe. According to my measurements, the turntable was between .5-.6% fast. This disc has the speed numbers right on it (as opposed to bars), so it is easy to keep track of how far off the speed is. Also, it comes with a strobe light, so no worries about differences with line voltage or 50/60 Hz issues.
To clean the stylus I used the Extreme Phono solid-state gel stylus cleaner. This is the best, safest and simplest stylus cleaner I have ever had the pleasure to use. [LAST also makes Stylast cleaner which I use. They also offer record cleaners and a very effective preservative for vinyl....Ed.]
Sound
I played music on the TT-15 for weeks--off and on every day. Rating the subjective quality of sound comes down to how you feel and what sort of emotional response is elicited when you listen to any given system. I.e.: what is your reaction to the music and not the equipment per se. My time with the Marantz involves a lot of groovin’ and listening pleasure—about as high a compliment you can give.
For those who enjoy all the adjectives and audiophile descriptions, here goes…
I began with Dean Martin’s Greatest Hits Volume I. Sound was delicate with nice top end extension. The sound of this turntable leans toward clarity rather than warmth. Background noise was low and imaging and focus was as good as you’d expect on this record. This table offers better dynamics and focus in comparison with cheaper tables. There is a bigger image and less flattening of the soundstage, with a more fleshed out sound.
A record I’ve heard many times is Earl Klugh’s Fingerpainting. My notes say “transient response is king.” Sound is easy and yet there is nice pluck and pop with a nice portrayal of rhythm and drive. The feeling that sometimes happens with CDs: that the image or acoustic environment is smaller than it should be, is completely absent.
It always surprises me how even many cheap turntables/cartridge combos can get the bass sound so right. It might be something in the way the recording is mixed, or an anomaly with the playback chain, but for whatever reason drums just tend to sound more real than on CDs. I hadn’t listened to Dire Straits’ Making Movies in years, so I thought it might be worth another listen. The sound of vinyl (when records are well-recorded and in good shape) is highly addictive. Aside from the increasing novelty/coolness of record playing these days, I would absolutely encourage anyone who hasn’t heard a good analog system lately to take another listen—you might just be surprised at how enjoyable the experience truly is.
Another group that hadn’t had much airplay on my system is The Fifth Dimension. The Greatest Hits on Earth has more than a few good tunes and better sounding recordings just shown on this table. The sound was very liquid and musical. Rediscovering old music is yet another reason to get back into vinyl—not to mention how much old vinyl is available in record stores and on eBay. [Whether old or brand new, you might want to consider a record cleaning machine for your vinyl...Ed.]
The last record in the extended listening session was The Doobie Brothers’ Captain and Me. This album was incredibly fun to listen to on disc with the TT-15. Guitar and bass sounded great! All in all the presentation was solid and quite enjoyable.
Conclusion
To put it into perspective, a similarly built table directly from Clearaudio would cost about $1200 for the table and arm, $875 for the Virtuoso cartridge, $200 for upgraded feet, and you get a thicker platter to boot with a 3 year guarantee! In case your head hurts, the math adds up to $2275 vs. $1600—quite the bargain. And these days with the dollar being so devalued it would be hard to find a better sounding combination for less money. Highly recommended!
-- Brian Bloom
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
The Wonderful World of Vinyl; Marantz TT-15S1 Turntable Reviewed
An introduction on getting back into vinyl or trying it for the first time and a review of a quality entry-level turntable system.
Marantz TT-15S1 Turntable
SRP: $1600
Marantz America, Inc.
100 Corporate Drive
Mahwah, NJ 07430
630-741-0300 (voice)
630-741-0301 (fax)
http://us.marantz.com/Products/1197.asp
Basic Description
Acrylic turntable including arm and cartridge (manufactured by Clearaudio for Marantz), 33 1/3 and 45 rpm speed belt drive system, Clearaudio Satisfy radial tonearm with adjustable stylus pressure from 0-5 gram; 3-18g cartridge compatibility; Cartridge output voltage at 1 kHz ~ 3.6 mV with recommended stylus pressure of 2.0 grams, Aluminum cantilever; Souther plastic record clamp; 350 mm D x 440 mm W x 110 mm H (to spindle), 6.125” to top of cueing lever when arm height is adjusted for mat; 3 year parts and labor warranty on tonearm and table—90 days on cartridge.
Associated Equipment
Krell KAV-400i Integrated Amplifier, Musical Fidelity A5 Integrated Amplifier, PS Audio GCPH Phono Stage, Whest Two Phono Stage, Bowers and Wilkins 803S speakers, Audioquest cabling. Accessories used are too numerous to list—please see future accessories reviews for more information.
Setup
It’s been a while since I’ve done any serious turntable setup, so I thought it would be useful to describe the procedure for those who are in the same boat. After unpacking all the pieces, I made sure the table I was using for assembly was level by using two separate bubble levels (which I later used on the playback surface). The manual is excellent and includes pictures and numbered steps to make the setup as easy as possible.
The three turntable legs unscrew, so in case it is impossible to have a completely level surface, the user can level the table by adjusting the legs. White gloves are included to keep the table clean during assembly and for handling the belt. An extra belt comes with the table, but there is no 45 adapter or dust cover. You can buy an aftermarket Gingko Dust Cover for $279 that measures 19” W x 14” D x 6.5” H. A basic 45 adapter costs $3 and a Clearaudio stainless steel adapter sells for $45. Other options will be discussed in a later accessories article.
The table comes with a tonearm, cartridge, record clamp, as well as tools and oil (which you may need in the future). In addition to the ground wire that is attached to the tonearm, there is a ground that attaches directly to the underside of the table. TIP #1: Wait till the ground wire is installed before removing the tape on the topside of the base that holds the bearing in place; otherwise it may fall out, spill oil, and generally make a mess.
The TT-15 comes with a soft mat, but whether it will be used needs to be determined before adjusting the height of the tonearm. I didn’t compare the sound of both, but the included clamp is only recommended to be used with the mat (or with warped records). A vinyl enthusiast I know said that his experience with tables of this type leads him to believe that it would be better to avoid the mat completely. Adjusting the height is incredibly easy—just slip the counterweight under the tonearm and use the small felt piece or not depending on whether you will by using a mat or not. This will be all that is necessary to adjust VTA (vertical tracking angle).
If the supplied Clearaudio Virtuoso Ebony cartridge (exclusive to this table) is used, then setup is very easy. The supplied screws thread right into the cartridge (without need of a nut above or below) and according to the manual, pushing the cartridge into the forward position is all you need to adjust offset. Most cartridges require a lot of work to properly align the cartridge, so it was nice to be able to have it set easily. If a different cartridge is used, the manual specifies that the stylus tip needs to be 32 mm back from the wood part of the arm. I went ahead and checked alignment with a DB Systems Protractor anyway. This is an indispensable tool for adjusting proper offset. I confirmed that the accuracy was within a small fraction of a degree although it was hard to tell definitively due to the fact that the cartridge has rounded sides. TIP#2: If you are going to use an alignment tool, make sure you secure the platter with tape so that the needle doesn’t get damaged by sliding off the tool.
Pinch-nosed pliers are a good tool to attach the cartridge leads, but I was able to do it successfully with my fingers (and nails). All that was left was stylus pressure and anti-skate. The quick and dirty way to adjust stylus force is by first leveling the tonearm parallel to the platter surface (so it floats) and then apply the recommended force to the stylus (most often accomplished by turned the weight on the tonearm toward the center of the platter). The cartridge instructions recommended 2.0 grams of force while the turntable manual indicated 2.2 grams. I chose to go with the lighter tracking force. If you ever see the needle bouncing off the record you know that you have applied too little force. Too much force can cause premature breakage of the needle and poor sound quality. You can always listen and make slight adjustments as well.
Initially I tried to adjust the stylus pressure using the prescribed method, but I’ve found over the years that this is not usually all that accurate. In this case, when I measured the pressure with a digital scale from Steve Blinn I found that I was off on the high side by >.1 gram. Like setting offset, make sure to secure the platter to avoid needle damage and set anti-skate afterwards to avoid bending the shaft of the cartridge.
The manual specifies the magnetic screw be set half way for proper anti-skate (which is what I did since I didn’t have a test record or oscilloscope to check to make sure it was set properly).
Lastly, I set up the motor. The pulley needs to be positioned at 3 mm above the height of the motor which turns out to be approximately the tip of the included screwdriver turned sideways. I would recommend a better screwdriver for actually tightening down the plastic screws for the pulley. The supplied one seemed too fat and I couldn’t tell if the screws were tightening or just slipping.
There is a cutout in the plinth (base) for the motor and it is best if the motor does not make contact with the base. However, the power switch is on the side of the motor and turning it on and off causes the motor to move requiring you to reposition it (if you are neurotic about such things) each time you turn the table on. The switch should be on the top or remotely located.
The spindle was a bit tight on some records so I gently smoothed it down, so I wasn’t fighting with the TT-15 to get records off. That concluded the setup. I used a couple of different amplifiers and phono preamplifiers while the turntable was under test (all listed above).
Operation and Maintenance
This turntable is fully manual meaning you will have to lift the arm to the record and then put it to rest when the arm moves into the exit groove. I would agree with the manual and give the platter a slight spin before turning on the motor—this will increase belt life and prevent slippage or possible locking up of the motor mechanism. Other than that, this turntable worked just as expected. I had an old 45 adapter lying around for use with a record or two that needed it. To change the speed, just lower the belt down on the pulley.
To dust the records off I used an Audioquest antistatic carbon fiber record brush. I tested speed accuracy with a KAB SpeedStrobe. According to my measurements, the turntable was between .5-.6% fast. This disc has the speed numbers right on it (as opposed to bars), so it is easy to keep track of how far off the speed is. Also, it comes with a strobe light, so no worries about differences with line voltage or 50/60 Hz issues.
To clean the stylus I used the Extreme Phono solid-state gel stylus cleaner. This is the best, safest and simplest stylus cleaner I have ever had the pleasure to use. [LAST also makes Stylast cleaner which I use. They also offer record cleaners and a very effective preservative for vinyl....Ed.]
Sound
I played music on the TT-15 for weeks--off and on every day. Rating the subjective quality of sound comes down to how you feel and what sort of emotional response is elicited when you listen to any given system. I.e.: what is your reaction to the music and not the equipment per se. My time with the Marantz involves a lot of groovin’ and listening pleasure—about as high a compliment you can give.
For those who enjoy all the adjectives and audiophile descriptions, here goes…
I began with Dean Martin’s Greatest Hits Volume I. Sound was delicate with nice top end extension. The sound of this turntable leans toward clarity rather than warmth. Background noise was low and imaging and focus was as good as you’d expect on this record. This table offers better dynamics and focus in comparison with cheaper tables. There is a bigger image and less flattening of the soundstage, with a more fleshed out sound.
A record I’ve heard many times is Earl Klugh’s Fingerpainting. My notes say “transient response is king.” Sound is easy and yet there is nice pluck and pop with a nice portrayal of rhythm and drive. The feeling that sometimes happens with CDs: that the image or acoustic environment is smaller than it should be, is completely absent.
It always surprises me how even many cheap turntables/cartridge combos can get the bass sound so right. It might be something in the way the recording is mixed, or an anomaly with the playback chain, but for whatever reason drums just tend to sound more real than on CDs. I hadn’t listened to Dire Straits’ Making Movies in years, so I thought it might be worth another listen. The sound of vinyl (when records are well-recorded and in good shape) is highly addictive. Aside from the increasing novelty/coolness of record playing these days, I would absolutely encourage anyone who hasn’t heard a good analog system lately to take another listen—you might just be surprised at how enjoyable the experience truly is.
Another group that hadn’t had much airplay on my system is The Fifth Dimension. The Greatest Hits on Earth has more than a few good tunes and better sounding recordings just shown on this table. The sound was very liquid and musical. Rediscovering old music is yet another reason to get back into vinyl—not to mention how much old vinyl is available in record stores and on eBay. [Whether old or brand new, you might want to consider a record cleaning machine for your vinyl...Ed.]
The last record in the extended listening session was The Doobie Brothers’ Captain and Me. This album was incredibly fun to listen to on disc with the TT-15. Guitar and bass sounded great! All in all the presentation was solid and quite enjoyable.
Conclusion
To put it into perspective, a similarly built table directly from Clearaudio would cost about $1200 for the table and arm, $875 for the Virtuoso cartridge, $200 for upgraded feet, and you get a thicker platter to boot with a 3 year guarantee! In case your head hurts, the math adds up to $2275 vs. $1600—quite the bargain. And these days with the dollar being so devalued it would be hard to find a better sounding combination for less money. Highly recommended!
-- Brian Bloom
Album Cover Art
Socrates "Drank the Conium" was the 1972 debut album of the Greek rock band of the same name. It has more psychedelic- and blues-influenced tracks than their following albums. The work on this album is similar to that of musicians like Jimi Hendrix and Eric Clapton. Certainly one of my favorite psychedelic album covers (a must in any top ten of that genre)!
Vinyl Collective Update
This from my vinyl friend Virgil over at www.vinylcollective.com which is your source for great indie vinyl!
Vinyl Collective Label of the Month: Don Giovanni
Every month along with our Collector of the Month, we plan to present to you a label of the month and a brick and mortar store of the month (store feature will be posted tomorrow). This month, we are exciting to bring you a feature on the New Jersey independent label, Don Giovanni. Don Giovanni is a great label who has consistently released great music on vinyl. You are more than likely familiar with the many releases they have done with the Ergs!, but they have also released records by The Measure (SA), Pregnant, Groucho Marxists, The Dustheads, Steinways, and more. Joe from Don Giovanni was kind enough to answer my questions about why he releases vinyl, his thoughts on colored vinyl, records he would love to put out, manufacturers, and what bands can do to get his attention.
I hope you take a minute to read more about Don Giovanni. Labels like Don Giovanni really inspire us at Vinyl Collective. Later today, we will be announcing a big Don Giovanni contest where you can win some of their releases as well as test pressings from the Ergs! and more. Thanks Joe for taking the time to do this feature; we hope you continue to put out great records for a long time to come.
VC: When did your label start? What inspired you to start the label? Where is your label based? Do you do the label full time? What don’t most people know about you/your label?
DG: I started the label with my friend Zach in 2003 while we were in college in Boston. We didn’t really have any intention of starting a real label, just releasing a record or two by our band at the time. When some friends of mine from New Jersey heard that we had put out a record, they asked us if we wanted to help them with theirs. There had always been so many great bands, some of which are still my favorite, from New Brunswick, NJ and the surrounding areas when I was growing up making some of the best music I had ever heard, that never got released(and if it did get released, it never had any kind of serious distribution). So when we agreed to do the records from these two bands which asked us, it led to more bands talking to us, and eventually snowballed into what we are today. After college Zach and I moved to New Brunswick, where we are based now. Something a lot of people don’t realize about our label, is that it is a regional label. We put out bands from the NY/NJ area, mostly local to either the New Brunswick, NJ or Brooklyn, NY scenes.
VC: What active bands are on your label?
DG: The Measure (SA), Screaming Females, Pregnant, Cheeky.
VC: Why do you press vinyl? Do you collect vinyl?
DG: This question isn’t really what it used to be. I mean, isn’t every label all the way up to Capital records pressing vinyl these days? It’s all people seem to be buying. Things were different though when we started. We pressed vinyl because it was what I was into at the time and still am. There was something really special about going to a show and getting a record that wasn’t on any other format that there weren’t many of, and then taking it home and it being awesome. There was also something really special about going to a record store and picking up a record for under 10 dollars when the CD version was 18.99. A lot of that has changed now as a whole in the vinyl industry, and has resulted in me buying far fewer records, but with the label, we are trying to maintain that sense of worth to vinyl collecting that got me into it in the first place with what we put out.
VC: What do you look for in a band? Have you ever signed a band from a demo? What advice do you have for bands trying to get your attention? What band or bands would you kill to work with?
DG: There’s no real formula. We try to look for bands who really have their own sound and are doing something really cool. Sometimes we are able to tell that from a demo, other times we need to see them live or a band needs to develop. The best way to get our attention is to send us an email or a demo. We really do listen to and read all of them(even if we don’t reply). Just liking a band or demo isn’t always enough for us to want to work with them, but we’ll often tell our friends about them and help them out with a show. Finally, we are actually working with the bands we previously would kill to work with. If you had asked me a year ago, I would have said I would kill to get to work with Hunchback and Screaming Females, now we are. There was a time I would have killed to work with The Ergs, and Cheeky, and if we didn’t get to do their first record, we would kill to work with The Measure (SA). There are two bands right now though, that aren’t from our area that I would love to do records with if we didn’t keep the label local, and those bands are Tenement and Deep Sleep.
VC: What manufacturer(s) do you press your records through? Do you recommend them?
DG: I would highly recommend Imprint for everything related to printing jackets/posters/anything else you can think of, and Icon for everything related to CDs, and TDT for T-shirts. We use different manufacturers for vinyl all the time, and throughout the years have used almost every one, and I wouldn’t really say any of them are especially better or worse than others.
VC: There are lots of opinions with regards to pressing numbers and number of variants with vinyl. I personally prefer to press 1,000 copies initially over 2 variants (300 of one and 700 of another). What is your thought on number of variants and pressing numbers? How about with represses?
DG: What is the point of that? Why do you need to press 300 and 700, or anything else? We’ll usually just pick a color that looks good with the record and put the entire pressing on that, or we’ll just do it all on black. For the most part, all this limited color nonsense detracts from the actual purpose of making and buying records. People are buying music they are afraid to even put on or that they don’t even need two because they already have at least one more copy, it doesn’t make any sense. We are in the business of selling music, and not collectibles, and I want someone to buy something from us because they want to listen to it, and not because it fills a hole in a collection of some sort. I got nothing against colored vinyl, I think it usually makes a record look a little nicer, which is why I don’t really see the point in limiting it.
VC: Who handles your distribution?
DG: No Idea and they are beyond amazing.
VC: What do you see as the future of music sales?
DG: I can’t take credit for the idea, but I think the future of music sales is selling a little bit of a lot. Chris Anderson writes a lot about this concept in The Long Tail and I think anyone interested in the selling of music should read it.
VC: What is your stance on bundling mp3 coupons with your vinyl? Do your releases come with mp3 coupons?
DG: personally think it’s kind of silly to buy a record so you can download mp3s of it, but it’s what people want to do. We leave this decision up to the bands. As a result, some of our records have come with download coupons, and others haven’t.
VC: If you could tell the world to buy one release on your label, which one would you tell people to purchase? Why?
DG: I’m always most excited about whatever our most current release is, and right now that’s a new 12” Single from The Ergs, a new 12” EP from The Measure (SA), and a 7” from Pregnant. I am also really excited about records coming soon from Screaming Females, Cheeky, and Pregnant.
Feel free to nominate who you think should be our next vinyl collective label of the month. Stop by Vinyl Collective and check out the new releases, colored vinyl and picture discs!
http://www.vinylcollective.com
AD ASTRA PER ASPERA “Catapult Calypso” LP
ANASARCA “Insects” PIN
COALESCE “002″ PIN
COALESCE “A Safe Place” PIN
COALESCE “Functioning On Impatience” PIN green
COALESCE “Functioning On Impatience” PIN white
ELEVATOR DIVISION “Years” PIN
ELEVATOR DIVISION “Years” POSTER
EULCID “The Wind Blew All The Fires Out” PIN
EULCID “The Wind Blew All The Fires Out” T-SHIRT
EULCID “The Wind Blew All The Fires Out” T-SHIRT x-large
GRADE “Atom” PIN
GRADE “Gear” PIN
GRADE “Kitties In Space” PIN
GRADE “Script” PIN
GRADE “Space” PIN
ILYA “Poise Is The Greater Architect” POSTER
ISIS ìThe Red Seaî LP 10YRLTD 180 Gram (Black Cover)
ISIS ìThe Red Seaî LP 10YRLTD clear/white vinyl
ISIS ìThe Red Seaî LP 10YRLTD red/black vinyl
ISIS ìThe Red Seaî LP 10YRLTD white/gold vinyl
JAGUAR LOVE “Highways of Gold” 7″ picture disc
KID KILOWATT “Hit Single” PIN
KILL CREEK “Colors Of Home” POSTER
KILL CREEK “Kitty” PIN
KRAKATOA “Channel Static Blackout” PIN
KRAKATOA “Channel Static Blackout” POSTER
KRAKATOA “Channel Static Blackout” T-SHIRT
KRAKATOA “Channel Static Blackout” T-SHIRT x-large
LIVING SCIENCE FOUNDATION “Last Call For Nightfall” POSTER
OLD CANES “Early Morning Hymns” POSTER
REGGIE AND THE FULL EFFECT “Greatest Hits ‘84 - ‘87″ CD
ROCKY VOTOLATO “Aeroplane” PIN
ROCKY VOTOLATO “Suicide Medicine” PIN
SECOND NATURE “Logo” PIN
SECOND NATURE “Logo” T-SHIRT brown
SECOND NATURE “Logo” T-SHIRT brown medium
SECOND NATURE “Logo” T-SHIRT brown small
SECOND NATURE “Logo” T-SHIRT brown x-large
SECOND NATURE “Logo” T-SHIRT brown youth large
SECOND NATURE “Logo” T-SHIRT brown youth medium
SECOND NATURE “Logo” T-SHIRT brown youth small
SECOND NATURE “Sketchy Logo” PIN
SHARKS KEEP MOVING “Desert Strings and Drifters” PIN
THE BLOOD BROTHERS “Ambulance vs. Ambulance” PIN
THE BLOOD BROTHERS “Scarecrow” PIN
THE BLOOD BROTHERS “Scarecrow” T-SHIRT
THE BLOOD BROTHERS “Scarecrow” T-SHIRT large
THE BLOOD BROTHERS “Scarecrow” T-SHIRT medium
THE BLOOD BROTHERS “Scarecrow” T-SHIRT small
THE BLOOD BROTHERS “Scarecrow” T-SHIRT women’s
THE BLOOD BROTHERS “Scarecrow” T-SHIRT women’s large
THE BLOOD BROTHERS “Scarecrow” T-SHIRT women’s medium
THE BLOOD BROTHERS “Scarecrow” T-SHIRT x-large
THE BLOOD BROTHERS “The Graduate” T-SHIRT
THE BLOOD BROTHERS “The Graduate” T-SHIRT large
THE BLOOD BROTHERS “The Graduate” T-SHIRT medium
THE BLOOD BROTHERS “The Graduate” T-SHIRT small
THE BLOOD BROTHERS “The Graduate” T-SHIRT x-large
THE BLOOD BROTHERS “The Graduate” T-SHIRT youth large
THE BLOOD BROTHERS “The Graduate” T-SHIRT youth medium
THE BLOOD BROTHERS “This Adultery Is Ripe” PIN
THE BLOOD BROTHERS “Young Machetes” 2xLP 180 gram vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP grey vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP half black/half white w/ red
THE BLOOD BROTHERS “Young Machetes” 2xLP light blue vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP multi-color vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP orange/black splatter vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP translucent blue/black splatter vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP white vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP white/black vinyl
THE CASKET LOTTERY “Blessed/Cursed” PIN
THE CASKET LOTTERY “Choose Bronze” Pin
THE CASKET LOTTERY “Looking Good In Orange” PIN
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT large
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT medium
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT small
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT x-large
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT youth large
THE CASKET LOTTERY “Lost At Sea” PIN
THE CASKET LOTTERY “Moving Mountains” PIN
THE CASKET LOTTERY “Moving Mountains” T-SHIRT
THE CASKET LOTTERY “Moving Mountains” T-SHIRT x-large
THE CASKET LOTTERY “Possiblies and Maybes” CD
THE CASKET LOTTERY “Possiblies And Maybes” POSTER
THE CASKET LOTTERY “Smoke and Mirrors (Moon)” PIN
THE CASKET LOTTERY “Smoke and Mirrors (Sun)” PIN
THE CASKET LOTTERY “Survival Is For Cowards 1″ PIN
THE CASKET LOTTERY “Survival Is For Cowards 2″ PIN
THESE ARMS ARE SNAKES “Raven” PIN
VEDERA “The Weight Of An Empty Room” POSTER
WAXWING “Squared Logo” PIN
http://www.vinylcollective.com
Vinyl Collective Label of the Month: Don Giovanni
Every month along with our Collector of the Month, we plan to present to you a label of the month and a brick and mortar store of the month (store feature will be posted tomorrow). This month, we are exciting to bring you a feature on the New Jersey independent label, Don Giovanni. Don Giovanni is a great label who has consistently released great music on vinyl. You are more than likely familiar with the many releases they have done with the Ergs!, but they have also released records by The Measure (SA), Pregnant, Groucho Marxists, The Dustheads, Steinways, and more. Joe from Don Giovanni was kind enough to answer my questions about why he releases vinyl, his thoughts on colored vinyl, records he would love to put out, manufacturers, and what bands can do to get his attention.
I hope you take a minute to read more about Don Giovanni. Labels like Don Giovanni really inspire us at Vinyl Collective. Later today, we will be announcing a big Don Giovanni contest where you can win some of their releases as well as test pressings from the Ergs! and more. Thanks Joe for taking the time to do this feature; we hope you continue to put out great records for a long time to come.
VC: When did your label start? What inspired you to start the label? Where is your label based? Do you do the label full time? What don’t most people know about you/your label?
DG: I started the label with my friend Zach in 2003 while we were in college in Boston. We didn’t really have any intention of starting a real label, just releasing a record or two by our band at the time. When some friends of mine from New Jersey heard that we had put out a record, they asked us if we wanted to help them with theirs. There had always been so many great bands, some of which are still my favorite, from New Brunswick, NJ and the surrounding areas when I was growing up making some of the best music I had ever heard, that never got released(and if it did get released, it never had any kind of serious distribution). So when we agreed to do the records from these two bands which asked us, it led to more bands talking to us, and eventually snowballed into what we are today. After college Zach and I moved to New Brunswick, where we are based now. Something a lot of people don’t realize about our label, is that it is a regional label. We put out bands from the NY/NJ area, mostly local to either the New Brunswick, NJ or Brooklyn, NY scenes.
VC: What active bands are on your label?
DG: The Measure (SA), Screaming Females, Pregnant, Cheeky.
VC: Why do you press vinyl? Do you collect vinyl?
DG: This question isn’t really what it used to be. I mean, isn’t every label all the way up to Capital records pressing vinyl these days? It’s all people seem to be buying. Things were different though when we started. We pressed vinyl because it was what I was into at the time and still am. There was something really special about going to a show and getting a record that wasn’t on any other format that there weren’t many of, and then taking it home and it being awesome. There was also something really special about going to a record store and picking up a record for under 10 dollars when the CD version was 18.99. A lot of that has changed now as a whole in the vinyl industry, and has resulted in me buying far fewer records, but with the label, we are trying to maintain that sense of worth to vinyl collecting that got me into it in the first place with what we put out.
VC: What do you look for in a band? Have you ever signed a band from a demo? What advice do you have for bands trying to get your attention? What band or bands would you kill to work with?
DG: There’s no real formula. We try to look for bands who really have their own sound and are doing something really cool. Sometimes we are able to tell that from a demo, other times we need to see them live or a band needs to develop. The best way to get our attention is to send us an email or a demo. We really do listen to and read all of them(even if we don’t reply). Just liking a band or demo isn’t always enough for us to want to work with them, but we’ll often tell our friends about them and help them out with a show. Finally, we are actually working with the bands we previously would kill to work with. If you had asked me a year ago, I would have said I would kill to get to work with Hunchback and Screaming Females, now we are. There was a time I would have killed to work with The Ergs, and Cheeky, and if we didn’t get to do their first record, we would kill to work with The Measure (SA). There are two bands right now though, that aren’t from our area that I would love to do records with if we didn’t keep the label local, and those bands are Tenement and Deep Sleep.
VC: What manufacturer(s) do you press your records through? Do you recommend them?
DG: I would highly recommend Imprint for everything related to printing jackets/posters/anything else you can think of, and Icon for everything related to CDs, and TDT for T-shirts. We use different manufacturers for vinyl all the time, and throughout the years have used almost every one, and I wouldn’t really say any of them are especially better or worse than others.
VC: There are lots of opinions with regards to pressing numbers and number of variants with vinyl. I personally prefer to press 1,000 copies initially over 2 variants (300 of one and 700 of another). What is your thought on number of variants and pressing numbers? How about with represses?
DG: What is the point of that? Why do you need to press 300 and 700, or anything else? We’ll usually just pick a color that looks good with the record and put the entire pressing on that, or we’ll just do it all on black. For the most part, all this limited color nonsense detracts from the actual purpose of making and buying records. People are buying music they are afraid to even put on or that they don’t even need two because they already have at least one more copy, it doesn’t make any sense. We are in the business of selling music, and not collectibles, and I want someone to buy something from us because they want to listen to it, and not because it fills a hole in a collection of some sort. I got nothing against colored vinyl, I think it usually makes a record look a little nicer, which is why I don’t really see the point in limiting it.
VC: Who handles your distribution?
DG: No Idea and they are beyond amazing.
VC: What do you see as the future of music sales?
DG: I can’t take credit for the idea, but I think the future of music sales is selling a little bit of a lot. Chris Anderson writes a lot about this concept in The Long Tail and I think anyone interested in the selling of music should read it.
VC: What is your stance on bundling mp3 coupons with your vinyl? Do your releases come with mp3 coupons?
DG: personally think it’s kind of silly to buy a record so you can download mp3s of it, but it’s what people want to do. We leave this decision up to the bands. As a result, some of our records have come with download coupons, and others haven’t.
VC: If you could tell the world to buy one release on your label, which one would you tell people to purchase? Why?
DG: I’m always most excited about whatever our most current release is, and right now that’s a new 12” Single from The Ergs, a new 12” EP from The Measure (SA), and a 7” from Pregnant. I am also really excited about records coming soon from Screaming Females, Cheeky, and Pregnant.
Feel free to nominate who you think should be our next vinyl collective label of the month. Stop by Vinyl Collective and check out the new releases, colored vinyl and picture discs!
http://www.vinylcollective.com
AD ASTRA PER ASPERA “Catapult Calypso” LP
ANASARCA “Insects” PIN
COALESCE “002″ PIN
COALESCE “A Safe Place” PIN
COALESCE “Functioning On Impatience” PIN green
COALESCE “Functioning On Impatience” PIN white
ELEVATOR DIVISION “Years” PIN
ELEVATOR DIVISION “Years” POSTER
EULCID “The Wind Blew All The Fires Out” PIN
EULCID “The Wind Blew All The Fires Out” T-SHIRT
EULCID “The Wind Blew All The Fires Out” T-SHIRT x-large
GRADE “Atom” PIN
GRADE “Gear” PIN
GRADE “Kitties In Space” PIN
GRADE “Script” PIN
GRADE “Space” PIN
ILYA “Poise Is The Greater Architect” POSTER
ISIS ìThe Red Seaî LP 10YRLTD 180 Gram (Black Cover)
ISIS ìThe Red Seaî LP 10YRLTD clear/white vinyl
ISIS ìThe Red Seaî LP 10YRLTD red/black vinyl
ISIS ìThe Red Seaî LP 10YRLTD white/gold vinyl
JAGUAR LOVE “Highways of Gold” 7″ picture disc
KID KILOWATT “Hit Single” PIN
KILL CREEK “Colors Of Home” POSTER
KILL CREEK “Kitty” PIN
KRAKATOA “Channel Static Blackout” PIN
KRAKATOA “Channel Static Blackout” POSTER
KRAKATOA “Channel Static Blackout” T-SHIRT
KRAKATOA “Channel Static Blackout” T-SHIRT x-large
LIVING SCIENCE FOUNDATION “Last Call For Nightfall” POSTER
OLD CANES “Early Morning Hymns” POSTER
REGGIE AND THE FULL EFFECT “Greatest Hits ‘84 - ‘87″ CD
ROCKY VOTOLATO “Aeroplane” PIN
ROCKY VOTOLATO “Suicide Medicine” PIN
SECOND NATURE “Logo” PIN
SECOND NATURE “Logo” T-SHIRT brown
SECOND NATURE “Logo” T-SHIRT brown medium
SECOND NATURE “Logo” T-SHIRT brown small
SECOND NATURE “Logo” T-SHIRT brown x-large
SECOND NATURE “Logo” T-SHIRT brown youth large
SECOND NATURE “Logo” T-SHIRT brown youth medium
SECOND NATURE “Logo” T-SHIRT brown youth small
SECOND NATURE “Sketchy Logo” PIN
SHARKS KEEP MOVING “Desert Strings and Drifters” PIN
THE BLOOD BROTHERS “Ambulance vs. Ambulance” PIN
THE BLOOD BROTHERS “Scarecrow” PIN
THE BLOOD BROTHERS “Scarecrow” T-SHIRT
THE BLOOD BROTHERS “Scarecrow” T-SHIRT large
THE BLOOD BROTHERS “Scarecrow” T-SHIRT medium
THE BLOOD BROTHERS “Scarecrow” T-SHIRT small
THE BLOOD BROTHERS “Scarecrow” T-SHIRT women’s
THE BLOOD BROTHERS “Scarecrow” T-SHIRT women’s large
THE BLOOD BROTHERS “Scarecrow” T-SHIRT women’s medium
THE BLOOD BROTHERS “Scarecrow” T-SHIRT x-large
THE BLOOD BROTHERS “The Graduate” T-SHIRT
THE BLOOD BROTHERS “The Graduate” T-SHIRT large
THE BLOOD BROTHERS “The Graduate” T-SHIRT medium
THE BLOOD BROTHERS “The Graduate” T-SHIRT small
THE BLOOD BROTHERS “The Graduate” T-SHIRT x-large
THE BLOOD BROTHERS “The Graduate” T-SHIRT youth large
THE BLOOD BROTHERS “The Graduate” T-SHIRT youth medium
THE BLOOD BROTHERS “This Adultery Is Ripe” PIN
THE BLOOD BROTHERS “Young Machetes” 2xLP 180 gram vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP grey vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP half black/half white w/ red
THE BLOOD BROTHERS “Young Machetes” 2xLP light blue vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP multi-color vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP orange/black splatter vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP translucent blue/black splatter vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP white vinyl
THE BLOOD BROTHERS “Young Machetes” 2xLP white/black vinyl
THE CASKET LOTTERY “Blessed/Cursed” PIN
THE CASKET LOTTERY “Choose Bronze” Pin
THE CASKET LOTTERY “Looking Good In Orange” PIN
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT large
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT medium
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT small
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT x-large
THE CASKET LOTTERY “Looking Good In Orange” T-SHIRT youth large
THE CASKET LOTTERY “Lost At Sea” PIN
THE CASKET LOTTERY “Moving Mountains” PIN
THE CASKET LOTTERY “Moving Mountains” T-SHIRT
THE CASKET LOTTERY “Moving Mountains” T-SHIRT x-large
THE CASKET LOTTERY “Possiblies and Maybes” CD
THE CASKET LOTTERY “Possiblies And Maybes” POSTER
THE CASKET LOTTERY “Smoke and Mirrors (Moon)” PIN
THE CASKET LOTTERY “Smoke and Mirrors (Sun)” PIN
THE CASKET LOTTERY “Survival Is For Cowards 1″ PIN
THE CASKET LOTTERY “Survival Is For Cowards 2″ PIN
THESE ARMS ARE SNAKES “Raven” PIN
VEDERA “The Weight Of An Empty Room” POSTER
WAXWING “Squared Logo” PIN
http://www.vinylcollective.com
InSound Anniversary!
On March 1st Insound will officially be 10 years old! To celebrate the anniversary, they have a lot of new Insound exclusive products and exciting album pre-orders! Stop by the site today and see for yourself!
In Sound
Music News & Notes
Slough Feg Cover Art, Album Details Revealed
San Francisco's veterans Slough Feg will release their long-awaited new album, Ape Uprising this May! Release dates vary, landing on the 8th of May in Germany and Europe, 11th of May in UK and June 2nd in USA/Canada via Cruz Del Sur Music. Ape Uprising consists of eight tracks and it is undoubtedly the heaviest release in the twenty-year long history of the band. The band used the usual team for recordings, Justin Phelps and Justin Weis, later mastering the album at Traxwork studio.
The cover artwork was created by Californian artist Larry Luna. View the cover art at the band's MySpace page or Cruz Del Sur label website. A vinyl version of Ape Uprising will be released by end of April by German label Iron Kodex, in a limited edition of 666 copies.
Slough Feg's official line-up is: Mike Scalzi - Vocals, Guitar, Adrian Maestas - Bass, Angelo Tringali - Guitar and Harry Cantwell - Drums.
==================================
THERAPY?'s 'Crooked Timber' To Be Released On Limited-Edition White Vinyl - Mar. 2, 2009
Global Music has announced the release of THERAPY?'s new album, "Crooked Timber", on limited-edition white vinyl, available from March 30.
In the '90s, THERAPY? self-released a number of vinyl recordings until the bandmembers were told by various companies that "there wasn't a market for it anymore."
As avid music buyers themselves, THERAPY?'s members reminisce: “We still remember the thrill of buying vinyl, colored punk singles, metal picture discs, noise bands on splattered vinyl. DR2 were prepared to release a vinyl version of 'Crooked Timber', so we jumped at the chance to give our fans something special to remember too.”
A final word of advice from frontman, Andy Cairns: "Just don't leave your copy in front of a radiator!"
Due on March 23 via Global Music, "Crooked Timber" was produced by Andy Gill, a founding member and guitarist for the English rock group GANG OF FOUR, considered among the most influential post-punk bands. Gill also produced much of GANG OF FOUR's output, and albums for many other artists, including the RED HOT CHILI PEPPERS, THE JESUS LIZARD, THE STRANGLERS, THE FUTUREHEADS, MICHAEL HUTCHENCE, KILLING JOKE and THE YOUNG KNIVES.
According to the group, "Crooked Timber" focuses more on rhythm, rather than melody. While it is a heavy recording, it’s not exactly the obvious path for THERAPY? Frontman Andy Cairns explains: "I guess we’re always challenging just what makes us THERAPY? After so many years, if we were formulaic about it, we'd have gotten bored with the band long ago. The album was written together as a band, and each track has its own concept and inspirations. They took a while to write and we've taken our time to write them."
==================================
New Prince Music
Prince has announced that he will be releasing a new 3-CD set exclusively through Target.
Included in the release will be two albums of new material, LOtUSFLOW3R and MPLSoUND along with a disc by new artist Bria Valente. According to the press information, the retail price for the set will be a low $11.98. Release is set for March 27.
Mark Schindele of Target said, "Prince has long been renowned as one of the world's most original and iconic musical artists. We are thrilled to have the opportunity to share his most recent work with our Target guests."
==================================
Bon Jovi Chronicles Life
Bon Jovi is ready to chronicle their long career in both book and film. Bon Jovi: When We Were Beautiful will be released by HarperCollins this fall at the same time as a documentary of the same name.
A press release from the publisher said, "The book offers unprecedented insights into the members' lives on stage, on the road, and at home, as well as intimate reflections on the highs and lows of their 25 years together."
San Francisco's veterans Slough Feg will release their long-awaited new album, Ape Uprising this May! Release dates vary, landing on the 8th of May in Germany and Europe, 11th of May in UK and June 2nd in USA/Canada via Cruz Del Sur Music. Ape Uprising consists of eight tracks and it is undoubtedly the heaviest release in the twenty-year long history of the band. The band used the usual team for recordings, Justin Phelps and Justin Weis, later mastering the album at Traxwork studio.
The cover artwork was created by Californian artist Larry Luna. View the cover art at the band's MySpace page or Cruz Del Sur label website. A vinyl version of Ape Uprising will be released by end of April by German label Iron Kodex, in a limited edition of 666 copies.
Slough Feg's official line-up is: Mike Scalzi - Vocals, Guitar, Adrian Maestas - Bass, Angelo Tringali - Guitar and Harry Cantwell - Drums.
==================================
THERAPY?'s 'Crooked Timber' To Be Released On Limited-Edition White Vinyl - Mar. 2, 2009
Global Music has announced the release of THERAPY?'s new album, "Crooked Timber", on limited-edition white vinyl, available from March 30.
In the '90s, THERAPY? self-released a number of vinyl recordings until the bandmembers were told by various companies that "there wasn't a market for it anymore."
As avid music buyers themselves, THERAPY?'s members reminisce: “We still remember the thrill of buying vinyl, colored punk singles, metal picture discs, noise bands on splattered vinyl. DR2 were prepared to release a vinyl version of 'Crooked Timber', so we jumped at the chance to give our fans something special to remember too.”
A final word of advice from frontman, Andy Cairns: "Just don't leave your copy in front of a radiator!"
Due on March 23 via Global Music, "Crooked Timber" was produced by Andy Gill, a founding member and guitarist for the English rock group GANG OF FOUR, considered among the most influential post-punk bands. Gill also produced much of GANG OF FOUR's output, and albums for many other artists, including the RED HOT CHILI PEPPERS, THE JESUS LIZARD, THE STRANGLERS, THE FUTUREHEADS, MICHAEL HUTCHENCE, KILLING JOKE and THE YOUNG KNIVES.
According to the group, "Crooked Timber" focuses more on rhythm, rather than melody. While it is a heavy recording, it’s not exactly the obvious path for THERAPY? Frontman Andy Cairns explains: "I guess we’re always challenging just what makes us THERAPY? After so many years, if we were formulaic about it, we'd have gotten bored with the band long ago. The album was written together as a band, and each track has its own concept and inspirations. They took a while to write and we've taken our time to write them."
==================================
New Prince Music
Prince has announced that he will be releasing a new 3-CD set exclusively through Target.
Included in the release will be two albums of new material, LOtUSFLOW3R and MPLSoUND along with a disc by new artist Bria Valente. According to the press information, the retail price for the set will be a low $11.98. Release is set for March 27.
Mark Schindele of Target said, "Prince has long been renowned as one of the world's most original and iconic musical artists. We are thrilled to have the opportunity to share his most recent work with our Target guests."
==================================
Bon Jovi Chronicles Life
Bon Jovi is ready to chronicle their long career in both book and film. Bon Jovi: When We Were Beautiful will be released by HarperCollins this fall at the same time as a documentary of the same name.
A press release from the publisher said, "The book offers unprecedented insights into the members' lives on stage, on the road, and at home, as well as intimate reflections on the highs and lows of their 25 years together."
The New Music Model?
New spin on vinyl: Bundled MP3s
A record store prospers by blending old and new technologies.
By Jonathan Blum
(Fortune Small Business) -- Like many music retailers, Nathaniel Bernier was getting squeezed. His store, Wild Rufus Records, in the seaside town of Camden, Maine, was selling fewer CDs. It was suffering as a result of the music industry's broader woes - CD sales nationwide were down a steep 17.5% last year. To make matters worse, the local Wal-Mart (WMT, Fortune 500) was beefing up its music section and drawing customers away.
So Bernier, 35, came up with a solution that married convenience with cool. He decided to focus on selling old-school technology - vinyl records - bundled with pass codes that allow customers to download MP3 versions of the same songs when they get home. For audiophiles, it's the best of both worlds: the rich, analog sound of vinyl for home listening and a digital version they can take anywhere.
A few labels, such as First World Records and Saddle Creek, had begun experimenting with these hybrid vinyl-MP3 packages. Bernier was attracted by the profit margin: A Ben Folds Five hybrid set, for example, retails at $24, a substantial markup on the $15 Bernier pays for it.
"I sell what makes people happy," he says. "They're going to want that experience no matter what the economy does."
The hybrids delighted the store's iPod-toting customers, who associate vinyl with popular DJs - and can't find it at Wal-Mart. In 2008 more than 40% of Bernier's sales came from vinyl and hybrid packages. His vinyl sales alone were up 100% over 2006. (National vinyl sales were up 46% in the same period, according to the Recording Industry Association of America.)
"CDs are an outdated mode of digital storage," explains music blogger Josh Madell. "Vinyl seems to be a lasting format."
SOURCE: http://money.cnn.com
A record store prospers by blending old and new technologies.
By Jonathan Blum
(Fortune Small Business) -- Like many music retailers, Nathaniel Bernier was getting squeezed. His store, Wild Rufus Records, in the seaside town of Camden, Maine, was selling fewer CDs. It was suffering as a result of the music industry's broader woes - CD sales nationwide were down a steep 17.5% last year. To make matters worse, the local Wal-Mart (WMT, Fortune 500) was beefing up its music section and drawing customers away.
So Bernier, 35, came up with a solution that married convenience with cool. He decided to focus on selling old-school technology - vinyl records - bundled with pass codes that allow customers to download MP3 versions of the same songs when they get home. For audiophiles, it's the best of both worlds: the rich, analog sound of vinyl for home listening and a digital version they can take anywhere.
A few labels, such as First World Records and Saddle Creek, had begun experimenting with these hybrid vinyl-MP3 packages. Bernier was attracted by the profit margin: A Ben Folds Five hybrid set, for example, retails at $24, a substantial markup on the $15 Bernier pays for it.
"I sell what makes people happy," he says. "They're going to want that experience no matter what the economy does."
The hybrids delighted the store's iPod-toting customers, who associate vinyl with popular DJs - and can't find it at Wal-Mart. In 2008 more than 40% of Bernier's sales came from vinyl and hybrid packages. His vinyl sales alone were up 100% over 2006. (National vinyl sales were up 46% in the same period, according to the Recording Industry Association of America.)
"CDs are an outdated mode of digital storage," explains music blogger Josh Madell. "Vinyl seems to be a lasting format."
SOURCE: http://money.cnn.com
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