It engages his signature melodic and metrical hypnotism, remarkable fingerpicked guitar and his love for music around the world. In a quiet week for new music, now's a beautiful chance to get to know something in the shadows of celebrity, intimately. The groove usually starts near the periphery and ends near the center of the disc.
At first, the discs were commonly made from shellacwith earlier records having a fine abrasive filler mixed in. Starting in the s polyvinyl chloride became common, hence the name "vinyl". In the mids, gradually, records made of any material began to be called vinyl disc recordsalso known as vinyl records or vinyl for short.
The phonograph disc record was the primary medium used for music reproduction throughout the 20th century. It had co-existed with the phonograph cylinder from the late s and had effectively superseded it by around Records retained the largest market share even when new formats such as the compact cassette were mass-marketed.
By the s, digital mediain the form of the compact dischad gained a larger market share, and the record left the mainstream in They were also listened to by a growing number of audiophiles. The phonograph record has made a niche resurgence as a format for rock music in the early 21st century—9. As of48 record pressing facilities remain worldwide, 18 in the US and 30 in other countries.
The increased popularity of the record has led to the investment in new and modern record-pressing machines. According to the Apollo Masters website, their future is still uncertain. The large cover and inner sleeves are valued by collectors and artists for the space given for visual expression, especially in the case of inch discs. In the s, these tracings were first scanned by audio engineers and digitally converted into audible sound.
Phonautograms of singing and speech made by Scott in were played back as sound for the first time in Along with a tuning fork tone and unintelligible snippets recorded as early asthese are the earliest known recordings of sound. InThomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound.
Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a " telephone repeater" analogous to the telegraph repeater he had been working on.
Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he actually reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later. The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately. The Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey, Rosapelly and Barlow as well as Scott as creators of devices for recording but, importantly, not reproducing sound.
A decade later, Edison developed a greatly improved phonograph that used a hollow wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device.
The wax phonograph cylinder created the recorded sound market at the end of the s and dominated it through the early years of the 20th century.
Lateral-cut disc records were developed in the United States by Emile Berliner although Thomas Edison's original patent included flat diskswho named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone's wax cylinder " graphophone ".
Berliner's earliest discs, first marketed inonly in Europe, were Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States inunder the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them.
Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved it.
Abandoning Berliner's "Gramophone" trademark for legal reasons, in Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company in Camden, New Jerseywhose products would come to dominate the market for many years.
Ininch disc records were introduced, followed in by inch records. These could play for more than three and four minutes, respectively, whereas contemporary cylinders could only play for about two minutes. Despite these improvements, during the s discs decisively won this early format waralthough Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in Bythe basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them.
Analog disc records dominated the home entertainment market throughout the 20th century until they were outsold by digital compact discs in the s, which were in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing. Early disc recordings were produced in a variety of speeds ranging from 60 to rpm, and a variety of sizes.
As early asEmile Berliner 's United States Gramophone Company was selling single-sided 7-inch discs with an advertised standard speed of "about 70 rpm". One standard audio recording handbook describes speed regulators, or governorsas being part of a wave of improvement introduced rapidly after A picture of a hand-cranked Berliner Gramophone shows a governor, and says that spring drives had replaced hand drives.
It notes that:. The speed regulator was furnished with an indicator that showed the speed when the machine was running so that the records, on reproduction, could be revolved at exactly the same speed The literature does not disclose why 78 rpm was chosen for the phonograph industry, apparently this just happened to be the speed created by one of the early machines and, for no other reason continued to be used.
Inthe Grammophone Company set 78 rpm as their recording standard, based on the average of recordings they had been releasing at the time, and started selling players whose governors had a nominal speed of 78 rpm. However, the exact speed differed between places with alternating current electricity supply at 60 hertz cycles per second, Hz and those at 50 Hz. Where the mains supply was 60 Hz, the actual speed was Where it was 50 Hz, it was Early recordings were made entirely acoustically, the sound being collected by a horn and piped to a diaphragmwhich vibrated the cutting stylus.
Sensitivity and frequency range were poor, and frequency response was very irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer almost had to put his or her face in the recording horn. A way of reducing resonance was to wrap the recording horn with tape. Lower-pitched orchestral instruments such as cellos and double basses were often doubled or replaced by louder instruments, such as tubas.
Standard violins in orchestral ensembles were commonly replaced by Stroh violinswhich became popular with recording studios. Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings. The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn. Lillian Hardin Armstronga member of King Oliver's Creole Jazz Bandwhich recorded at Gennett Records inremembered that at first Oliver and his young second trumpet, Louis Armstrongstood next to each other and Oliver's horn could not be heard.
During the first half of the s, engineers at Western Electricas well as independent inventors such as Orlando Marshdeveloped technology for capturing sound with a microphoneamplifying it with vacuum tubesthen using the amplified signal to drive an electromechanical recording head. Western Electric's innovations resulted in a broader and smoother frequency response, which produced a dramatically fuller, clearer and more natural-sounding recording.
Soft or distant sounds that were previously impossible to record could now be captured. Volume was now limited only by the groove spacing on the record and the amplification of the playback device.
Victor and Columbia licensed the new electrical system from Western Electric and recorded the first electrical discs during the Spring of To claim that the records have succeeded in exact and complete reproduction of all details of symphonic or operatic performances Electrical recording and reproduction have combined to retain vitality and color in recitals by proxy.
Electrically amplified record players were initially expensive and slow to be adopted. Inthe Victor company introduced both the Orthophonic Victrolaan acoustical record player that was designed to play the new electrically recorded discs, and the electrically amplified Electrola.
The Orthophonic Victrola had an interior folded exponential horn, a sophisticated design informed by impedance-matching and transmission-line theory, and designed to provide a relatively flat frequency response. Its first public demonstration was front-page news in The New York Timeswhich reported:. The audience broke into applause John Philip Sousa [said]: '[Gentlemen], that is a band.
This is the first time I have ever heard music with any soul to it produced by a mechanical talking machine' The new instrument is a feat of mathematics and physics. It is not the result of innumerable experiments, but was worked out on paper in advance of being built in the laboratory The new machine has a range of from to 5, [cycles per second], or five and a half octaves The 'phonograph tone' is eliminated by the new recording and reproducing process.
Gradually, electrical reproduction entered the home. The spring motor was replaced by an electric motor. The old sound box with its needle-linked diaphragm was replaced by an electromagnetic pickup that converted the needle vibrations into an electrical signal.
The tone arm now served to conduct a pair of wires, not sound waves, into the cabinet. The exponential horn was replaced by an amplifier and a loudspeaker. Sales of records plummeted precipitously during the early years of the Great Depression of the s, and the entire record industry in America nearly foundered.
According to Edward Wallerstein the general manager of the RCA Victor Divisionthis device was "instrumental in revitalizing the industry".
The earliest disc records — were made of a variety of materials, including hard rubber. Arounda shellac -based material was introduced and became standard.
Formulas for the mixture varied by manufacturer over time, but it was typically about one-third shellac and two-thirds mineral filler finely pulverized slate or limestonewith cotton fibers to add tensile strength, carbon black for color without which it tended to be an unattractive "dirty" gray or brown colorand a very small amount of a lubricant to facilitate release from the manufacturing press.
Columbia Records used a laminated disc with a core of coarser material or fiber. The production of shellac records continued throughout the 78 rpm era, which lasted until the s in industrialized nations, but well into the s in others.
Less abrasive formulations were developed during its waning years and very late examples in like-new condition can have noise levels as low as vinyl. Flexible, "unbreakable" alternatives to shellac were introduced by several manufacturers during the Not A Perfect World - The Little Girls* - The Clear Album (Vinyl) rpm era. Beginning inNicole Records of the UK coated celluloid or a similar substance onto a cardboard core disc for a few years, but they were noisy.
In the United States, Columbia Records introduced flexible, fiber-cored "Marconi Velvet Tone Record" pressings inbut their longevity and relatively quiet surfaces depended on the use of special gold-plated Marconi Needles and the product was not successful. Thin, flexible plastic records such as the German Phonycord and the British Filmophone and Goodson records appeared aroundbut not for long. In the United States, Hit of the Week records were introduced in early They were made of a patented translucent plastic called Durium coated on a heavy brown paper base.
A new issue debuted weekly and were sold at newsstands like a magazine. Although inexpensive and commercially successful at first, they fell victim to the Great Depression and U. Durium records continued to be made in the UK and as late as in Italy, where the name "Durium" survived into the LP era as a brand of vinyl records.
Despite these innovations, shellac continued to be used for the overwhelming majority of commercial 78 rpm records throughout the format's lifetime. InRCA Victor introduced vinyl plastic-based Victrolac as a material for unusual-format and special-purpose records.
InRCA began using Victrolac in a home recording system. By the end of the s vinyl's light weight, strength, and low surface noise had made it the preferred material for prerecorded radio programming and other critical applications.
For ordinary 78 rpm records, however, the much higher cost of the synthetic plastic, as well as its vulnerability to the heavy pickups and mass-produced steel needles used in home record players, made its general substitution for shellac impractical at that time.
Later, Decca Records introduced vinyl Deccalite 78s, while other record companies used vinyl formulations trademarked as Metrolite, Merco Plastic, and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.
In the s, the diameter of the earliest toy discs was generally By the mids, discs were usually 7 inches nominally Bythe inch 25 cm record was by far the most popular standard, containing about three minutes of music or other entertainment on one side.
From onwards, inch 30 cm records were produced, mostly featuring classical music or operatic selections, with four to five minutes of music per side.
VictorBrunswick and Columbia also issued inch popular medleys, usually spotlighting a Broadway show score. An 8-inch 20 cm disc with a 2-inch 50 mm -diameter label became popular between and about  in Britain, but those records cannot be played in full on most modern record players, because tonearms cannot track far enough toward the center of the record without modifying the equipment.
InVictor offered a series of inch 36 cm "Deluxe Special" records, which played at 60 rpm and sold for two dollars. Fewer than fifty titles were issued, and the series was dropped indue to poor sales. Also ina short-lived British firm called Neophone marketed a series of single-sided inch 50 cm records, offering complete performances of some operatic overtures and shorter pieces.
The playing time of a phonograph record depends on the available groove length divided by the turntable speed. Total groove length in turn depends on how closely the grooves are spaced, in addition to the record diameter. At the beginning of the 20th century, the early discs played for two minutes, the same as cylinder records. In JanuaryMilt Gabler started recording for Commodore Recordsand to allow for longer continuous performances, he recorded some inch discs.
Eddie Condon explained: "Gabler realized that a jam session needs room for development. But at the second session, on April 30, the two inch recordings were longer: "Embraceable You" was 4m 05s; "Serenade to a Shylock", 4m 32s. Vaudeville stars Gallagher and Shean recorded "Mr. Gallagher and Mr. Shean", written by themselves or, allegedly, by Bryan Foy, as two sides of a inch 78 in for Victor. The limited duration Not A Perfect World - The Little Girls* - The Clear Album (Vinyl) recordings persisted from their advent until the introduction of the LP record in Because it ran 7m 57s, longer than both sides of a standard 78 rpm inch record, it was released on Columbia 's Masterwork label the classical division as Not A Perfect World - The Little Girls* - The Clear Album (Vinyl) sides of a inch record.
In the 78 era, classical-music and spoken-word items generally were released on the longer inch 78s, about 4—5 minutes per side. For example, on June 10,four months after the February 12 premier of Rhapsody in BlueGeorge Gershwin recorded an abridged version of the seventeen-minute work with Paul Whiteman and His Orchestra. It was released on two sides of Victor and ran for 8m 59s. Generally the sleeves had a circular cut-out exposing the record label to view.
Records could be laid on a shelf horizontally or stood on an edge, but because of their fragility, breakage was common. German record company Odeon pioneered the album in when it released the Nutcracker Suite by Tchaikovsky on 4 double-sided discs in a specially designed package. The practice of issuing albums was not adopted by other record companies for many years. By about[note 1] bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records the term "record album" was printed on some covers.
These albums came in both inch and inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums, typically with artwork on the front cover and liner notes on the back or inside cover.
Most albums included three or four records, with two sides each, making six or eight tunes per album. When the inch vinyl LP era began ineach disc could hold a number of tunes similar to that of a typical album of 78s, so they were still referred to as an "album", as they are today. For collectible or nostalgia purposes, or for the benefit of higher-quality audio playback provided by the 78 rpm speed with newer vinyl records and their lightweight stylus pickups, a small number of 78 rpm records have been released since the major labels ceased production.
One attempt at this was inwhen inventor Ewing Dunbar Nunn founded the label Audiophile Recordswhich released a series of 78 rpm-mastered albums that were microgroove and pressed on vinyl as opposed to traditional 78s, with their shellac composition and wider 3-mil sized grooves. This series came in heavy manilla envelopes and began with a jazz album AP-1 and was soon followed by other AP numbers up through about AP The Audiophile numbers can be found into the hundreds today but the most collectable ones are the early 78 rpm releases, especially the first, AP Never before had a rock guitarist played with such breathtaking speed and precision.
There are fast runs, slow harmonies and some really nice arpeggios in them. In the early Seventies, still buzzing from the success of TommyPete Townshend labored long Not A Perfect World - The Little Girls* - The Clear Album (Vinyl) hard on an elaborate concept piece called Lifehouse. So the band took nine of the best songs from the project, went into the studio with producer Glynn Johns and emerged with one of the greatest rock and roll albums of all time.
In the end I had an actual nervous breakdown. Their previous album, Dark Side of the Moonhad been a massive success, and the pressure was on them to come up with something just as remarkable, both artistically and commercially. Bassist Roger Waters and drummer Nick Mason were working through marital strained relations, which would end in divorce for both couples. Within Abbey Road, Waters and guitarist David Gilmour were quarreling over musical direction—the early stages of a friction that flared into an all-out conflagration by the time the group made The Wall some four years later.
In these volatile relationships, Waters found his grand theme for Wish You Were Here : the music business itself, and its tendency to crush the dreams of those who pursue fame, fortune and a chance at creative self-expression. And for me, Wish You Were Here is the most satisfying album. I really love it. They came out of L. The aptly named Rage Against the Machine combined the ghetto anger of hip-hop and the testosterone fury of metal with a keenly felt political mandate to champion the oppressed and fight the abuses of privilege and power.
It was a new and exciting concept back then, and what really drove the point home was the fiercely disruptive guitar work of a Harvard educated young Marxist named Tom Morello. The napalm cry of exploding bombs, the jagged rhythm of strafing machine guns—Morello wrought seemingly impossible sounds with his ax and became an innovative and radical force in metal, as Hendrix and Van Halen had before him.
The rhythmic freedom they have to drop sounds into a track. Peaking at No. Unlike Jeff Beck on his jazz-inspired Wired and Blow by Blow albums, Satch aimed below the belt instead of at the brain, rocking out with balls-to-the-wall abandon. The Stones were on a roll in the early Seventies, riding out a long creative streak. Exile on Main St. Richards was wasted on smack but in top musical form, nonetheless, and coguitarist Mick Taylor was fitting like a glove.
Exile was a perfect moment in the summertime of rock that would never again be equaled by the Stones—or anyone else.
It came out of a haunted mansion in the Hollywood Hills—the album that established the Red Hot Chili Peppers as major-league contenders in the game of rock.
By this point, the Peppers had survived the Eighties L. But now they had John Frusciante in the fold, not to mention producer Rick Rubin, who worked with the band for the first time on Blood Sugar Sex Magik. Breaking into the mainstream was a real change in our lives. Also it was a time when John brought a whole new concept into the band as a guitar player and songwriter.
It suddenly gave us so much more to draw from—a bigger launch pad for us all to get launched into outer space from. What you have with Number of the Beast is the musical equivalent.
Prior to its recording, Iron Maiden were a band in transition. Now, the remaining members—bassist Steve Harris, guitarists Dave Murray and Adrian Smith, and drummer Clive Burr—faced the challenge of building upon their accomplishments with an unproven frontman.
What happened next is the stuff of modern mythology. Dickinson, then the singer in Samson, had been watching Maiden from the pit on their tours—and thinking that he could do a rather better job of fronting them.
The Beast lineup was in place, consolidated by the return of Martin Birch, the production legend who had given Killers its muscle and whose past clients included Deep Purple and Black Sabbath. With little more than a desire to make a record that would maintain their career trajectory, Maiden headed into the Battery Studios to start work. When they lef, they were armed with what many consider the most important metal album of the decade.
The Number of the Beast was anything but a lobotomized metal juggernaut. Thanks in part to Dickinson—who, alongside his abilities as a vocalist, was obsessed with military history, fencing and literature—the new album combined its aggression with imagination and an awareness of culture.
Some burned the record in mass bonfires; others battered it into shards with hammers. As the band toured the U.
Fortunately, the hand wringing of the minority could not change the fact that Maiden had found their audience. Even with no airplay and little marketing, The Number of the Beast reached 33 on the Billboard Pop charts, earning a Gold disc the following year and going Platinum a few years later, setting up the band for the hallowed position they occupy to this day.
Leader of the Pack; What Is Love? Give Him a Great Big Kiss 4. Maybe; Out in the Streets 5. Give Us Your Blessings 6. Heaven Only Knows 7. Never Again 8. What's a Girl Supposed to Do? The Dum Dum Ditty Right Now and Not Later Long Live Our Love Sophisticated Boom Boom He Cried Dressed in Black Past, Present, and Future Paradise Love You More Than Yesterday The Sweet Sounds of Summer I'll Never Learn Take the Time Footsteps on the Roof.
Better Days 2. Got a Hold On Me. Rites of Passage 2. Myth Science InDusty Springfield was already an international superstar with fifteen hits under her belt for the Philips label when she decided it was time for a change.
What followed was one of the most legendary and momentous label moves in pop music history: Dusty decamped to Atlantic Records, where, under the tutelage of Jerry Wexler, Tom Dowd, and Arif Mardin, she recorded one of the greatest albums of all time, Dusty in Memphis, and scored such indelible hits as 'Son-of-a Preacher Man' and 'The Windmills of Your Mind' before moving on to Philly soul 'A Brand New Me.
We at Real Gone Music have closely examined this crucial period in Dusty's career over the years, with three previous releases. But there remains one facet of her Atlantic period which has remained largely untouched: her singles. The Complete Atlantic Singles presents the A and B-sides of all dozen singles she recorded for the label in their original mono single mixes, on vinyl for the first time in over 50 years most of these single mixes weren't even available on compact disc until our recent CD release.
Mastered by Mike Milchner from original tape sources, annotated by Joe Marchese, and featuring copious photos, The Complete Atlantic Singles is an absolute must for any Dusty devotee or any soul fan to boot.
Ruby red 2-LP vinyl pressing limited to 3, copies worldwide. Son-of-a Preacher Man 2. Just a Little Lovin' Early in the Morning 3. Don't Forget About Me 4. Breakfast in Bed 5. The Windmills of Your Mind 6. In the Land of Make Believe So Much Love A Brand New Me Bad Case of the Blues Silly, Silly Fool; Joe I Wanna Be a Free Girl Let Me Get in Your Way Lost; Never Love Again Haunted; Nothing Is Forever I Believe in You Someone Who Cares.
Sincethe Squirrel Nut Zippers have sacked and plundered the old, weird America then sailed off to further distant lands. They have used New Orleans as their hideout and base of operations.
Jean-Lafitte-like the hide in the lee side of barrier island, receiving goods and masking dark back channel deals; hiding in cellars or in plain view. Infans were able to gaze into the tea leaves that make up their brand new album: Lost Songs of Doc Souchon to see if they can discern their own destiny. It pulls on the hidden thread. In keeping with that time period, the band turned to Fleischer Studios home of Betty Boop to use some of their historic animations for a brand new video for the track.
The look, the music, all of it," commented Jimbo Mathus. Between the Squirrel Nut Zippers sold over three million albums. Their watershed album, Hot was recorded in the heat of New Orleans, fueled by a smoldering mix of booze and a youthful hunger to unlock the secrets of old world jazz.
This passion mixed with klezmer, blues and random bits of contemporary musical leanings became the bands signature style. At the time, there were few other bands inhabiting this space. Joy To The World 5. Holy Unto The Lord 6. The Savior Is Born. Sweet Little Jesus Boy 2. No Room At The Inn 3. There Was A Star 4. Oh Little Town Of Bethlehem 5. Wasn't That A Mighty Day 6. Silent Night. This set presents two Stray Cats shows, recorded in Germany at the height of their powers.
The first set is actually the latter of the tworecorded just before the release of their third album, as they're playing a big outdoor festival. The second set is earlier, fromand you can hear a hungry young band as they tear into their set with a punk ferocity. This release lets you hear how exactly the Stray Cats established their reputation as a great live band. This triple album is now available as an RSD Black Friday exclusive in a tri-fold sleeve with a four page booklet, individually numbered on silver vinyl, limited to copies worldwide.
Baby Blue Eyes 2. Double Talkin' Baby 3. Rumble In Brighton 4. Drink That Bottle Down 5. Built For Speed. Look At That Cadillac 2. Runaway Boys 3. Lonely Summer Nights 4. Too Hip, Gotta Go 5. Stray Cat Strut. Side C 1. She's Sexy And 17 2. Banjo Time Foggy Mountain Breakdown 3. The Race Is On 4. Tear It Up 5. Oh Boy 6. Rock This Town. Sweet Love On My Mind 2. My One Desire 5.
Ubangi Stomp. Side E 1. Drink That Bottle Down 2. Storm The Embassy 3. Stray Cat Strut 4. Fishnet Stockings 5. Important Words. Manson Murder feat. Hater Love feat. Haze Vs. Red Eye feat. Reckless feat. Open Up feat. Scram Jones. Omniverse, recorded in New York in and released that year on Sun Ra's Saturn label catalogis a solid, overlooked set in the vast Ra canon.
The tracks aren't so much compositions as excursions, with few memorable themes or recurring motifs. It's pure jazz, somewhat "inside" for Rawith little of the aggressiveness and confrontation for which the bandleader was renowned. Omniverse offers lots of reflective piano in trio, quartet, and sextet settings.
Instead of a keyboard showcase, Sun Ra engages in dynamic interplay with the rhythm section. The horns are featured largely as soloists; there are few ensemble passages. The Place of Five Points 2. Dark Lights in a White Forest 4. Omniverse 5. Visitant of the Ninth Ultimate. A time regardless of differences or distance where we all come together and celebrate love and togetherness! Christmas songs are truly timeless and never get old!
Me and all my best buddies came together and recorded some of our very favorite Christmas songs that our biggest influences have done over the years! I can only hope it brings you a bit closer this year! Happy Holidays! Tank and The Bangas have spent all of working on their new album which will come out in Two of the most exciting songs are: BIG and Outside.
The first and only solo album by Tammi Terrell, released before her premature death at the age of The Irresistible Tammi Terrell is one of the greatest and most undervalued Motown albums from the s.
Available for the first time on g yellow vinyl. Come On And See Me 4. He's The One I Love 8. Hold Me Oh My Darling This deluxe package will include an OBI strip with the RSD Black Friday logo, single cardboard album jacket, printed inner sleeve, orginial record labels and blue translucent color vinyl.
She sadly passed away in at the young age of 57 after a hard life in the music business, having added a female voice to a field that was dominated by white males, and her strong personality transgressed stereotypes of what an African-American woman should be.
This transgression was an integral part of her performance and stage persona. Side B 5. Summertime 6. Sassy Mama. Universally acclaimed for its enthusiastic fusion and adventurous spirit, the record embraces 'electronic music's futuristic sound-sculpting and reconnects it with the history of African-American pop' resulting in a 'densely layered, expertly played, genre-crossing marvel' Pitchfork.
Not A Perfect World - The Little Girls* - The Clear Album (Vinyl) red LP housed in a beautiful gold sleeve with a large hologram sticker and gold holofoil detail. Austin Peralta - bonus track B8 Daylight Reprise - bonus track. First and only pressing. Limited to copies. Apartment 54 2. Friends of Mine The Zombies. Hailing from Memphis, Chris Travis has created his own wave in the hip-hop community for almost the past decade.
Intro 2. Purple Thoughts 3. How It Is 4. When We Ride 5. Sip That Shit 7. Codeine Vision 8. Drugs- Wavadelic Freestyle Pt. Psychedelic Funk Actavis Tokyo Wet Like My Bitches Balance Stayin True.
Trippie Redd has become one of the most successful hip hop artists of the last couple years, with five consecutive album debuts in the Top 5 of the Billboard chart, including one 1 album. Love Scars 2. Love Scars Pt.
Deeply Scared 5. Blade of Woe 6. It Takes Time 7. Poles 8. No Smoke No Smoke B. Stoves On 14th Limitless Can You Rap Like Me? Never Ever Lane Bust Down Feel Good In Too Deep Deadman's Wonderland Back Of My Mind Today Hellboy Back Back Back Dangerous Overweight Overdose Let Me Down.
The 7" will be numbered and limited to copies. Quite simply, U Roy created the template for all those countless Mic MCs who followed his example, from the s to now. From the early days until his end, U Roy was the epitome of the Rastafarian message of black pride and love.
Although ticketed as 31st Decemberthe show started at midnight on 1st January and was broadcast across Europe at the time. Kali Uchis' album pressed on exclusive pink vinyl with an exclusive alternate cover and a poster insert. A double album of new interpretations from the rich canon of songs about the rails and how the music and the railroad shaped America and its musical history.
Mystery Train Rocky Burnette 4. This Train Peter Case 5. Side B 6. Marrakesh Express Dustbowl Revival 7. Southwest Chief Dave Alvin Side C People Get Ready Deborah Poppink Steel Pony Blues Dom Flemons Runaway Train John York Side D Mystery Train James Intveld Newly remastered on a color vinyl 2LP set with new notes from David Byrne, the record that started it all. It is hard for us to imagine this music as being in any way dangerous, but the military regime that ruled Brazil during the late '60s and early '70s found it quite threatening.
The combination of lyrics, the re-introduction of Afro-Brazilian rhythms and the electric guitars encouraged and inspired a whole generation in Brazil, much to the dismay of the government of the time.
Maybe those songs are a more human form of political pop than our rabble rock epics which often sound too close to national anthems or marches for me.
I first heard music like this years ago. Inthe sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year.
Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the last having the greatest drop-in-sales rate. Pepper's Lonely Hearts Club Band. According to the RIAA 's midyear report inphonograph record revenues surpassed those of CDs for the first time since the s.
VinylVideo is a format to store a low resolution black and white video on a vinyl record alongside encoded audio.
From Wikipedia, the free encyclopedia. For the magazine, see Phonograph Record magazine. Disc-shaped vinyl analog sound storage medium. Play media. Video of a spring-motor-driven 78 rpm acoustic non-electronic gramophone playing a shellac record. See also: LP record. Further information: High fidelity. Main article: Laser turntable.
See also: Comparison of recording media. Main article: Unusual types of gramophone records. This section needs additional citations for verification.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. For other uses, see Broken Record disambiguation. Further information: Analog recording vs. Further information: Production of phonograph records.
See also: Vinyl revival. This section needs to be updated. Please help update this article to reflect recent events or newly available information. April Archived at the Wayback Machine. Kitchener — Waterloo Record — Kitchener, Ont. Archived from the original on Wired UK. Retrieved Metrication Matters.
Information Week. The New York Times. The talking phonograph. Scientific American, 14 December, LIFE : 87— Music Educators JournalVol. The Recording and Reproduction of Sound revised and enlarged 2nd ed. Indianapolis: Howard W. London: British Library. Archived PDF from the original on The New York TimesFebruary 23,p. Archived at the Wayback Machine Front page. All 8-inch discs have such stamps on them.
Cambridge University Press. University Press of Florida. ISBN Peyton's Big Damn Band". Oxford University Press. Walker Spalding, Lincolnshire: The Authors. London: The British Library. Popular Science. Bonnier Corporation. ISSN New York: Billboard Publishing Co. Sound recording: the life story of a technology. Greenwood technographies.
JHU Press. Audio signal processing and coding. American record guidep. This compander exists in two identically named but slightly different versions; only one of them has a dedicated "Disk" setting, the other one instead has an additional setting to combine subsonic with MPX filtering. In this model, High-Com II encoded vinyl disks have to be played back through the "Rec" setting of a connected tape deck. Bizet Carmen prelude  2. Rimsky-Korsakov Procession of the Nobles from Mlada  3.
Brahms Hungarian Dance No. Sextet Sherman Martin Austin : 1. Impressions John Coltrane  2. Mimosa Dennis Irwin  3. Little B's Poem Bobby Hutcherson  4. The result is High-Com IIthe world's finest two-band noise-reduction system. There is no residual hiss ; the ticks, pops, and crackles that mar conventional discs are absent.
So is turntable rumble. The loud passages emerge with unprecedented clarity since they need not be recorded at so high and distortion-producing a level. This common fault of noise-reduction systems has been eliminated in High-Com II. Listen also to High-Com II's remarkable ability to accurately preserve musical transients. They are neither muted nor exaggerated nor edgy as with other companders.
This accuracy of reproduction—on all types of music, at all frequencies, and at all levels—is what distinguishes High-Com II from other noise-reduction systems.
Low-level signals are processed for maximum noise reduction, high-level ones for minimum distortion. This sophisticated technique assumes maximum dynamic range with minimum "breathing" and other audible side effects. Sound without breathing, pumping, or other ill side effects. Includes a description of the UC compander system. Written at Dresden, Germany. According to the author he later also developed an improved version utilizing more modern ICs.
Lexikon Imprint Verlag. Die Expansion erfolgt spiegelverkehrt. Vermutlich aus diesem Grund hat man auf eine weithin sichtbare Kennzeichnung der mit diesem Verfahren aufgenommenen Platten verzichtet. Bis dahin gibt es aber noch eine Schwierigkeit. Also shows a picture of the "U" engraving in the silent inner groove indicating UC encoded vinyl disks. Aardvark Mastering. The Vinyl Factory.
The Talking Machine Review International. Ernie Bayly, Bournemouth 38 : — Record Industry Association of America Inc.
The Record Collectors Guild. Accessed January 26, It's been said to be less noisy, which really has more to do with the grade of vinyl. The Audiophiliac takes on that myth". Recollections guide to collectible LPsvolume 1, p. In Glen Ballou ed. Howard W.
Small Signal Audio Design. Haber Audio Engineering Society. Entertainment Weekly Hal Leonard Corporation. Journal of Popular Culture. The Business Online. London: Telegraph. Rolling Stone. The Sydney Morning Herald. Archived from the original PDF on The trend to buy vinyl records continues. Since has the global sales increased from approximately 3.
Despite this, is it still a small part of the total record sale. In Sweden was The artists who sell most ar usually older artists and records.
Other popular artists are Beatles, Led Zeppelin and Adele" a screenshot of the teletext page exist and can be uploaded, if allowed at Commons and if requested. Music Year-End Report". Archived from the original on 22 September Retrieved 22 September And UK - hypebot".
Randy Collects. Fadeyev, V. Lawrence, Harold; "Mercury Living Presence". Compact disc liner notes. International standard IEC Analogue audio disk records and reproducing equipment. Third edition, International Electrotechnical Commission Broadcast Transcription Discs. Playback Equalizer Settings for 78 rpm Recordings. Third Edition. The Oxford Companion to Music. Ninth edition, Oxford University Press, Ashgate, Carson, A.
Burt, and H. Physical audio recording formats. Music box cylinder or disc 9th century Mechanical cuckoo early 17th century Punched card Music roll Phonautogram Tefiphon early s Teficord early s Tefifon Dictabelt Wire recording Magnetic stripe card Music technology.
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