The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA Victor claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. Another size and format was that of radio transcription discs beginning in the s.
These records were usually vinyl, 33 rpm, and 16 inches in diameter. No home record player could accommodate such large records, and they were used mainly by radio stations. They were on average 15 minutes per side and contained several songs or radio program material. These records became less common in the United States when tape recorders began being used for radio transcriptions around In the UK, analog discs continued to be the preferred medium for the licence of BBC transcriptions to overseas broadcasters until the use of CDs became a practical alternative.
On a few early phonograph systems and radio transcription discs, as well as some entire albums, the direction of the groove is reversed, beginning near the center of the disc and leading to the outside.
The earliest rotation speeds varied considerably, but from to most records were recorded at 74—82 revolutions per minute rpm. Edison Disc Records consistently ran at 80 rpm. At least one attempt to lengthen playing time was made in the early s. World Records produced records that played at a constant linear velocitycontrolled by Noel Pemberton Billing 's patented add-on speed governor. This behavior is similar to the modern compact disc and the CLV version of its predecessor, the analog encoded Philips LaserDiscbut is reversed from inside to outside.
In the s, At that speed, a strobe disc with 92 lines would "stand still" in 60 Hz light. In regions of the world that use 50 Hz current, the standard was Earlier they were just called recordsor when there was a need to distinguish them from cylindersdisc records. The older 78 rpm format continued to be mass-produced alongside the newer formats using new materials in decreasing numbers until the summer of in the U.
For example, Columbia Records ' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heartissued in November, In the United Kingdom, the 78 rpm single persisted somewhat longer than in the United States, where it was overtaken in popularity by the 45 rpm in the late s, as teenagers became increasingly affluent. Some of Elvis Presley 's early singles on Sun Records may have sold more copies on 78 than on In the mids all record companies agreed to a common frequency response standard, called RIAA equalization.
Before the establishment of the standard each company used its own preferred equalization, requiring discriminating listeners to use pre-amplifiers with selectable equalization curves. Prestige Records released jazz records in this format in the late s; for example, two of their Miles Davis albums were paired together in this format. Each record held 40 minutes of music per side, recorded at grooves per inch.
The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch mm 45 rpm disc, with a much larger center hole. For a two-year period from torecord companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds" see also Format war.
The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February Bymillion 45s had been sold. The 7-inch mm 45 rpm disc or "single" established a significant niche for shorter-duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the inch LP discs eventually provided up to one half-hour of recorded material per side. The 45 rpm discs also came in a variety known as extended play EPwhich achieved up to 10—15 minutes play at the expense of attenuating and possibly compressing the sound to reduce the width required by the groove.
EP discs were cheaper to produce and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. The large center hole on 45s allows easier handling by jukebox mechanisms. EPs were generally discontinued by the late s in the U. In the late s and early s, rpm-only players that lacked speakers and plugged into a jack on the back of a radio were widely available. Eventually, they were replaced by the three-speed record player.
From the mids through the s, in the U. The adapter could be a small solid circle that fit onto the bottom of the spindle meaning only one 45 could be played at a time or a larger adapter that fit over the entire spindle, permitting a stack of 45s to be played.
RCA Victor 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a LP) spider ". In countries outside the U. During the vinyl era, various developments were introduced. Stereo finally lost its previous experimental status, and eventually became standard internationally. Quadraphonic sound effectively had to wait for digital formats before finding a permanent position in the market place.
The term "high fidelity" was coined in the s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. After a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available ingave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players.
Stereophonic sound recording, which LP) to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. EMI cut the first stereo test discs using the system in see Bell Labs Stereo Experiments of although the system was not exploited commercially until much later. In this system, each of two stereo channels is carried independently by a separate groove wall, each wall face moving at 45 degrees to the plane of the record surface hence the system's name in correspondence with the signal level of that channel.
By convention, the inner wall carries the left-hand channel and the outer wall carries the right-hand channel. While the stylus only moves horizontally when reproducing a monophonic disk recording, on stereo records the stylus moves vertically as well as horizontally.
During playback, the movement of a single stylus tracking the groove is sensed independently, e. The combined stylus motion can be represented in terms of the vector sum and difference of the two stereo channels. In the first commercial stereo two-channel records were issued first by Audio Fidelity followed by a translucent blue vinyl on Bel Canto Recordsthe first of which was a multi-colored-vinyl sampler featuring A Stereo Tour of Los Angeles narrated by Jack Wagner on one side, and a collection of tracks from various Bel Canto albums on the back.
However, it was not until the mid-to-late s that the sales of stereophonic LPs overtook those of their monophonic equivalents, and became the dominant record type. The development of quadraphonic records was announced in These recorded four separate sound signals.
This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. They proved commercially unsuccessful, but were an important precursor to later surround sound systems, as seen in SACD and home cinema today.
This system encoded the front-rear difference information on an ultrasonic carrier. CD-4 was less successful than matrix formats. A further problem was that no cutting heads were available that could handle the high frequency information. This was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get wider frequency response in stereo with reduced distortion and greater headroom.
The mids saw the introduction of dbx -encoded records labelled " dbx disc " for the audiophile niche market. Encoded disks were recorded with the dynamic range compressed by a factor of two: quiet sounds were meant to be played back at low gain and loud sounds were meant to be played back at high gain, via automatic gain control in the playback equipment; this reduced the effect of surface noise on quiet passages. A decoder was commercially available  but only one demo record  is known to have been produced in this format.
Since the system was designed with playback compatibility of records on equipment without a CX decoder in mind, the maximum achievable noise reduction was limited to about 20 dB A. A total of about CX-encoded disks were produced internationally. Availibility of encoded disks in any of these formats stopped in the mids. In fact, the system was undocumentedly introduced into the market by several East-German record labels since The German reunification put an end to the further introduction of the system in Under the direction of recording engineer C.
Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibitionconducted by Rafael Kubelikwas described as "being in the living presence of the orchestra" by The New York Times music critic.
The series of records was then named Mercury Living Presence. InMercury began three-channel stereo recordings, still based on the principle of the single microphone. The center single microphone was of paramount importance, with the two side mics adding depth and space.
Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks.
The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the s by the original producer, Wilma Cozart Fine, using the same method of three-to-two mix directly to the master recorder.
Through the s, s, and s, various methods to improve the dynamic range of mass-produced records involved highly advanced disc cutting equipment. RCA Victor introduced another system to reduce dynamic range and achieve a groove with less surface noise under the commercial name of Dynagroove.
Two main elements were combined: another disk material with less surface noise in the groove and dynamic compression for masking background noise. Sometimes this was called "diaphragming" the source material and not favoured by some music lovers for its unnatural side effects. Both elements were reflected in the brandname of Dynagroove, described elsewhere in more detail.
It also used the earlier advanced method of forward-looking control on groove spacing with respect to volume of sound and position on the disk.
Lower recorded volume used closer spacing; higher recorded volume used wider spacing, especially with lower frequencies. Also, the higher track density at lower volumes enabled disk recordings to end farther away from the disk center than usual, helping to reduce endtrack distortion even further. Also in the late s, " direct-to-disc " records were produced, aimed at an audiophile niche market.
These completely bypassed the use of magnetic tape in favor of a "purist" transcription directly to the master lacquer disc. Also during this period, half-speed mastered and "original master" records were released, using expensive state-of-the-art technology. A further late s development was the Disco Eye-Cued system used mainly on Motown inch singles released between and The introduction, drum-breaks, or choruses of a track were indicated by widely separated grooves, giving a visual cue to DJs mixing the records.
The appearance of these records is similar to an LP, but they only contain one track each side. ELPJa Japanese-based company, sells a laser turntable that uses a laser to read vinyl discs optically, without physical contact.
The laser turntable eliminates record wear and the possibility of accidental scratches, which degrade the sound, but its expense limits use primarily to digital archiving of analog records, and the laser does not play back colored vinyl or picture discs.
Various other laser-based turntables were tried during the s, but while a laser reads the groove very accurately, since it does not touch the record, the dust that vinyl attracts due to static electric charge is not mechanically pushed out of the groove, worsening sound quality in casual use compared to conventional stylus playback.
In some ways similar to the laser turntable is the IRENE scanning machine for disc records, which images with microphotography, invented by a team of physicists at Lawrence Berkeley Laboratories. In order to convert to a digital sound file, this is then played by a version of the same 'virtual stylus' program developed by the research team in real-time, converted to digital and, if desired, processed through sound-restoration programs.
Terms such as "long-play" LP and "extended-play" EP describe multi-track records that play much longer than the single-item-per-side records, which typically do not go much past four minutes per side. An LP can play for up to 30 minutes per side, though most played for about 22 minutes per side, bringing the total playing time of a typical LP recording to about forty-five minutes.
Many pre LPs, however, played for about 15 minutes per side. The 7-inch 45 rpm format normally contains one item per side but a 7-inch EP could achieve recording times of 10 to 15 minutes at the expense of attenuating and compressing the sound to reduce the width required by the groove. EP discs were generally used to make available tracks not on singles including tracks on LPs albums in a smaller, less expensive format for those who had only 45 rpm players.
The term "album", originally used to mean a "book" with liner notes, holding several 78 rpm records each in its own "page" or sleeve, no longer has any relation to the physical format: a single LP record, or nowadays more typically a compact disc. The term EP is still used for a release that is longer than a single but shorter than an album, even if it is not on vinyl format.
The usual diameters of the holes are 0. Many 7" singles pressed outside the US come with the smaller spindle hole size, and are occasionally pressed with notches to allow the center part to be "punched out" for playing on larger spindles. Sizes of records in the United States and the UK are generally measured in inches, e.
LPs were inch records at first, but soon the inch size became by far the most common. Generally, 78s were inch, but inch and 7-inch and even smaller were made—the so-called "little wonders".
Flexi discs were thin flexible records that were distributed with magazines and as promotional gifts from the s to the s. This format was soon dropped as it became clear that the RCA Victor 45 was the single of choice and the Columbia inch LP would be the album of choice. Most colors were soon dropped in favor of black because of production problems. However, yellow and deep red were continued until about Price, plant manager.
In the s, the government of Bhutan produced now-collectible postage stamps on playable vinyl mini-discs. The normal commercial disc is engraved with two sound-bearing concentric spiral grooves, one on each side, running from the outside edge towards the center.
The last part of the spiral meets an earlier part to form a circle. The sound is encoded by fine variations in the edges of the groove that cause a stylus needle placed in it to vibrate at acoustic frequencies when the disc is rotated at the correct speed.
Generally, the outer and inner parts of the groove bear no intended sound exceptions include the Beatles ' Sgt. Increasingly from the early 20th century,  and almost exclusively since the s, both sides of the record have been used to carry the grooves.
Occasional records have been issued since then with a recording on only one side. In the s Columbia records briefly issued a series of less expensive one-sided 45 rpm singles. The majority of non rpm records are pressed on black vinyl. The coloring material used to blacken the transparent PVC plastic mix is carbon blackwhich increases the strength of the disc and makes it opaque.
Some records are pressed on colored vinyl or with paper pictures embedded in them "picture discs". During the s there was a trend for releasing singles on colored vinyl—sometimes with large inserts that could be used as posters. This trend has been revived recently with 7-inch singles.
The actual dimension of a inch record is mm Records made in other countries are standardized by different organizations, but are very similar in size. The record diameters are typically nominally mm, mm and mm. There is an area about 3 mm 0. The stylus is lowered onto the lead-in, without damaging the recorded section of the groove. Between tracks on the recorded section of an LP record there is usually a short gap of around 1 mm 0. This space is clearly visible, making it easy to find a particular track.
Towards the center, at the end of the groove, there is another wide-pitched section known as the lead-out. At the very end of this section the groove joins itself to form a complete circle, called the lock groove ; when the stylus reaches this point, it circles repeatedly until lifted from the record. On some recordings for example Sgt. Automatic turntables rely on the position or angular velocity of the arm, as it reaches the wider spacing in the groove, to trigger a mechanism that lifts the arm off the record.
Precisely because of this mechanism, most automatic turntables are incapable of playing any audio in the lock groove, since they will lift the arm before it reaches that groove. The catalog number and stamper ID is written or stamped in the space between the groove in the lead-out on the master disc, resulting in visible recessed writing on the final version of a record. Sometimes the cutting engineer might add handwritten comments or their signature, if they are particularly pleased with the quality of the cut.
These are generally referred to as "run-out etchings". When auto-changing turntables were commonplace, records were typically pressed with a raised or ridged outer edge and a raised label area, allowing records to be stacked onto each other without the delicate grooves coming into contact, reducing the risk of damage. Auto-changers included a mechanism to support a stack of several records above the turntable itself, dropping them one at a time onto the active turntable to be played in order.
Many longer sound recordings, such as complete operas, were interleaved across several inch or inch discs for use with auto-changing mechanisms, so that the first disk of a three-disk recording would carry sides 1 and 6 of the program, while the second disk would carry sides 2 and 5, and the third, sides 3 and 4, allowing sides 1, 2, and 3 to be played automatically; then the whole stack reversed to play sides 4, 5, and 6. The sound quality and durability of vinyl records is highly dependent on the quality of the vinyl.
During the early s, as a cost-cutting move, much of the industry began reducing the thickness and quality of vinyl used in mass-market manufacturing. The technique was marketed by RCA Victor as the Dynaflex g process, but was considered inferior by most record collectors. If stored correctly, v 5thinyl records are often said to "last forever". But if played often, deep scratches on the surface slowly destroy the records. Unlike CD's however, a vinyl record isn't affected only by time passing.
Vinyl is a material which is sensitive for high temperatures as well as uneven temperatures on different parts of a record. Many collectors prefer to have heavyweight vinyl albums, which have been reported to have better sound than normal vinyl because of their higher tolerance against deformation caused by normal play. Manufacturing processes are identical regardless of weight. In fact, pressing lightweight records requires more care. An exception is the propensity of g pressings to be slightly more prone to non-fill, when the vinyl biscuit does not sufficiently fill a deep groove during pressing percussion or vocal amplitude changes are the usual locations of these artifacts.
This flaw causes a grinding or scratching sound at the non-fill point. Virgin vinyl means that the album is not from recycled plastic, and will theoretically be devoid of these impurities. In practice, this depends on the manufacturer's quality control. The " orange peel " effect on vinyl records is caused by worn molds. Rather than having the proper mirror-like finish, the surface of the record will have a texture that looks like orange peel.
This introduces noise into the record, particularly in the lower frequency range. With direct metal mastering DMMthe master disc is cut on a copper-coated disc, which can also have a minor "orange peel" effect on the disc itself. As this "orange peel" originates in the master rather than being introduced in the pressing stage, there is no ill effect as there is no physical distortion of the groove.
Original master discs are created by lathe-cutting: a lathe is used to cut a modulated groove into a blank record. The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K. Morrison describes as a "metallic soap", containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients.
Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made.
Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating approximately 7 mils thickness on both sides that was applied to an aluminum substrate. Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers.
The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent.
The one-molecule-thick coating of silver that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive reverse-plates onto the nickel record's face. This negative impression disc having ridges in place of grooves is known as a nickel master, "matrix" or "father". The "father" is then used as a mandrel to electroform a positive disc known as a "mother".
Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. The "mothers" are then used as mandrels for electroforming more negative discs known as "sons". Each "mother" can be used to make many "sons" before deteriorating.
The "sons" are then converted into "stampers" by center-punching a spindle hole which was lost from the lacquer sound disc during initial electroforming of the "father"and by custom-forming the target pressing profile.
This allows them to be placed in the dies of the target make and model record press and, by center-roughing, to facilitate the adhesion of the label, which gets stuck onto the vinyl pressing without any glue. In this way, several million vinyl discs can be produced from a single lacquer sound disc. When only a few hundred discs are required, instead of electroforming a "son" for each sidethe "father" is removed of its silver and converted into a stamper.
Production by this latter method, known as the "two-step process" as it does not entail creation of "sons" but does involve creation of "mothers", which are used for test playing and kept as "safeties" for electroforming future "sons" is limited to a few hundred vinyl pressings. The pressing count can increase if the stamper holds out and the quality of the vinyl is high. The "sons" made during a "three-step" electroforming make better stampers since they don't require silver removal which reduces some high fidelity because of etching erasing part of the smallest groove modulations and also because they have a stronger metal structure than "fathers".
Shellac 78s are fragile, and must be handled carefully. In the event of a 78 breaking, the pieces might remain loosely connected by the label and still be playable if the label holds them together, although there is a loud pop with each pass over the crack, and breaking of the stylus is likely. Breakage was very common in the shellac era. He wanted to cry but could not. Salinger 's novel The Catcher in the Rye occurs after the adolescent protagonist buys a record for his younger sister but drops it and "it broke into pieces I damn-near cried, it made me feel so terrible.
Another problem with shellac was that the size of the disks tended to be larger because it was limited to 80— groove walls per inch before the risk of groove collapse became too high, whereas vinyl could have up to groove walls per inch. By the time World War II began, major labels were experimenting with laminated records. As stated above, and in several record advertisements of the period, the materials that make for a quiet surface shellac are notoriously weak and fragile.
Conversely the materials that make for a strong disc cardboard and other fiber products are not those known for allowing a quiet noise-free surface.
Although vinyl records are strong and don't break easily, they scratch due to its soft material sometimes resulting in ruining the record. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. Dust and scratches cause audio clicks and pops. In extreme cases, they can cause the needle to skip over a series of grooves, or worse yet, cause the needle to skip backwards, creating a "locked groove" that repeats over and over.
This is the origin of the phrase " like a broken record " or "like a scratched record", which is often used to describe a person or thing that continually repeats itself. Vinyl records can be warped by heatimproper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. Standard practice for LPs was to place the LP in a paper or plastic inner cover.
This, if placed within the outer cardboard cover so that the opening was entirely within the outer cover, was said to reduce ingress of dust onto the record surface. Singles, with rare exceptions, had simple paper covers with no inner cover. A further limitation of the gramophone record is that fidelity steadily declines as playback progresses; there is more vinyl per second available for fine reproduction of high frequencies at the large-diameter beginning of the groove than exist at the smaller diameters close to the end of the side.
At the start of a groove on an LP there are mm of vinyl per second traveling past the stylus while the ending of the groove gives — mm of vinyl per second — less than half the linear resolution. Another problem arises because of the geometry of the tonearm. Master recordings are cut on a recording lathe where a sapphire stylus moves radially across the blank, suspended on a straight track and LP) by a lead screw.
Most turntables use a pivoting tonearm, introducing side forces and pitch and azimuth errors, and thus distortion in the playback signal.
Various mechanisms were devised in attempts to compensate, with varying degrees of success. See more at phonograph. There is controversy about the relative quality of CD sound and LP sound when the latter is heard under the very best conditions see Analog vs. It is notable, however, that one technical advantage with vinyl compared to the optical CD is that if correctly handled and stored, the vinyl record will be playable for decades and possibly centuries,  which is longer than some versions of the optical CD.
Guidelines for proper vinyl storage include not stacking records on top of each other, avoiding heat or direct sunlight and placing them in a temperature controlled area which will help prevent vinyl records from warping and scratching. Collectors store their records in a variety of boxes, cubes, shelves and racks.
Even so, these early electronically recorded records used the exponential-horn phonograph see Orthophonic Victrola for reproduction. CD-4 LPs contain two sub-carriers, one in the left groove wall and one in the right groove wall. CD-4 sub-carriers could be played with any type stylus as long as the pickup cartridge had CD-4 frequency response. The recommended stylus for CD-4 as well as regular stereo records was a line contact or Shibata type.
Gramophone sound includes rumble, which is low-frequency below about 30 Hz mechanical noise generated by the motor bearings and picked up by the stylus. Equipment of modest quality is relatively unaffected by these issues, as the amplifier and speaker will not reproduce such low frequencies, but high-fidelity turntable assemblies need careful design to minimize audible rumble.
Tonearm skating forces and other perturbations are also picked up by the stylus. This is a form of frequency multiplexing as the control signal restoring force used to keep the stylus in the groove is carried by the same mechanism as the sound itself. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble "tracking noise" and merges with audible frequencies in the deep bass range up to about Hz.
High fidelity sound equipment can reproduce tracking noise and rumble. During a quiet passage, woofer speaker cones can sometimes be seen to vibrate with the subsonic tracking of the stylus, at frequencies as low as just above 0.
Another reason for very low frequency material can be a warped disk: its undulations produce frequencies of only a few hertz and present day amplifiers have large power bandwidths. For this reason, many stereo receivers contained a switchable subsonic filter. Some subsonic content is directly out of phase in each channel. If played back on a mono subwoofer system, the noise will cancel, significantly reducing the amount of rumble that is reproduced.
High frequency hiss is generated as the stylus rubs against the vinyl, and dirt and dust on the vinyl produces popping and ticking sounds. The latter can be reduced somewhat by cleaning the record before playback. Year - Year - Music from a variety of styles and decades can be heard throughout the 5 seasons of the series. Breaking Bad remains as relevant as ever today.
Colours are a recurring theme in Breaking Bad. The clothing colours that characters wear represent various themes and their relationships to each other in each scene. Green symbolizes greed, money, growth, envy. A Side: 1. Cold Gettin' Dumb 2.
Love Story 3. Back To The Old School 4. Latoya B Side: 1. Gangster Of Hip Hop 2. Little Bad Johnny 3. Put the Record Back On 4. Turbo Charged. Self-Esteem Offspring Cover 2. Brain Stew Green Day Cover. In the 30 years since Mr.
To commemorate its 30th year, Get On Down presents Mr. Hood in a never to be repeated tri-color pressing of the double LP. Who Me? With An Answer From Dr. Bert 3. Boogie Man! Hood Meets Onyx 5. C Side: 1. Hard Wit No Hoe 3. Hood Gets A Haircut 4. Boy Who Cried Wolf. This deluxe Vol. The record itself is clear vinyl with five-color splatter. Dirt 2. Nothing To So Demo Demo.
His appetite for ripping up the rulebook has brought kudos and admirers from all sides, giving him a status and respect that ensures an unearthed, never before released recording such as this added importance.
Ruin 2. As the Palace Burns 3. Purified 4. For Your Malice Side B: 1. Boot Scraper 2. Devil In God's Country 3. In Defense of Our Good Name 4. Blood Junkie 5. Peggy Lee was in top form inin every aspect of her career. As a vocalist, LP) was at her peak. That same year, she recorded 49 selections as radio transcriptions for the World Program Service. These recordings were not released to the public, but used by radio stations with unexpected time to fill.
The music is more jazz-oriented than many of her Decca recordings of the time. This series compiles the best selections from those recordings, beginning with 14 tunes on this first volume.
The Backchannel Broadcast: 20th Anniversary Edition. The Lillingtons are best known for their catchy tunes about the paranormal, but twenty years ago they surprised us all with the release of The Backchannel Broadcast, an album of high adventure with songs about the Wild West and Russian Spies.
Final Transmission 2. Mindcontrol 3. The Kids 4. El Pamino 5. Dynomite 6. One Armed Man 8. Danger Lights. B Side: 1. Blue Steal 2. Santa Fe-0 3. Thunderball 4. The Russians Are Coming 5. Wrecking Ball 6. Badman With The Devil's Hand 7.
Six Ways To Die. The extensive booklet includes essays and rare photos. Sweet Georgia Bright 2. How Can I Tell You Love, led by the brilliant and complicated Arthur Lee, is considered one of the most influential American rock bands of all time. You Gotta Feel It Outtake 3.
I Gotta Remember Outtake 4. Do It Yourself Outtake 5. Singing Cowboy Alternate Take 6. Mahogany Rush is, without question, underrated. First time on vinyl. Embossed deluxe gatefold with live photos and enhanced liner notes.
Unavailable on vinyl since its original release. He's Got All The Whiskey 2. God's Song 3. Small Town Talk 5. Excuse Me Mister Side B: 1. Strange Fruit 2.
The Sky Is Crying 3. Glory Box 4. Feel So Bad 5. Death Don't Have No Mercy. Polka by Wojtek Mazolewski is one of the most appreciated jazz albums in the world. InDownBeat Magazine recognized it as one of the five best jazz albums. We proudly present The Live version, which has never been released on vinyl before. The album combines elements of jazz, rock, reggae and electronic music. The Live version is very expressive, danceable, and rhythmic. Punk-T Gdansk live, Wadowice A2.
Grochow live, Wadowice B1. Polka live, Wadowice. The vinyl release of the Grammy-nominated album. Presented for the first time ever on vinyl! Remastered from the original tapes. Belief 2. Little Melonae I Side B: 1. Phantasm 2. Afterglow Side C: 1. Limbo 2. Consenting Adults Side D: 1.
From This Moment On 2. Peace 3. Little Melonae II. Hand-numbered orange vinyl, with random autographed sleeves inserted! Mastered for first time audiophile by long time Monkees curator and associate Joe Reagoso. Pressed with four bonus tracks, never-before-included on original albums or singles. Surprise color: translucent red or translucent yellow. Apples, Peaches, Bananas And Pears 2. If You Have The Time 3. Party 5. Carlisle Wheeling First Recorded Version 6. Storybook Of You 7.
Rosemarie 8. My Share Of The Sidewalk. All Of Your Toys 2. Nine Times Blue 3. So Goes Love 4. Teeny Tiny Gnome 5. Of You Alternate Mix 6. War Games 7. Lady's Baby 8. Time And Time Again. Rare Monkees tracks, never included on original albums or singles. Valleri First Recorded Version 3. Matthew 4. Words Alternate Version 5. Some Of Shelly's Blues 6. I Wanna Be Various - Bad Boys II - The Soundtrack (Vinyl 7. Come On In 9. Michigan Blackhawk 2.
Hold On Girl 3. The Crippled Lion 4. Changes 5. Webster 6. Circle Sky Live Version 9. Seeger's Theme Riu Chiu. Kellogg's Jingle 3. Through The Looking Glass Prev. Unissued Alternate Version 5. Penny Music 7. Little Red Rider 9. You're So Good Look Down Hollywood Midnight Train Demo Version. SIDE 2 1.
She Hangs Out Single Version 2. Shake 'Em Up 3. Circle Sky Alternate Mix 4. She'll Be There 7. How Insensitive 8. Merry Go Round 9. Angel Band Tema Dei Monkees. To some he's the godfather, to others he's the king. Long before bedroom recording became an aesthetic choice, R. Stevie Moore built a legend of pop experimentalism, home recording, and mystic curmudgeonry.
Equal parts songwriter, improviser, composer, producer, filmmaker, artist, and comedy writer, the self-taught Tennessean polymath has released hundreds of homemade albums since the '60s--and inspired a thousand times more.
Rather than pose and slither in the music biz, Moore opted for a more genuine life and a spot on the staff at legendary indie radio station WFMU, sharing Bedroom Radio with the world. His independent streak extends to his record releases, the R.
Stevie Moore Cassette Club successful and long-lasting enough that it became the R. By refusing to settle into any one genre or style, Moore has always dedicated himself to eccentric ideas and passions whether around the world or focused into his home. And as Moore now eases into a well-deserved retirement, ON EARTH stands as a powerful statement, an intimate companion, and a goofy guide through a storied career.
Ranging all the way back to 's classic Phonography, the double-disc retrospective collects a full suite of dazzling power pop, psychedelia, and indie rock, and opens the gateway to the ultimate cult DIY hero.
Stevie Moore. Stevie Moore in Stevie Moore has recorded nearly 2, songs on over very original homemade double albums of alarmingly idiosyncratic variety and styles, often considered a seminal pioneer in the DIY ethic Made his first home recording in A New York Times article referenced Moore as the progenitor of "bedroom pop" XTC founder Andy Partridge said of Moore's work: "What beauty, what invention.
Much of his musical and lyrical content is characterised by a quirky cynicism. He also has a highly sophisticated sense of melody, again without following formulas. Some of those tracks are featured on this release. This is the first official vinyl reissue of the score since its original release in on the Cerberus label. Madre Assente 3. Campi Aperti E Sospesi 4. Double Face 5. Esecuzione Radiofonica 6. For Enrico, Riccardo And Roberto 7. For Dalia 9. Stranamente Di Notte Madre Assente This release is an extract from a previously unreleased concert.
Toy [Live]. This project brings together the sophisticated songcraft of singer-songwriter Johnny O'Donnell, the iconoclastic arrangements of Van Dyke Parks, and the genial production touch of Lewis Pesacov into a refreshing and rewarding musical package that deserves the focus that only a 45RPM single provides.
Built upon a relationship formed in Los Angeles over a nearly twenty year period, the songs, penned by O'Donnell, are explorations in harmony, straddling the line between familiar and freakish.
The arrangements and production are cinematic and full of drama which befits a production born of the belly of Hollywood. Romance, intrigue, and a touch of the unreal is where the tripartite of musical craftsmen have brewed this potion of melodies. The two unreleased songs will be available for the first time as a 7" single, exclusively as part of RSD Drops. That newfound sense of freedom defined the record, on which Lynn wrote, played the entirely of the guitar, drums, and bass parts, cooked up beats, and of course, sang vocals.
For the first time ever, these five tracks are now available on coke bottle clear vinyl, exclusively for RSD Drops. Special vinyl box set that contains all four studio albums - including the first album, Partynextdoor, which has never before been available on vinyl.
Early in Johnny Paycheck's pre-fame career, he toured as a sideman and bassist for George Jones in the early s. At that time, he entered a recording studio in an attempt to secure a record deal as a solo artist. The recordings have been long forgotten and unheard until now.
These recordings showcase Paycheck's considerable talent long before the music world took notice. Step back in time and listen to uncovered country music history. First ever vinyl release of the soundtrack for this Wes Craven classic from Composer Don Peake created an incredibly atmospheric and spooky score for this film. It's an incredible career and his musical diversity shines on this score. Fun fact: People Under the Stairs opened at Various - Bad Boys II - The Soundtrack (Vinyl on the box office chart and stayed in the Top 10 for a month.
Remastered on violet vinyl for RSD Drops. The album is a mixture of classic improvisation, electronic sound, drum'n'bass and jungle as well as punk energy.
Pink Freud are the world's most rock and roll jazz band. A collection of songs from the Oh Boy Records catalog curated by independent record stores. Strictly limited to copies worldwide. The Wild One 2. The Honky Tonk Downstairs 3. Heartbreak Hotel 4. Half As Much As Me 5. Cat Size 6. American Lady 8. Glycerine Queen 9.
Can The Can Devil Gate Drive Roxy Roller Tear Me Apart Keep A-Knockin'. Five-track EP on heavyweight vinyl. Includes four tracks from the Live Around The World album, and one unreleased live track. LP: 1. The famed performance - recorded in Australia during their End Of The Century tour - contains 23 tracks, many of which are rare songs from the album that did not remain in their sets following this tour. Permanent Records is profoundly proud to present this limited edition reissue of Raven's highly regarded wasted hard rock masterpiece, Back To Ohio Blues.
More hard rock than blues, this stoned proto-punk record is one-of-a-kind and is finally being reissued with its original minimalist artwork. But don't take our word for it, here's what the heads at Acid Archives had to say about this rarity: "Messed up bluesy hard rock biker statement which I'm told comes straight from this guy's reality, no posing but the real thing. Great punky vocals relate stories on smack, sex, Ohio, Harleys and everything else that makes life worth living.
An impressive intensity especially on side 1 and one of the few local white blues rock LP's that truly works. A classic of mid '70's local hard stoner dementia; would make a good double bill with the Merry Airbrakes. Exclusively available for Record Store Dayand strictly limited to 9, copies worldwide.
RSD Drops Exclusive! A double LP pressed on Yellow g vinyl with expanded original artwork. Includes two 8. Remastered by Bob Ludwig, Gateway Mastering. Limited to a worldwide piece pressing.
Station Identification Intro feat. Fatman Scoop 2. The Invitation feat. Come On Baby feat. War 5. Bring Me Down Pt.
Friends 7. The Greatest Story Never Told 8. Clap feat. Faith Evans 9. Preacher It's Alright feat. Believe It Give It to Me feat. Raheem DeVaughn What the Lovers Do feat. Devin The Dude Better Way feat. Oh Yeah Our Babies And the Winner Is feat. Bun B Too Long feat. Black Thought I was pouring sweat alongside people who had just met that day for the first time to play a show under the name St.
Now, over 8 years later, we built a career out of it. During this pandemic, I have gotten awfully nostalgic. For a time, we would travel constantly and shows started blending together. That endorphin rush was taken for granted. The first moment we had to play a socially distanced show, I knew exactly what we should do.
Play a show at Avondale Brewery and do our debut album in full. Something I would never had done if the pandemic had not happened. The beauty though of looking back at the beginning was realizing all the great people that helped us turn a summer fling into an actual career.
It was such a beautiful time. Here is the live recording from that show that night. New inch EP is the latest release on Records Store Daya collection of his new songs recorded during the pandemic, available on vinyl. The B-side features "By Swallow Season" - a mid-tempo jazzy boogie track, with sentimental lyrics over a floating mellow wah-wah guitar and melancholy saxophone. An ultimate soul classic in contemporary Japan, the echoey steel guitar and the dry strumming blends in with the tight groove, along with his straightforward lyrics like "People and events that were pretended it didn't exist".
Side A 1. The Feeling Of Love 2. Obscure Nightclub Side B 1. By Swallow Season 2. Don't Tinker With History. This concert was previously a digital only-release. This first physical release comes on double red vinyl for RSD Drops. Armed And Ready 2. Cry For The Nations 3. Victim Of Illusion 4. Natural Thing 5. Feels Like A Good Thing 6. Into The Arena 7. Looking Out From Nowhere 8. Rock Bottom 9. Tales Of Mystery Lost Horizons Band Introductions Shoot Shoot Doctor Doctor Lights Out.
Murder 2. Out On the Streets 3. James bond 4. Sweet Collie 5. Street Feeling 6. Everyday 7. The Selecter 8. Danger 9. They Make Me Made Carry Go Bring Come On My Radio Too Much Pressure. Two of the sessions were with admired radio broadcaster John Peel. This title charts their earliest days as an indie band in to the time they signed to Warner Records in It will all be available on smoky vinyl. Side One - John Peel Session 1.
Alice, 3. Good Things, 4. Heartland, 2. Jolene, 3. Valentine, 4. Walk Away, 2. Poison Door, 3. No Time To Cry, 4. It's a release not to miss. Numbered - silver foil - purple vinyl. Don Carlos Lazer Beam feat. Don Carlos Holiday feat. Don Carlos Brethren Party Remix feat.
Don Carlos. For the first time ever, all of the Small Faces classic Decca and Immediate singles from are included on one LP. All have been newly remastered to vinyl from the original Decca and Immediate master tapes by Nick Robbins at Soundmastering Studios in London under the supervision of surviving Small Faces member Kenney Jones who also pens a touching introductory sleeve note.
Each LP will also come with a colour postcard with the LP cover artwork, hand-signed by Small Faces drummer Kenney Jones on one side and a facsimile of a Decca band member biog on the other side. A complete delight. Baleedat feat. Ashtray feat.
Ария, Wed Go Got Broke (But Were Already There) - The Bastard Suns - Here Come The Suns (CD, Album), Cherchez Le Garçon - Various - Rock En Stock (Cassette), Diana Ross (2) - The Little Red Engine / The Little Red Engine Gets A Name (Vinyl), Step To Me (Do Me) (The Real Club Mix) - Various - Dance With Attitude (Vinyl), In Another Time - Gravity (15) - The Windows To The Unknown (Cassette), This Is My Story - Gene & Eunice* - This Is My Story (Vinyl), If You Really Love Me - Mary Wells - Easy Touch (Vinyl, LP, Album), Concerto No 4 In G Major Op.58 - Edwin Fischer - Beethoven. Piano Concerto No.4 In G Major (Vinyl, A, Snakeblood - Leftfield - A Final Hit (Greatest Hits) (CD), Tinkling - Nitoy Gonzales & His Rondalla* - Philippine Folk Dances Volume 1 (Vinyl, LP), SRD - Sly & Robbie - Sly & Robbie Present... DJ Riot (Vinyl, LP)