Monthly Archives: October 2018

In rotation: 10/11/18

Atlanta, GA | Vinyl fuels indie record store resurgence: Over four decades, Decatur’s Wuxtry Records, a crowded repository of all things auditory a mile east of Emory University, has ridden the peak years of vinyl, the rise and fall of cassettes and CDs and the surprising comeback of vinyl this past decade. Owner Mark Methe points to a 2015 New Yorker cartoon he taped to the entrance and chuckles like a man who has seen it all. The cartoon figure tells another dude: “The two things that really drew me to vinyl were the expense and the inconvenience.” …But thanks to vinyl’s zombie-like revival, metro Atlanta has seen a resurgence in mom-and-pop record stores in recent years, mostly in the northern suburbs. In the meantime, in-town staples, such as Wuxtry and Criminal Records, have found new life.

Brighton, UK | Cult Hero re-opens in new location after it was forced to close. One of the longest-established “new vinyl” shops is back in action after being forced to move due to building redevelopment. Cult Hero has reopened in Brighton Place after moving from North Street, Brighton. Owner Frank Taylor, 35, moved out of his old shop at the end of April after the landlord sold the premises for the Hanningtons Lane redevelopment. Frank said he loves his new home. He said: “It’s a much nicer shop. It’s quieter and customers can listen to the music. “I was in North Street for ten years or so. There was a lot of hustle and bustle and I enjoyed that but customers also want to enjoy music while looking at vinyl, they like to take their time.

Warner Music Exec: ‘The Business of Physical Music Is Quite Strong. We Have No Intention of Walking Away from This Business.’ The resurgence of vinyl records is obviously causing labels to reconsider the format. But for at least one major label, CDs aren’t being abandoned quite yet, with physical formats overall getting a second look. At the Making Vinyl conference in Detroit last week, Warner Music Group executive Billy Fields reaffirmed his company’s commitment to physical discs, both of the vinyl and CD variety. Fields is Vice President of Sales and Account Management for WEA, which was once the physical distribution bulwark for the major label. These days, WEA is described as an ‘artist and label services’ group for WMG. But that still includes physical distribution, with Fields routinely fielding customer issues on precious WMG vinyl releases.

Indulge in spooky ‘Stranger Things’ sounds at Halloween with this new pumpkin vinyl: Creepy sounds from Stranger Things are being released on special pumpkin-coloured vinyl this Halloween…While the third instalment of the hit Netflix series has been delayed until 2019, fans will be able to bring the Upside Down to their own homes this spooky season. ‘Halloween Sounds from the Upside Down’ features 14 ominous, synthy tracks on pumpkin-themed wax. ”Hide some speakers in your bushes, play this record, and scare those trick or treaters,” advise S U R V I V E, who are behind the show’s atmospheric score. Track titles include ‘Turn On The Lights’, ‘Shadow In The Tunnel’, ‘Tree Slime’ and ‘Turn Right & Run’. The pieces are taken from Season 2’s “brooding, darker atmospheric score.”

CLASSIC VINYL: Superb glam band that influenced a generation: Roxy Music by Roxy Music. Roxy Music was one of the most highly regarded and influential UK rock bands of the seventies, formed by former art student and short lived teacher Bryan Ferry, who wrote all the songs, writes Michael Brooks. This was Roxy Music’s self titled 1972 debut album for Island records, acclaimed as one of the finest debut albums of the decade. What makes this unique is that it was recorded and produced in a single week. The band at that time, did not have a record deal, but after offering it to Island Records, a contract was offered; it was released on June 16, 1972.

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TVD Live: Gaz Coombes, Caleb Elliott, Kiki Wilder at City Winery, 10/4

When Supergrass called it quits in 2010, frontman Gaz Coombes kept going with a series of solo albums that showed how strong he was at songcraft and increasingly, how talented he is at producing it.

In his solo show at City Winery in Washington, DC on Thursday, he showed how he can do many things well at once, infusing his songs not just with guitar, but with effects laden loops, tapes, backing tracks, and percussion.

It added a depth (if a bit of robotic certainty) to his solid Britpop songs, which might have come across just fine with only his guitars and distinctive vocals, a yowl that sometimes brings to mind Thom Yorke of Radiohead depending on the song. That happened when he stuck to acoustic guitar to sing his salute to his autistic daughter, now 15, in “The Girl Who Fell from Earth.”

With a sprinkling from his three solo albums, the 42-year-old Coombes, still rocking the fuzzy sideburns, didn’t bother to dip into the Supergrass song pool until the last song in the encore, a version of “Moving” that had fans standing and singing along.

Truth to tell, Coombes had asked the crowd to stand for the stirring final song in his set, “Detroit”—it’s weird for a rock ’n’ roller to be playing essentially a seated supper club. But they were glad to do it.

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TVD Live Shots:
The National and
Pheobe Bridgers at Merriweather Post Pavilion, 9/28

Continuing to tour on the strength of their latest studio effort, 2017’s Sleep Well Beast, Cincinnati based rockers The National gave a passionate performance to their DC area fans in the Woodlands at Merriweather Post Pavilion among what turned out to be a monstrous two hour-plus set. 

Sleep Well Beast marks the seventh studio album for The National and along with critical acclaim from just about every major music publication, the release took home a Grammy Award for “Best Alternative Music Album” in 2017.

Their performance drew heavily from the latest record including “Nobody Else Will Be There,” “Day I Die,” “Guilty Party,” and “The System Only Dreams in Total Darkness.” The National touched upon earlier records with material from 2013’s Trouble Will Find Me LP including “Don’t Swallow the Cap,” “Sea of Love,” “Graceless,” and “Slow Show” off 2007’s LP Boxer.

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Graded on a Curve:
Queen, “We Are the Champions” b/w
“We Will Rock You”

Greetings, fellow totalitarians! Have I got the single for you! I’m talking some real Triumph of the Will shit! The real Blitzkrieg Bop! You’ve heard of arena rock? Well I’m talking Nuremberg Rally rock! Seriously–if this baby had been around in Hitler’s day, he’d have played the living fuck out of it!

In 1977 Queen declared themselves the champions of the world, and they did so via this two-sided monolith that has everything in common with totalitarian architecture. “We Are the Champions” (the A-side) and “We Will Rock You” (just flip the damn thing over) crushed the competition by means of pure jackboot stomp, and like your best Nazi architecture were custom-designed (Albert Speer would be proud) to convey iron fist power, brute virility, and sheer truncheon force. This ain’t combat rock; it’s Mechanized Mood Music for the Fourth Reich. And what I want to know is, where is Winston Churchill when we need him?

“We Will Rock You” would make the perfect soundtrack for invading Poland, and “We Are the Champions” the perfect song to play while popping a champagne cork atop the still smoking rubble of Warsaw. Of course nobody invades Poland nowadays–damned political incorrectness has ruined everything–so “We Are the Champions” became the theme song of every high school football team in America (and sports teams everywhere else) instead.

I know what you’re thinking. You’re thinking, “Aren’t you making too much of a pair of big, dumb, rabble-rousing anthems you can’t help but sing along with? Whatcha gonna do next? Write off Gary Glitter’s “Rock and Roll Part 2” as Nazi agitprop?”

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Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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Graded on a Curve:
The Other Years,
The Other Years

One can rest-assured that the reservoir of contemporary old-time artistry far exceeds the supply of new recordings, in part due to the participants valuing community, and live playing in particular, over establishing some sort of foothold on a pro career. Rather than watering things down or gussying them up for consumption, the best current wax in the old-time style manages to capture this emphasis on social music like a snapshot, and the self-titled debut from the Kentucky duo The Other Years is a fine example. Anna Krippenstapel and Heather Summers aren’t affectedly rustic, however. Theirs is a rich potency expressed largely through striking original songs, and it’s available now through No Quarter.

Some neo-old-timey stuff leans so heavily into authenticity that it begins to feel like theatrics; at the very least, an ear will find it extremely difficult if not impossible to misplace that it is young people playing music that’s significantly older than they are. Older than their grandparents, even. This quality isn’t absent on The Other Years, but by its end numerous moments have accumulated where the primacy of the old-time objective is augmented with creativity that’s considerably, and at a few points, arrestingly beautiful, and in a manner not at all discordant with the contemporary.

Along with guitar and vocals, Anna Krippenstapel bows the fiddle here, while Heather Summers plucks the banjo and adds guitar and vocals of her own. To hopefully offset the potential romanticizing of the “social music” idea (the term in this context spanning back to the middle of last century as a category of the Harry Smith-compiled Anthology of American Folk Music), Krippenstapel has prior recording experience, contributing to releases by fellow Louisville residents Joan Shelley (a labelmate and old friend of The Other Years) and Freakwater (she can be heard on their latest release Scheherazade).

Further breaking down the old-time mystique, Krippenstapel played violin in Vampire Squid, which by reports (there aren’t many) was an arty-metal band. What she and Summers achieve on this debut lands decidedly nearer to the moments in Freakwater that zero in on Janet Beveridge Bean and Catherine Irwin; there’s also the timeless duo of Hazel Dickens and Alice Gerrard to consider.

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In rotation: 10/10/18

Record Store Day announces first slate of Black Friday 2018 releases: “There’s something for everyone on our list this year, which means there’s something for everyone on YOUR list! We want to help you make holiday shopping fun, by encouraging you to do it in a record store. Even if it’s not one of the limited edition titles on this list, we’re pretty sure you’ll find something great to wrap up, and great to unwrap if you’re on the receiving end! Download a PDF version of the RSD Black Friday list you can use as a shopping list or a wishlist, and get more information on each title using the website version of the list. Thank you for supporting indie record stores!”

Milwaukee, WI | Riverwest’s We Buy Records is new to the block, but owner Andy Noble isn’t: There’s a new record shop in Riverwest. With a red neon sign in the window announcing the store’s name—simply “We Buy Records”—owner Andy Noble opened its doors to Milwaukee in August as a continuation of years of vinyl-related business endeavors. He is the longtime traveling record collector/trader behind the vinyl-spinning vegan restaurant Strange Town and the all-vinyl DJ event The Get Down, which is celebrating its 15th year in 2018. We had a chat with Noble on opening a brick and mortar record shop for the second time and about his adventures in record buying road trips that took him into stranger’s homes around the country. Andy Noble says, “Jumping into a store, again… It’s like a second marriage; why would you do it?” It’s because We Buy Records is different, he says.

Dublin, IE | The Vinyl Festival comes to Dun Laoghaire: It was annouced today that the Vinyl Festival will be coming to Dún Laoghaire this November. The festival will take place in a selection of venues around Dún Laoghaire including The Lexicon Library Studio, The National Maritime Museum and Eblana Senior College. The line-up of talented artists and special guests participating over the three-day extravaganza includes Joe Jackson, Horslips, Lenny Abrahamson, Don Letts, Gavin Friday, Bronagh Gallagher, Kevin Godley, Julie Feeney, Steve Averill and Adrian Dunbar along with many more. Established radio DJ’s Dave Fanning and Tom Dunne will act as moderators and interviewers for several of the discussions. The festival will bring together a wide selection of talent including International Musicians, Writers and Filmmakers, all of whom will take part in a broad series of discussions and play a selection of their own favourite vinyl records.

Lennon, Dylan, Hendrix Box Sets Revealed As 2018 Reissues Set Record: The multi-million-dollar musical reissue bandwagon is having its third straight record year in 2018. This year’s total of box set titles is boosted by artists such as the Beatles; John Lennon solo; Led Zeppelin; Kate Bush; Bob Dylan; Guns N’ Roses; The Rolling Stones; Jimi Hendrix; David Bowie; and Soft Cell. This week, the number of reissues by mainstream artists so far in 2018 will surpass 640 titles, already matching 2017’s final total. The number may rise again with more late arrivals for Black Friday, Cyber Monday and the holiday period. Apart from classic albums reappearing, archive music is also coming to the fore, such as the first recordings from Prince’s massive private vault, Piano and a Microphone 1983, and David Bowie’s live release, Glastonbury 2000.

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TVD Live Shots: Sammy Hagar’s High Tide Beach Party & Car Show, 10/6

HUNTINGTON BEACH, CA | Reading some of the reviews of Sammy Hagar’s High Tide Beach Party & Car Show, one might get the impression that Saturday’s all-day festival might have fallen a bit short of expectations. Well, we were on site wire to wire and can unequivocally say that aside from a few “opening day” challenges that any new event might encounter, this beach bash kicked some major ass. Food was solid, drinks were plentiful, and this year’s musical lineup was simply out of this world.

As you might expect, anything that Sammy Hagar touches turns to gold—and this event was no exception. Opening acts such as Sir Please, Drew Hagar, the Dead Mermaids Feat. Green Day’s Tre Cool, and Roger Clyne and the Peacemakers helped elevate a growing crowd that admittedly had some challenges getting into the seaside venue. Each of their sets were solid and all played with a reckless abandon that resonated with fans attending from all around the world. Add some of Hagar and partner Adam Levine’s Santo Mezquila, and party-goers took it to a whole level on sundrenched Huntington State Beach.

Next up was Orange County’s favorite Ska-Punk band, Reel Big Fish. This six-piece band from Los Alamitos, CA immediately got the crowd off their feet and dancing to the beat to hits like “Everyone Else is an Asshole,” “She Has a Girlfriend Now,” and “Sell Out.” Unfortunately for those in attendance, their typical 18+ songs was trimmed down significantly due to time constraints. However, Aaron Barrett and company smashed their 11-song set in fine fashion and left little doubt as to why this band was chosen by Sammy Hagar to represent Orange County at this year’s inaugural festival.

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TVD Live Shots: MC50, Starcrawler, and Locus Pocus at the Regency Ballroom, 10/4

The legendary Wayne Kramer is on the road celebrating the 50th anniversary of the MC5 classic, Kick Out The Jams including a stop at San Francisco’s Regency Ballroom. The evening kicked off with Locus Pocus … think Cage the Elephant meets the Doors … an odd combo that for some reason works. Well.

Next up, Starcrawler from Los Angeles. For those that have never seen Starcrawler, they were no doubt in awe. Much like watching a music horror movie unfurl before your eyes, waif-thin front woman Arrow de Wilde wailed through their short but powerful set during which she spat on the crowd and accosted the front row while the band blasted through the tunes. Raw, powerful, and downright good but also sometimes painful to watch. Go see them.

MC5

MC5 hit the stage a smidge before 10 pm following an intro in the form of political rant by local punk rock luminary Jello Biafra. Kramer kicked off the set on vocals for “Ramblin’ Rose” and the crowd (still a bit shell-shocked by Starcrawler) came out of its daze. Backed by Billy Gould (Faith No More) on bass, Kim Thayil (Soundgarden) on guitar, Brendan Canty (Fugazi) on drums, along with vocalist Marcus Durant (Zen Guerrilla), this show could not be anything but memorable.

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TVD Live: Liz Phair and Speedy Ortiz at the 9:30 Club, 10/3

PHOTO: ELIZABETH WEINBERG | Liz Phair looked happy and perky as she took the stage at a sold-out 9:30 Club last week to reignite memories for the audience—and of her own past memories at the storied DC club.

After this year’s quarter-century salute to her big splash, Exit in Guyville, Phair at 51 seems resigned to becoming the nostalgia act her audiences demand of her, playing seven of the 18 tracks famously purporting to be answers to the songs on Rolling Stones’ Exile on Main Street. They were well sprinkled through the set, sparking the crowd when their familiar guitar riffs began.

But there was just one new song—an acoustic-backed ballad about “what else? heartbreak,” she said, nothing from her last album, 2010’s Funstyle, and just one from the one before it, 2005’s Somebody’s Miracle.

Fun as it was to hear the jolt of things like “Supernova” and “Extraordinary,” there was something reserved about her oldies performance. Prim in leather pants and accent jacket, she played the cool aunt, but not so much that she ever broke a sweat. In front of a largely generic four piece band that received only cursory intros, she not only had her guitar tech adorn her with each song’s instrument, he had to plug her in as well.

The set decor was top to bottom fake topiary, presumably owing to the “Amps on the Lawn Tour” theme. But plastic nature only helped underscore the lack of real grit in the performance.

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UK Artist of the Week: Humble Braggers

Get ready to get ethereal with Humble Braggers. Our latest Artist of the Week’s new EP “Cycles” is all sorts of majestic and undeniably addictive, so prepare yourselves.

If you’re a fan of ’80s inspired synths, celestial vocals, and pulsating drum beats, then look no further, because Humble Braggers are the band for you. Their latest EP “Cycles” is absolutely oozing with addictive soundscapes from the offset.

Previously released single “Reckless” and “Am I Okay” are obviously stand out tracks, but this really is an EP you can enjoy from start to finish. Frontman Tom Burtless’ glistening vocals remind us instantly of Tame Impala’s Kevin Parker but with a poppier edge, making the sound completely his own. Fans of Empire of The Sun and Passion Pit will also feel at home here.

This Buffalo-based quartet are certainly making waves for all the right reasons and we can’t wait to see where they go from here.

“Cycle” is in stores now via Admirable Traits.

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Graded on a Curve: Charalambides,
Tom and Christina Carter

Houston’s Charalambides have amassed over thirty full-length releases since 1993, with their output (a large hunk on vinyl) navigating the realms of acid-folk, psych-rock, and improvisation. It’s a significant accumulation of sound, but newcomers shouldn’t be flummoxed over when and how to jump in, as there is no better time than now through their latest; it’s out October 12 via Drawing Room Records. Charalambides has trio incarnations in their history, but the title of the new one gets right at their enduring reality as a duo: Tom and Christina Carter. With six tracks spread across four sides of vinyl, the byproduct of their union is exploratory, at times gentle and distant but intense and never unfocused.

The genres of acid-folk and psych-rock cover a lot of territory, so it’s worth adding that the mention of improv in the paragraph above (all three terms borrowed from the autobiographical description on their Bandcamp page, where they’ve attached the phrase “outer limits”) establishes an undeniable rigor, even as the music on their latest (and as its title expresses, a good representation of their discography as a whole) isn’t antagonistic or abrasive in nature.

A good litmus test for receptiveness to Charalambides would be how a listener feels about Jandek (and with emphasis on the listening and not just an appreciation of the latter’s unusual backstory). Now, some will say that if a person doesn’t know Charalambides they are unlikely to know Jandek, but I disagree, as a documentary film has been made and book chapters have been written on the guy.

It’s not just the shared locale (Jandek hails from Houston). It’s not just that Heather Leigh, who is one of the two folks to have filled out the trio lineups of Charalambides (and also half of Scorces with Christina Carter) has played live and on record with Jandek. And it’s not just that on the 1995 compilation Drilling The Curve Charalambides covered Jandek’s “Variant.” But put all three instances together and you do have a worthwhile point of reference.

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In rotation: 10/9/18

The Yale Herald | On The Record: …Elm City Sounds opened its flagship store in Westville in August, and it’s already attracted an unexpected number of casual walk-ins — customers who aren’t collectors or experts, or even necessarily music buffs, but just dabbling. Chris Della Ragione, the shop’s owner, likes it that way. The shop sells “regular good music,” he says affectionately. “Marvin Gaye, Billie Holliday, Dylan, everyone loves that. Before I opened the shop, I was selling really rare [records].” He points to the records on the wall: Abdullah Ibrahim, Prince, and a slew of albums I’ve never heard of. He used to deal in “sample-based hip-hop, and crazy collector jazz, funk, soul, reggae… This was more on an international basis, because I would sell on eBay, and I would sell online to collectors.” Chris wipes down a record from the small stack in front of him while he’s explaining, and then he carefully tucks it back in its paper sleeve. You can’t call him a dabbler — but in the shop, he’s managed to foster eclecticism, without the snobbery.

Buxton, UK | Chesterfield record shop celebrates fifth birthday- and launch of its own music label: An independent record store ‘turning’ five this year is marking the milestone with the launch of its own music label which will attract and recognise talented Chesterfield artists. Tallbird Records, based on Soresby Street, has become a hub for music fans and musicians in the area since its launch in 2013- and hopes to further its success with the Tallbird record label. Owner Maria Harris says a loyal customer base, personable service and a generous loyalty card scheme is what has kept the indie thriving in a digital age—and she now hopes to give something back by investing in the town’s undiscovered artists. Maria said: “We’re proud of the town and keen to promote artists from Chesterfield and the surrounding area who’d like to advertise under our banner.

Wax Trax! documentary ‘Industrial Accident’ due out on DVD in April — plus a soundtrack: Fans at long last will be able to get their hands on a copy of the “Industrial Accident: The Story of Wax Trax! Records” documentary, as the film — and a much-anticipated soundtrack — will be released in April, according to an email sent today to the project’s Kickstarter backers. In that message, Julia Nash — daughter of late Wax Trax! co-founder Jim Nash — writes: “I can report with 100% certainty that we will be releasing both the DVD and the soundtrack in April of 2019. We have officially cleared the last of our commercial licensing hurdles. Just to be crystal clear, this isn’t ‘we’re working on it’ or ‘if everything goes as planned,’ or any other ambiguous language in case we run into obstacles. The soundtrack WILL be released in conjunction with the DVD next April.”

Coventry, UK | MUSIC MATTERS by Pete Chambers: My holy grail of records is here! It’s a special day as I write this and the man on the street who cares not about vinyl and record collecting may look away now. Those of you who like a spot of crate digging and cherish their record collecting will understand where I am coming from when I say I have found my holy grail of a record and my search is over. Yes, last Saturday, a package arrived and it contained a single 45 record that I have been wanting for the Music Museum for years and years. It’s the Belgium picture cover of The Orchids song ‘Love Hit Me’. I have the English, German and American release, but never this very rare copy that comes with a picture sleeve! Picture sleeves were standard in Europe in the 1960s but not in Britain.

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TVD Live Shots: Rise Against, AFI, and
Anti-Flag at the Concord Pavilion, 9/28

Rise Against’s two month “Mourning in Amerika Tour” spent two months spreading the word across the United States before wrapping up this past week. The Vinyl District caught up with the tour at the Concord Pavilion on a cool and breezy Fall Friday night for what proved to be a high-energy evening of music.

Anti-Flag kicked off the evening with an electric 40 minute set that got the crowd moving (and hopefully thinking). This is a band that consistently delivers highly energetic and thought-provoking sets and, even though in the opening slot, showed no indication or interest in phoning it in.

Next up, AFI Hailing from Northern California, these guys are considered a local band and their diehard fans crammed the rail for their set. Let’s face it, A.F.I. doesn’t play here (or anywhere else for that matter) frequently so the anticipation was high and A.F.I. did not disappoint. It didn’t matter how long A.F.I. was going to play, it was never going to be enough but the hour-long set sounded top-notch and was full of energy from every member of the band and the fans lost their shit for every note of it, especially “Sacrifice Theory,” apparently a special song request by Joe Principe of Rise Against.

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TVD Radar: Creedence Clearwater Revival 7-LP deluxe box set in stores 11/30

VIA PRESS RELEASE | The arrival of Creedence Clearwater Revival’s 50th anniversary brings an unprecedented celebration of everything the band contributed in their short but startlingly epochal time together (1968–1972). To commemorate this milestone, Craft Recordings is releasing a deluxe box set comprising the band’s complete seven-album studio output: Creedence Clearwater Revival, Bayou Country, Green River, Willy and the Poor Boys, Cosmo’s Factory, Pendulum and Mardi Gras.

Each album in this collection has been mastered at half-speed at Abbey Road Studios, benefiting from an exacting process that allows for an exceptional level of sonic clarity and punch, bringing these classic recordings a new vibrancy. The 180-gram LPs come housed in handsome tip-on jackets replicating the packaging of the original pressings. Along with the complete studio album collection comes an 80-page book featuring new liner notes from music journalist Roy Trakin, archival photos, and reproductions of band ephemera—offering something for both new and the most diehard of Creedence fans.

Using high-res transfers from the original analog tapes, the half-speed mastering process involves playing back audio at half its recorded speed while the cutting lathe is turned at half the desired playback speed. The technique allows more time to cut a micro-precise groove, allowing more accuracy with frequency extremes and dynamic contrasts. Abbey Road Studios’ award-winning engineer Miles Showell explains, “I’ve tried to be as authentic as I could, and just make it sound like music. Not over-hyped, not over-processed. Up until now a lot of processing has been done on these recordings, so my approach was to strip them right back and just expose them for what they are—because what they are is great music.”

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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