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Its Love - Kings Verses - Kings Verses (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac

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Oct 20,  · King verses should have been serious concurents to bands like Love if their album went released. One of my favorite album in the (my) 60's garage/punks lp collection. Reply Notify me Helpful5/5(2). Nov 11,  · Kings Verses [Vinyl] LP (12" album, 33 rpm) Kings Verses Format: Vinyl. See all 3 formats and editions Hide other formats and editions. Listen Now with Amazon Music: Our BeatRocket Fresno motherlode is about to yield a world class nugget: the Kings Verses. A fuzz-drenched combination of early Arthur Lee & Love and the 13th Floor. In , Fresno CA band the Kings Verses went into the studio to cut the 10 tracks that make up the bulk of this special LP release. What could have been a fine mid 60s garage LP ended up in the can for what seemed like an eternity. The good folks at BeatRocket took it upon themselves to release these excellent recordings on vinyl/MP3.

I own multiple copies of split, tri-colored and quad-colored vinyl and if you listen to those LPs with head phones on you can tell the difference in surface noise. Especially if one of the sections is black. Also I find it irritating that when some artists release an LP there can be up to 10 different variations of the release!

Annoying AF! I always buy the black version for my play copy and leave the other variation just to look at occasionally. I have found though that there are some really good quality colored vinyl out there and it seems to be the gram and above that sound the best. Also picture discs have improved a lot since the glory days when picture discs were all the rage.

I experiencing a lot more warping, rough edges, particles in the grooves and kinked inserts and inner sleeves. Sure there was warping back Its Love - Kings Verses - Kings Verses (Vinyl too but usually on popular releases that would sell a lot of units and they packed and shipped them quickly before they completely cooled from the pressing process. Frampton Comes Alive comes to mind. Love all the comments on this informative article. For those that say record companies always punched out label centers before melting down old vinyl to make new vinyl pressing ….

Not sure if anyone out there knows something about this, but i have recently found that colored vinyl and other variants arrive warped FAR more often than black wax. Not blaming the record companies, just the colored vinyls… any thoughts? The labels were punched out before the vinyl was ground up and melted down. Sometimes a bit of label would get in with the vinyl if the label were originally off-center, Its Love - Kings Verses - Kings Verses (Vinyl, for examplebut that was pretty rare.

Vinyl is the ultimate historical musical artifact. Everything about the vinyl should feel like it represents what the music is about. Not going to lie. I will sacrifice slighty better sound quality for an artifact that has history ingrained in it ie. The sound difference between black vinyl and colored vinyl is really not that discernible. Sometimes you would see pieces of the old labels in the vinyl. They could cause clicks, pops, skips, etc.

The purer the vinyl virgin yes even blackthe more light would show through. Colored vinyl is nice. Almost exclusively classical music targeting people who wanted high quality sound. Pressing and mastering are much more significant than the color of the vinyl. I have nothing against colored vinyl as long as these two jobs are done well. When buying a second hand record, colored vinyls are a minefield. You cannot reflect light and see the possible defects as well as black vinyl.

The worst in this case are the clear vinyls. Even the sleeves were better quality. Flip back garrod and loft house for example. After that they charged a premium for deluxe. It really just depends on the particular pressing.

And on a side note: nothing beats the look of a well made splatter vinyl! Just my two cents :. Anyway, has it been proven that colored vinyl has inferior fidelity compared to black? Has it been established that the carbon black makes for a better pressing substrate? Go colored vinyl, go picture discs!

Having worked in multiple pressing plants and for multiple record labels, I can say that colored vinyl can sound just the same as black. Most all colored vinyl is pressed after the full run of black vinyl and occur on worn-out stampers.

The current backlogs for every step in the vinyl record process makes for sloppy or non-existent quality control — these problems of haste equally afflict all vinyl colors. I just go for a version with the best price. For example, you can find a barely-played 60s pressing of the soundtrack for a couple bucks…and often in dollar bins.

Why do I need an expensive colored repress?! Thanks for letting people know! Some really low-grade vinyl sometimes looks brown but is actually black because the wax is so thin you can see through it. In the end, it goes what people want. As a vinyl junkie and I can admit that. I like vinyl. I think coloured vinyl is great when it adds something to the understanding of the music or what the artist is trying to convey. When done thoughtfully and well, clever packaging and coloured vinyl can actually enhance the music and therefore the listening experience as a whole.

So 2 pops with every spin …. Even the most pristine black vinyl cannot represent the music as accurately as can high-resolution digital. Part of the fun for me is tracking down limited pressings, preferably on colored vinyl which I feel enhances the artistic design of the entire package and increases my enjoyment.

To my knowledge, vinyl was changed to black to conceal the blemishes of the raw PVC. Whatever the reason, black is the standard to which median prices can generally be set whether it starts that way or not. Which more or less proves your point that color makes zero difference. Do you have an example of a record being colored and it not being mentioned on the sleeve? Vinyl is supposed to be black! At least give me the choice of not buying it!

I hate it especially when the coloured vinyl makes no sense in terms of design. The White Album on blue vinyl. That kind of thing. Some indielabels have really nice designs where the colored vinyl is beautifully intergrated with the artwork on the sleeve. Although I would still prefer black if it is availabe.

Great read. Clear vinyl should always be cheaper than black and colors, yet it often gets priced higher in stores, and often this is paired with smaller pressing numbers. This highlights the real reason pricing pressings on Discogs is crapshoot:.

Prior to this resurgence, perhaps you can justify talking as if most buyers were educated on this point. The issue is marketing and the ignorance of vinyl buyers brought in on the resurgence wave. People are getting marketed out of more money for absolutely no reason. Color has zero to do with it anymore. For some, the gimmick is the best part, and fair enough.

I recommend googling the subject, there are many vinyl manufacturers online that will literally grade the typical degradation in sound by their color.

Personally, I rip all of my vinyl using a certain turntable with a certain head cartridge with a certain tone arm and a certain platter using a certain pre-amp. Do you listen to vinyl rips on Flac? Or do you like any Flac compression? It was mentioned by another user earlier that all colors are dependent upon the quality of the pressing as well, so your argument may reflect this.

Even black vinyl can sound like crap if not pressed correctly. It definitely seems a large number of these colored variants get bought in quantity so sellers can then flip them for a higher price.

Thanks for those examples, those are awesome. It ceases to be about the music and becomes a race to just collect stuff. Oh boy. I can understand that black vinyl would have less noise then colored or picture discs. But records for me are a fun way of listening to music, which is why I still buy and play them. If you want to buy black, then buy black. If you want a little color, then go for the colors. I therefore cannot comment on the quality.

It just never seemed important to me, though to seek a different color. The colored vinyl phenomena is most certainly gimmickry. However, it happens to be gimmickry I love. Besides, most music is produced digitally now anyways which relates back to my first point. Buying records is not merely a listening experience, but also an exercise in collecting.

The beauty of the artifact is as much a part of a record as the content. I love beauty. I love beautiful music, beautiful people, and beautiful objects. Colored editions are not my exclusive choice every time, but they are fun when available.

Music is an experience and trying to collect experiences in a physical form is silly. Yet we do it obsessively. If you enjoy what you are doing, you might as well have fun. Given the degradation in quality of black pellets in the last 20 years, perhaps the colored variants are now on-par?

I own a few coloured vinyl but I prefer black; it just feels like the real deal to me. Then you get to the point of ridiculousness with albums like [m] — if the numbers on discogs are to be believed copies on vinyl are in existence — are picture discs; a whopping on various colours and patterns and only on black!

I completely disagree that it sounds inferior. That said I agree with your point that it seems that people care less about the music and more about the variant. People can do whatever they want with their money, but it seems that newer collectors are also looking at it as more of an investment than about the music as well.

I have a mix of black and coloured vinyl. I love both. I hear no difference between them at all. Most of my more expensive coloured ones have been awesome presents actually. This kind of loses out on the significant indie scene of previous decades, at least, where some bands chose to do it themselves—though, admittedly, plenty of them had a similar attitude themselves and found it a gimmick.

As far as i know singles were colored by genre in the early days green colored country singles come to mind which then stopped because it became to pricy as more and more genres became popular.

I see it as a part of the art form, the package, the message or whatever you want to call it. Sometimes you get just a random color and then i decide if i like the color or not. More pressings before i buy it are interesting to me because i can choose and maybe get cheap versions of albums i had overlooked for a long time.

Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s. Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces 1. By mid all motion picture studios were recording on optical soundtracksbut sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as for distribution to theaters still equipped with disc-only sound projectors.

The desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. Some transcriptions were, like soundtrack discs, pressed with the commencement at the center of the disc and the needle moving outward in the era of shellac pressings and steel needles, needle wear considerations dictated an 'inside start' for such a long recording ; conversely, some commenced at the edge. Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next.

Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence.

Instead of a three-disc set having the 1—2, 3—4 and 5—6 manual sequence, or the 1—6, 2—5 and 3—4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1—4, 2—5 and 3—6.

Some transcriptions were recorded with a vertically modulated "hill and dale" groove. This was found to allow deeper bass because turntable rumble was laterally modulated in early radio station turntables and also an extension of the high-end frequency response. Neither of these was necessarily a great advantage in practice because of the limitations of AM broadcasting. Today we can enjoy the benefits of those higher-fidelity recordings, even if the original radio audiences could not.

Initially, transcription discs were pressed only in shellac, but by pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. In the late s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but inch vinyl pressings continued to be used into the early s for non-network distribution of prerecorded programming.

Use of the LP's microgroove standard began in the late s, and in the s the size of discs was reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.

Unless the quantity required was very small, pressed discs were a more economical medium for distributing high-quality audio than tape, and CD mastering was, in the early years of that technology, very expensive, so the use of LP-format transcription discs continued into the s. RCA Victor introduced an early version of a long-playing record for home use in September They were to be played with a special "Chromium Orange" chrome-plated steel needle.

The inch discs, mostly used for popular and light classical music, were normally pressed in shellac, but the inch discs, mostly used for "serious" classical music, were normally pressed in Victor's new vinyl-based Victrolac compound, which provided a much quieter playing surface. They could hold up to 15 minutes per side. Beethoven's Fifth Symphonyperformed by the Philadelphia Orchestra under Leopold Stokowskiwas the first inch recording issued.

The New York Times wrote, "What we were not prepared for was the quality of reproduction Unfortunately for Victor, it was downhill from there. The dubs were audibly inferior to the original 78s. Record sales in the US had dropped from a high of Except for a few recordings of background music for funeral parlors, the last of the issued titles had been purged from the company's record catalog by the end of the decade. The failure of the new product left RCA Victor with a low opinion of the prospects for any sort of long-playing record, influencing product development decisions during the coming decade.

CBS Laboratories head research scientist Peter Goldmark led Columbia's team to develop a phonograph record that would hold at least 20 minutes per side. Research began inwas suspended during World War II, and then resumed in All inch pressings were of grams vinyl. Columbia may have planned for the Bach album ML to be the first since the releases came in alphabetical order by composer. There is also a CD of this album on the market. When the LP was introduced inthe 78 was the conventional format for phonograph records.

By78s still accounted for slightly more than half of the units sold in the United States, and just under half of the dollar sales. Canada and the UK continued production intowhile India, the Philippines, and South Africa produced 78s untilwith the last holdout, Argentina, continuing until The popularity of the LP ushered in the " Album Era " of English-language popular music, beginning in the s, as performers took advantage of the longer playing time to create coherent themes or concept albums.

But for the '70s it will remain the basic musical unit, and that's OK with me. Although the popularity of LPs began to decline in the late s with the advent of Compact Cassettesand later compact discsthe LP survives as a format to the present day.

Vinyl LP records enjoyed a resurgence in the early s. It was introduced by RCA Victor in To compete with the LP, boxed albums of 45s were issued, along with EP extended play 45s, which squeezed two or even three selections onto each side. Despite these efforts, the 45 succeeded only in replacing the 78 as the format for singles.

This series was labeled AP-1 through about AP, pressed on grainless red vinyl. Today AP-1 through AP-5 are very scarce. By very tightly packing the fine groove, a playing time of 17 minutes per side was achieved. Reel-to-reel magnetic tape recorders posed a new challenge to the LP in the s, but the higher cost of pre-recorded tapes was one of several factors that confined tape to a niche market.

Cartridge and cassette tapes were more convenient and less expensive than reel-to-reel tapes, and they became popular for use in automobiles beginning in the mids. However, the LP was not seriously challenged as the primary medium for listening to recorded music at home until the s, when the audio quality of the cassette was greatly improved by better tape formulations and noise-reduction systems.

Bycassettes were outselling LPs in the US. The Compact Disc CD was introduced in It offered a recording that was, theoretically, completely noiseless and not audibly degraded by repeated playing or slight scuffs and scratches.

At first, the much higher prices of CDs and CD players limited their target market to affluent early adopters and audiophiles ; but prices came down, and by CDs outsold LPs. The CD became the top-selling format, over cassettes, in Along with phonograph records in other formats, some of which were made of other materials, LPs are now widely referred to simply as "vinyl".

Since the late s there has been a vinyl revival. Soundtracks — played on records synchronized to movie projectors in theatres — could not fit onto the mere five minutes per side that 78s offered. When initially introduced, inch LPs played for a maximum of about 23 minutes per side, inchers for around It wasn't until "microgroove" was developed by Columbia Records in that Long Players LPs reached their maximum playtime, which has continued to modern times.

Economics and tastes initially determined which kind of music was available on each format. Recording company executives believed upscale classical music fans would be eager to hear a Beethoven symphony or a Mozart concerto without having to flip over multiple, four-minute-per-side 78s, and that pop music fans, who were used to listening to one song at a time, would find the shorter time of the inch LP sufficient.

As a result, the inch format was reserved solely for higher-priced classical recordings and Broadway shows. Popular music continued to appear only on inch records. Their beliefs were wrong. By the mids, the inch LP, like its similarly sized 78 rpm cousin, would lose the format war and be discontinued. Ten-inch records briefly reappeared as mini-LPs in the late s and early s in the United States and Australia as a marketing alternative.

InColumbia Records introduced "extended-play" LPs that played for as long as 52 minutes, or 26 minutes per side. The minute playing time remained rare, however, because of mastering limitations, and most LPs continued to be issued with a to minute playing time. A small number of albums exceeded the minute limit. These records had to be cut with much narrower spacing between the grooves, which allowed for a smaller dynamic range on the records, and meant that playing the record with a worn needle could damage the record.

It also resulted in a much quieter sound. Spoken word and comedy albums require a smaller dynamic range compared to musical records. Therefore, they can be cut with narrower spaces between the grooves. Turntables called record changers could play records stacked vertically on a spindle. This arrangement encouraged the production of multiple-record sets in automatic sequence.

A two-record set had Side 1 and Side 4 on one record, and Side 2 and Side 3 on the Album), so the first two sides could play in a changer without the listener's intervention. Then the stack was flipped over. Larger boxed sets used appropriate automatic sequencing 1—8, 2—7, 3—6, 4—5 to allow continuous playback, but this created difficulties when searching for an individual track.

Vinyl records are vulnerable to dust, heat warping, scuffs, and scratches. Dust in the groove is usually heard as noise and may be ground into the vinyl by the passing stylus, causing lasting damage. A warp can cause a regular "wow" or fluctuation of musical pitch, and if substantial it can make a record physically unplayable.

A scuff will be heard as a swishing sound. A scratch will create an audible tick or pop once each revolution when the stylus encounters it. A deep scratch can throw the stylus out of the groove; if it jumps to a place farther inward, part of the recording is skipped; if it jumps outward to a part of the groove it just finished playing, it can get stuck in an infinite loopplaying the same bit over and over until someone stops it.

This last type of mishap, which in the era of brittle shellac records was more commonly caused by a Its Love - Kings Verses - Kings Verses (Vinyl, spawned the simile "like a broken record" to refer to annoying and seemingly endless repetition.

Records used in radio stations can suffer cue burnwhich results from disc jockeys placing the needle at the beginning of a track, turning the record back and forth to find the exact start of the music, then backing up about a quarter turn, so that when it is released the music will start immediately after the fraction of a second needed for the disc to come up to full speed.

When this is done repeatedly, the affected part of the groove is heavily worn and a hissing sound will be noticeable at the start of the track.

The process of playing a vinyl record with a stylus is by its very nature to some degree a destructive process. Wear to either the stylus or the vinyl results in diminished sound quality. Record wear can be reduced to virtual insignificance, however, by the use of a high-quality, correctly adjusted turntable and tonearm, a high-compliance magnetic cartridge with a high-end stylus in good condition, and careful record handling, with non-abrasive removal of dust before playing and other cleaning if necessary.

The average tangential needle speed relative to the disc surface is approximately 1 mile per hour 1. It travels fastest on the outside edge, unlike audio CDs, which change their speed of rotation to provide constant linear velocity CLV. By contrast, CDs play from the inner radius outward, the reverse of phonograph records. The cutting stylus unavoidably transferred some of the subsequent groove wall's impulse signal into the previous groove wall.

It was discernible by some listeners throughout certain recordings but a quiet passage followed by a loud sound would allow anyone to hear a faint pre-echo of the loud Its Love - Kings Verses - Kings Verses (Vinyl occurring 1.

Pre- and post-echo can be avoided by the use of direct metal mastering. The first LP records introduced used fixed pitch grooves just like their 78 predecessors. The use of magnetic tape for the production of the master recordings allowed the LP of variable pitch grooves. The magnetic tape reproducer used to transfer the recording to the master disc was equipped with an auxiliary playback head positioned ahead of the main head by a distance equal to one revolution of the disc.

The sole purpose of this head was to monitor the amplitude of the recording. If the sound level from both the auxiliary and main magnetic heads was loud, the cutting head on the disc recording lathe was driven at its normal speed.

Oct 20,  · referencing Kings Verses, LP, Album, Mono, BR Very worth never issued before album by a good 60's garage band. Sound excellent, and, much rare to be pointed out: /5(12). View credits, reviews, tracks and shop for the Vinyl release of Are Here on Discogs. The Kings Verses did not last long enough to put out a record. However they did record some demos. In these demos, along with two live songs from the KYNO Battle of the Bands in Fresno, were released into the compilation Kings Verses.

The LP (from "long playing" or "long play") is an analog sound storage medium, a phonograph record format characterized by a speed of 33 1 ⁄ 3 rpm, a or inch ( or cm) diameter, and use of the "microgroove" groove faharderimarneusobisecocontge.couced by Columbia in , it was soon adopted as a new standard by the entire record industry. Apart from a few relatively minor refinements and the.

View credits, reviews, tracks and shop for the Vinyl release of The Kings IV At Large on Discogs. Label: United Artists Records - UAL • Format: Vinyl LP, Album • Country: US • Genre: Jazz, Rock, Funk / Soul, Pop • Style: Rhythm & Blues, Vocal. The LP (from "long playing" or "long play") is an analog sound storage medium, a phonograph record format characterized by a speed of 33 1 ⁄ 3 rpm, a or inch ( or cm) diameter, and use of the "microgroove" groove faharderimarneusobisecocontge.couced by Columbia in , it was soon adopted as a new standard by the entire record industry. Apart from a few relatively minor refinements and the.

Sometimes, foreign pressings may have different titles, or different covers from the more common versions from the U.S. or UK. On other occasions, record companies in other countries may choose to press albums on colored vinyl. Many albums from Japan from the late s through the early s were pressed on dark red vinyl.

Sometimes, foreign pressings may have different titles, or different covers from the more common versions from the U.S. or UK. On other occasions, record companies in other countries may choose to press albums on colored vinyl. Many albums from Japan from the late s through the early s were pressed on dark red vinyl. We agree: it just sounds better on vinyl. Build or expand your collection with popular pre-orders, new releases, and best-selling vinyl. Explore our selection of records by price point, by genre & more.

We agree: it just sounds better on vinyl. Build or expand your collection with popular pre-orders, new releases, and best-selling vinyl. Explore our selection of records by price point, by genre & more.


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  1. Apr 08,  · All tracks recorded The first 10 tracks are unreleased studio recordings. B5 and B6 were recorded live at KYNO Battle Of The Bands - ' This is a reissue of the original LP, from no earlier than , which was the year Wes Garland started working at Nashville Record Productions ("WG/NRP" in the runout area)/5(10).
  2. Oct 20,  · King verses should have been serious concurents to bands like Love if their album went released. One of my favorite album in the (my) 60's garage/punks lp collection. Reply Notify me Helpful5/5(2).
  3. Nov 11,  · Kings Verses [Vinyl] LP (12" album, 33 rpm) Kings Verses Format: Vinyl. See all 3 formats and editions Hide other formats and editions. Listen Now with Amazon Music: Our BeatRocket Fresno motherlode is about to yield a world class nugget: the Kings Verses. A fuzz-drenched combination of early Arthur Lee & Love and the 13th Floor.
  4. In , Fresno CA band the Kings Verses went into the studio to cut the 10 tracks that make up the bulk of this special LP release. What could have been a fine mid 60s garage LP ended up in the can for what seemed like an eternity. The good folks at BeatRocket took it upon themselves to release these excellent recordings on vinyl/MP3.
  5. Oct 20,  · referencing Kings Verses, LP, Album, Mono, BR Very worth never issued before album by a good 60's garage band. Sound excellent, and, much rare to be pointed out: /5(12).
  6. The Kings Verses did not last long enough to put out a record. However they did record some demos. In these demos, along with two live songs from the KYNO Battle of the Bands in Fresno, were released into the compilation Kings Verses.
  7. View credits, reviews, tracks and shop for the Vinyl release of The Kings IV At Large on Discogs. Label: United Artists Records - UAL • Format: Vinyl LP, Album • Country: US • Genre: Jazz, Rock, Funk / Soul, Pop • Style: Rhythm & Blues, Vocal.