Gotta Groove Records

Gotta Groove Records

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Bandcamp Waives Revenue Sharing for 24 Hours on March 20

Image result for bandcamp logo

The Covid-19 pandemic is in full force, and artists have been hit especially hard as tours and shows are being canceled for the foreseeable future. With such a major revenue stream drying up almost entirely, finding ways to continue supporting artists in the coming months is now an urgent priority for anyone who cares about music and the artists who create it. The good news is that we’re already seeing many fans going above and beyond to support artists across Bandcamp.

To raise even more awareness around the pandemic’s impact on musicians everywhere, Bandcamp is waiving their revenue share on sales today (Friday, March 20th, from midnight to midnight Pacific Time), and rallying the Bandcamp community to put much needed money directly into artists’ pockets.

For many artists, a single day of boosted sales can mean the difference between being able to pay rent or not. Still, we consider this just a starting point. Musicians will continue to feel the effects of lost touring income for many months to come, so we’re also sharing some ideas below on how fans can support the artists they love and how artists can give fans new, creative ways to provide support.

Of course, it is clear that plenty of music fans are also seeing their livelihoods disrupted by this virus, but if you’re lucky enough to be in a position to spare some funds (or find yourself in that position in the coming months), please consider sharing your good fortune by buying music and merchandise directly from artists on Bandcamp. Today, Bandcamp’s share of sales will also go to the artists and labels you choose to support, and as always, it will reach them in 24-48 hours.

The Big Lonesome — Payphones and Ashtrays

Image result for the big lonesome PAYPHONES AND ASHTRAYS

If Dinosaur Jr. wrote an album with Wilco, you’d get the alt-rock, americana, shoegaze cocktail that is Boston’s own, The Big Lonesome. The Gosselin brothers, Chad (guitar/vocals) and Luke (guitar/lap steel/vocals) along with bassist Seth Kellogg, and drummer Linecker de Silva team up again with New England Music Award Producer of the year, Sean McLaughlin, (Rush, Elliott Smith, Death Row Records) to release their third album – Payphones and Ashtrays. After a national tour in the spring of 2019 with San Antonio’s Ila Minori to celebrate the launch of their new music collective, Dream Coast, along with Jack Oats (Detroit) and Jesse W. Johnson (Chicago), The Big Lonesome continues their upward momentum with the release of this new full length album in the summer of 2020.

Introducing Penrose Records – Proudly Pressed At Gotta Groove

Founded by Daptone Records’ own Bosco Mann after building a new recording studio in his hometown of Riverside, California, Penrose Records will showcase the most exciting acts emerging on the blossoming SoCal souldies scene today. For its inaugural release, the label offers up five singles by five exciting new artists: Thee Sacred Souls from San Diego; Jason Joshua from Miami; East L.A. mainstays Thee Sinseers, and The Altons; and Altadena veterans, Los Yesterdays.

All five 45s + digital compilation will be available April 10th.

Thee Sacred Souls
Thee Sacred Souls “Can I Call You Rose?” / “Weak For Your Love”

What better way to christen Daptone’s fledgling imprint Penrose Records than with “Can I Call You Rose?,” a sumptuous and serendipitously titled mid-tempo premier by San Diego’s blossoming young soul serenaders, Thee Sacred Souls. Stepping off the stage after their very first club date, Josh, Sal, and Alex were tugged aside by producer Bosco Mann whose seasoned ears had been tickled by their set. Backs were patted, hands were shook, and three days later heads were bobbing in Mann’s Riverside studio, as the Souls laid their first notes to tape. 
Thee Sinseers
Thee Sinseers “Seems Like” / Instrumental

As one of the most popular groups on today’s So-Cal soul scene, Thee Sinseers need little introduction. Their performance of “Seems Like” live at the Recordium went viral to the tune of over a million views, making them thee in-demand group for souldies parties up and down the coast. When asked what song they wanted to cut for their Penrose session, singer, songwriter, and man-who-can-play-any-instrument, Joey Quiñones didn’t hesitate to answer, “We need a proper recording of that song.” And so it was done. In the candle-lit studio, the band delivered unto us a starkly intimate rendition, stripping the tune down to its underthings, and laying bare Joe Q’s euphonious exhortations.
Jason Joshua
Jason Joshua & the Penrose Scholars “Language of Love” / “La Vida Es Fría”

Since exploding onto the scene with his debut 45, “Rosegold” and it’s anthemic follow-up, “I Don’t Care,” Jason Joshua has built a dedicated following for his distinctive latin-soul sound and his notoriously titillating live performances. Following a string of homegrown Miami recordings with the Beholders on his own Mango Hill Records, Jason hopped the plane to Riverside to gather the Penrose Scholars for a session with his friend Bosco Mann, where he was eager to prove that just like a record, there’s more than one side to a man.
The Altons
The Altons  “When You Go (That’s When You’ll Know)” / “Over and Over”

Though Bryan Ponce and Adriana Flores share the stage with Joey Q as part of the East LA souldies outfit Thee Sinseers, they really step into the spotlight with The Altons, a group they themselves founded along with drummer Caitlin Moss and bassist Gabriel Maldonado . On this their debut single on Penrose, Bryan sings the lead with a smoky-sweet falsetto that bends tenderly from growl to howl and back again. The group takes a turn through a classic Miracles-style mid-tempo groove on the A-side, leaving you helplessly addicted to their sweet eponymous refrain, When you go that’s when you’ll know… Watch the video for “When You Go (That’s When You’ll Know)”.
Los Yesterdays
Los Yesterdays “Tell Me I’m Dreaming” / “Time”

Los Yesterdays originated in an Altadena garage when Gabriel Rowland teamed up with his old friend Victor Benavides. Rowland, a long time drummer and eccentric creator of multitudinous soulful things, took charge of recording as well as playing all the instruments, while Benavides wrote and cut vocals. The project pretty much stayed in their garage for a few years until a mutual connection brought them to the attention of Tom Brenneck and Gabe Roth, who both dug the songs and offered to join in on guitar and bass respectively so that the duo might be able to perform their music live. The four soon found a handful of gigs behind them and a Penrose recording date in front of them. 
 



Parsonsfield — Happy Hour On The Floor

On April 3, 2020 acclaimed folk-rock quartet Parsonsfield will release their highly anticipated fifth release, Happy Hour On The Floor on Signature Sounds. Produced by multi-instrumentalist Benjamin Lazar Davis (Joan As A Police Woman, Okkervil River), Happy Hour On The Floor was recorded in a small barn over three weeks. It is both subdued and danceable, exploring the in-between moments in life.

Chris Freeman reflects, “We took some time off the road to analyze where we’ve been over the last five years of touring. We made ourselves fresh again, but with a whole new depth of experience in our pockets. We tracked almost the whole album on one microphone, one instrument at a time. We didn’t see ourselves as a folk band, an indie band or by any other label. In a bigger sense, this album is a story diving deep into ourselves and leaning on each other.” 

The Horace Tapscott Quintet — The Giant Is Awakened

The title of Horace Tapscott’s debut release is apt, if not self-referential, for indeed a giant of West Coast jazz had awakened with this, the pianist/composer/bandleader’s 1969 album for the Flying Dutchman label. Tapscott went on to form two groups crucial to the flowering of modern jazz in the Los Angeles area, the Pan Afrikan Peoples Arkestra (or P.A.P.A.; the name is an homage to Tapscott’s predecessor and peer, Sun Ra), which eventually became part of a larger umbrella organization, Union of God’s Musicians and Artists Ascension (UGMAA).

Out of UGMAA came a host of LA-bred musicians, singers, and poets, including Arthur Blythe (who goes by Black Arthur Blythe on this recording), Stanley Crouch (who wrote the original liner notes), David Murray, Butch Morris, Wilber Morris, Jimmy Woods, Nate Morgan, and Sinclair Greenwell, Jr. (a.k.a. Guido Sinclair).

Anchoring it all was Tapscott himself; as Kamasi Washington, whose vision of a large, Los Angeles community-based ensemble echoes that of P.A.P.A. and UGMAA, said in 2015: “Horace is one of the most important figures in the foundation of music in L.A., from both a purely musically and socially conscious perspective.”

Now, Real Gone Music is proud to present the first-ever LP reissue of The Giant Is Awakened (original copies go for hundreds of dollars), taken from high-resolution audio sources and complete with original gatefold artwork. A foundational document of West Coast modern jazz!

Freaked – Original Motion Picture Soundtrack

Freaked – Original Motion Picture Soundtrack 2XLP

Over 25 years in the making! Death Waltz Recording Co. is extremely proud to bring you both the score and the songs featured in Alex Winter and Tom Stern’s FREAKED – available for the first time in any format.

This 2XLP set features all new artwork from inventor of Strata-Cut clay animation David Daniels (who did the original, mind-melting opening credit sequence for the film) and features liner notes by directors Tom Stern and Alex Winter

Disc 1 features songs from the movie from the likes of Butthole Surfers, Blind Idiot God, Henry Rollins, Axiom Funk (George Clinton & Bill Laswell) and Iggy Pop.

Disc 2 features Kevin Kiner’s original score, which so good that it could easily rival any number of Amblin’s films from the ’80s. Kiner’s music is incredibly nuanced, yet playful and bombastic (in a good way) that it is a revelation when listened to independent of the film.

Available from Mondo.

Statement on Apollo/Transco Fire

We at GGR were saddened to learn of the fire that destroyed the Apollo/Transco manufacturing facilities on February 6, 2020.  The vinyl manufacturing industry is a relatively close-knit community.  We have had many dealings directly with Terry Carlson (president of Apollo/Transco Masters) over the years.  We hope that he, Apollo/Transco’s employees, as well as the many pressing plants and mastering providers around the world who relied predominantly upon Apollo/Transco will all weather this storm and successfully land on their feet.

How this situation affects Gotta Groove Records:

Gotta Groove Records provides lacquer mastering services – 12” orders are cut by Clint Holley and Dave Polster, and 7” orders are cut by Greg Reierson. 

  • GGR does not rely upon Apollo/Transco for master lacquers used in making 12” records.  Therefore, as of today, it does not appear that 12” orders will be affected by the Apollo/Transco fire. 
  • 7” orders will be affected to some degree – moving forward, all 7″ jobs cut by GGR’s lacquer engineers will need to be cut on the larger lacquers typically used for 12″ jobs.
  • Reference lacquers will be temporarily unavailable.  This applies to both 12” and 7” orders – the supply of reference lacquers, at least in the near future, will be disrupted.  In some situations, 12” customers will be offered the option to do test cut samples instead of reference lacquers. 

We will continue to provide updates on this matter, should anything materially change from the statements made above.  Of course, please feel free to contact us at either [email protected] or via phone at (800) 295-0171 if you have any specific questions.

We are devoted to the vinyl format, and will continue to do everything within our powers to make vinyl manufacturing as accessible and consistent as it can be to musicians, labels, and anyone else wanting to make a record.  We want to press your next record.  

KAINA — Next To The Sun

Next to the Sun

KAINA’s Next to the Sun was one of the VMP team’s favorite releases in 2019, as we loved the album’s dedications to KAINA’s native Chicago, and her family and the communities that raised her. Dripping in bright production and buoyed by her brighter voice, Next to the Sun is an album about soldiering on despite it all, and remembering to love who you are and where you came from.

For a limited time, you can obtain the Vinyl Me Please version of this album (pressed at Gotta Groove) on opaque blue vinyl.

John Moreland — LP5

Over the last half a dozen years or so, John Moreland’s honesty has stunned us––and stung. As he put hurts we didn’t even realize we had or shared into his songs, we sang along. And we felt better. But there has always been far more to Moreland than sad songs. Today, his earthbound poetry remains potent, but in addition to his world-weary candor, Moreland’s music smolders with gentle wisdom, flashes of wit and joy, and compassion. And once again, as we listen, we feel better.

“I can’t dress myself up and be some folk singer character that I’m not really,” Moreland says. “I figured, I can’t dress up these songs and try to sell them that way. All I can do is be me.”

Out February 2020, his latest album LP5 proves John Moreland has gotten really good at being John Moreland––thank God. A masterful display of songwriting by one of today’s best young practitioners of the art form, LP5 is Moreland’s finest record to date. The album’s experimentations with instrumentation and sounds capture an artist whose confidence has grown, all without abandoning the hardy roots rock bed and the lyrics-first approach Moreland’s work demands. “I feel like just this year, in the past few months, I’ve reached a point where I feel like I know what I’m doing here now,” he says. “And I feel comfortable with it.”

When pressed about the hard-won wisdom and peace that seem to define LP5, Moreland is characteristically both direct and humble. “I definitely am wiser than I was five years ago––I guess anybody would hope to be wiser than they were five years ago,” he says with a laugh. “But I do feel more mellow. Settled. I don’t feel as antsy or think I’ve got to prove myself anymore. I feel really comfortable and free to just do what I want to do.” 

Preorder now.

Whiskey Basterds — Redemption on Main St.

Whiskey Basterds’ debut album Redemption on Main St., is now available!  Written over the course of three years in Los Angeles, Santa Barbara, and Ojai, CA, it was produced by Ken Eros and April Theriault, recorded and mixed at Eros Creative and Sound, and mastered by Eric Boulanger at The Bakery.

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