POZ RSD Preview: Our Must Have Vinyl Grabs
Record Store Day arrives on this Saturday, April 19th. Our wallets may not be ready, but our hearts certainly are. There are a great amount of releases coming out this year for the music holiday (around 500), and we wanted to start a Discussion on the records that PropertyOfZack members are looking forward to most. Check out our list below and feel free to reblog with some of your most anticipated Record Store Day releases!
fun. - Point & Light
We’re currently living in a world where there will never again be more people that have heard of The Format than fun. Some people have trouble dealing with that, but it has never not filled me with joy. Seeing three individuals (and hey, Will Noon too!) travel the world and hang out with Barack Obama at special events is a victory our community should never forget about.
However, that doesn’t mean I no longer cherish those smaller times between The Format and Steel Train’s end and that interesting period where fun. was opening up for artists like Jack’s Mannequin and Manchester Orchestra. Point & Light, a Record Store Day release that features demos from Aim & Ignite, makes me excited to think about that time again and to know the band hasn’t forgotten about it either. - Zack Zarrillo
Bayside - Time Has Come
Bayside killed it on Cult, their newest album and Hopeless Records debut. It’s easily one of the best releases so far this year, and stands out in the band’s already impressive discography. So it comes as no surprise that Bayside is keeping the momentum going this Record Store Day with a 7” featuring exultant single “Time Has Come” and a brand new exclusive track titled “Indiana.” Super limited and sure to sell out quickly, any Bayside fan would be crazy not to hunt this one down. - Becky Kovach
Jay-Z / Linkin Park - Collision Course
I ordered a frappuccino, where’s my fucking frappuccino?
Such begins the masterpiece that is Collision Course, a glorious, sparkling clusterfuck of a six-song album recorded and released by Jay-Z and Linkin Park under the guidance of MTV’s old “Ultimate Mash-Ups” feature. Here’s the thing about the mid-2000s, often referred to as The Lost Years by ME, since I was a terrible middle-schooler, mash-ups were very common and some of them were fantastic. For proof, I offer this and tell you that if you need more proof then get lost, loser. (P.S., this is a weird thing to read in 2014.)
But Collision Course isn’t a normal mash-up record, it’s much more special. Jay-Z and LP’s Mike Shinoda decided they weren’t content with how the mash-ups were sounding by simply remixing the audio files, so they got everyone in a studio and actually re-recorded instrumental portions and vocal tracks just for this one-off release. It only took them four days to do it in the studio because dopeness came easy in 2004. It’s also awesome because the songs end up with a “live” feel because they didn’t cut random comments out of the beginning / end of songs. LP and Jay-Z performed shows together as well to support the release. This is truly something thatonly could have happened in 2004, and we better be damn happy that it did, because there was no way that the stars would ever align for this again.
I am a very big proponent of this release and my Twitter account proves it, but I am too lazy to look up links to old tweets. It identifies a special portion of time when CDs were still selling well (Collision Course has sold over fucking 5 million copies worldwide, I mean holy shit) and when major labels were perhaps a little more willing to let weird shit go down. Napster was also a very big deal, which I am reminded of today, because my friend burned me a copy of his illegal download and he accidentally downloaded the CLEAN VERSION OF THIS THING and I still have all the curse words faded out of the version in my iTunes.
Collision Course is also one of the most obvious and famous points of collaboration between a major rock band (rap-rock, nu-metal, whatever man) and a major,major rapper. I am a huge supporter of today’s punk and emo community, but one thing that mainstream EDM and hip-hop have over this scene is the collaborations they do. At any given moment, an immensely talented up-and-coming rapper can get into a studio with someone’s favorite DJ and they bust out a collab song in 24 hours. That doesn’t happen in the punk and emo world, and to some extent that makes sense and is understandable. But from a fan’s perspective, imagine how cool and weird it would be to hear The Wonder Years and Into It. Over It. record a random song together on Evan Weiss’ off day in Philadelphia. You’d buy that 7” single.