FACTORY VINTAGE RECOMMENDED LISTENS...
Each month, we try to recommend 4 artists and their albums to you, our music-loving listener. These will be chosen based upon on our personal strict criteria. First and foremost, they are albums by artists that we feel comfortable advising you to spend your hard-earned money on. That doesn't mean that there are one or two good songs on them, but that these albums have desirable beats from beginning to end.

We have also selected these albums NOT because of a record company's agenda, but because we feel these are very good and will stand the test of time. And most importantly, we feel these should be heard not only at our shop but on your own radio.

Below you will find information about the artist, album reviews from some major music publications, as well as links to bios, multimedia and pictures, if available. Enjoy these albums and please let us know what you think.
Echo & The Bunnymen
REVIEWS
All Music
Stylus Magazine
The Guardian's
PopMatters
Pitchfork
Spin

ECHO & THE BUNNYMEN - Siberia

Echo & the Bunnymen's dark, swirling fusion of gloomy post-punk and Doors-inspired psychedelia brought the group a handful of British hits in the early '80s, while attracting a cult following in the United States.

The Bunnymen grew out of the Crucial Three, a late-'70s trio featuring vocalist Ian McCulloch, Pete Wylie, and Julian Cope. Cope and Wylie left the group by the end of 1977, forming the Teardrop Explodes and Wah!, respectively. McCulloch met guitarist Will Sergeant in the summer of 1978 and the pair began recording demos with a drum machine which the duo called "Echo." Adding bassist Les Pattinson, the band made its live debut at the Liverpool club Eric's at the end of 1978, calling itself Echo & the Bunnymen.

In March of 1979, the group released its first single, "Pictures on My Wall"/"Read It in Books," on the local Zoo record label. The single and their popular live performances led to a contract with Korova. After signing the contract, the group discarded the drum machine, adding drummer Pete de Freitas.

Released in the summer of 1980, their debut album, Crocodiles, reached number 17 on the U.K. charts. Shine So Hard, an EP released in the fall, became their first record to crack the U.K. Top 40. With the more ambitious and atmospheric Heaven Up Here (1981), the group began to gain momentum, thanks to positive reviews; it became their first U.K. Top Ten album. Two years later, Porcupine appeared, becoming the band's biggest hit (peaking at number two on the U.K. charts) and launching the Top Ten single "The Cutter."

"The Killing Moon" became the group's second Top Ten hit at the beginning of 1984, yet its follow-up, "Silver," didn't make it past number 30 when it was released in May. Ocean Rain was released that same month to great critical acclaim; peaking at number four in Britain, the record became the Bunnymen's first album to chart in the U.S. Top 100. The following year was a quiet one for the band as they released only one new song, "Bring on the Dancing Horses," which was included on the compilation Songs to Learn & Sing. De Freitas left the band at the start of 1986 and was replaced by former Haircut 100 drummer Mark Fox; by September, de Freitas rejoined the group.

Echo & the Bunnymen returned with new material in the summer of 1987, releasing the single "The Game" and a self-titled album. Echo & the Bunnymen became their biggest American hit, peaking at number 51; it was a success in England as well, reaching number four. However, the album indicated that the group was in a musical holding pattern. At the end of 1988, McCulloch left the band to pursue a solo career; the rest of the band decided to continue without the singer. Tragedy hit the band in the summer of 1989 when de Freitas was killed in an auto accident. McCulloch released his first solo album, Candleland, in the fall of 1989; it peaked at number 18 in the U.K. and number 159 in the U.S. Echo & the Bunnymen released Reverberation, their first album recorded without McCulloch, in 1990; it failed to make the charts. McCulloch released his second solo album, Mysterio, in 1992. Two years later, McCulloch and Sergeant formed Electrafixion, releasing their first album in 1995. In 1997, the duo reteamed with Pattinson to reform Echo & the Bunnymen, issuing the LP Evergreen. Two years later, they returned with What Are You Going to Do With Your Life? The new millennium brought Echo & the Bunnymen back to basics. The British press touted the band's storybook flair found on 1983's Ocean Rain and figured such spark would be found on their ninth album. Flowers, which reflected McCulloch's dark breezy vocals and Sergeant's signature hooks, was issued in spring 2001. Live in Liverpool, a concert disc capturing the band's two gigs at Liverpool of Performing Arts while on tour in support of Flowers, followed a year later. For 2005's Siberia, McCulloch and Sergeant joined produced Hugh Jones for the band's most classic effort since their 1997 comeback.


We Are Scientists
REVIEWS
Eonline
All Music
Pop Matter
PitchFork

MULTIMEDIA
Listen to "Nobody Move, Nobody Get Hurt"
Windows
Real
WE ARE SCIENTISTS - With Love and Squalor

Press for We Are Scientists seemingly can't exist without references to The Killers, The Strokes, Interpol, or similar-sounding bands, and to a certain degree, the group's full-length debut, With Love And Squalor, justifies that. The album has plenty of disco drumbeats, bouncy basslines, hooky guitar parts, and echoey, vaguely affected vocalsall of them the inherent characteristics of the dance-y post-punk that's overwhelmed airwaves for the past few years. The leadoff track, "Nobody Move, Nobody Get Hurt" has them all in such perfect symbiosis that it almost sounds prefabricated to move units.

In that sense, With Love And Squalor practically begs for a quick, brutal dismissal. But just as The Killers' dizzyingly catchy Hot Fuss overwhelmed detractors' voices, With Love And Squalor accomplishes the same with its immediate likeability. The songs sound deceptively simple, but their complexity quietly reveals itself on subsequent listens. The same usually can't be said for the other bands who play this style. Hot Fuss was like cotton candy: an immediate, ephemeral, sugar rush. With Love And Squalor is more like an energy bar: still a sugar rush, but a more filling one.

We Are Scientists' setupguitar, bass, drumshelps ground it in power-trio efficiency. The group makes the most of it; the instruments usually play different, though complementary, parts to give the songs more sonic texture. Without a keyboarda staple/crutch of this styleKeith Murray's guitar has to provide most of the hooks and power, and his aggressive playing makes the album propulsive, especially on the brisk rocker "Callbacks." Almost all of With Love And Squalor's songs have a shape-shifting intensity, particularly the one-two-three punch of "Nobody Move, Nobody Get Hurt," "This Scene Is Dead," and "Inaction," none of which really sound alike, though they all share a certain urgency.

Even though With Love And Squalor quickly ingratiates itself, some of its best parts reveal themselves over time. Whether doubters of We Are Scientists allow for that to happen remains to be seen, but With Love And Squalor works regardless.

Artic Monkey
REVIEWS
NME's
The Guardian's Review
DotMusic
NOW Music
PopMatter
Pitchfork
RollingStone
AllMusic
ARTIC MONKEYS - Whatever People Say I Am That's What I Am Not

Maybe you're about to read this and find out about a band called Arctic Monkeys. Or maybe you already know more about them than 1,000 words could ever convey. Maybe you downloaded their songs months before record companies cared and maybe you were grabbed by the sudden urge to drive for half a day just to see them play. Maybe you picked up one of the demos they handed out at early gigs, memorised every word and bellowed them back at them during their next gig. Maybe you were one of the kids who's taken up surfing across Monkeys' crowds as a full-time hobby. And maybe you've also ended up with a permanent monitor-related injury because of it.

Because unless your definition of success rests on how many private yachts you can afford, Arctic Monkeys were already massive way before they inked a deal with Domino in June 2005. People obsessing over the songs? Sold-out gigs full of stage-diving nutcases? Hardcore fans pressed up against venue windows, just hoping to catch a glimpse? Such checkpoints have all been ticked.

"What's happened has been proper hysterical," grins lead singer/guitarist Alex Turner, acknowledging the hurricane of hero worship his band have been swept up by in the last few months. "If I say phenomenon' it sounds like I'm right up my own arse, but we'd be daft to act like we didn't realise how incredible the last year's been. When it all started we were like fucking hell, what's going off here?"

Of course, it was guitars that started it all: two of them, given to Alex and Jamie Cook as Xmas presents just three years ago. The pair began practising furiously -- some might say competitively - before Andy Nicholson (bass) and Matt Helders (drums) joined the throng.

The boys may share a love of The Smiths, The Clash and The Jam (and sure, Jamie may boast a healthy passion for Oasis, System Of A Down and Queens Of The Stone Age) but in no way were The Monkeys ready to simply regurgitate the well-trodden Brit-rock path. Rather, they spent their school days listening to Roots Manuva, Braintax and other stuff on [UK hip hop label] Low-Life, not to mention Lyricist Lounge compilations and Rawkus Records cuts like Pharaoh Monch. Another unique influence was Mancunian poet John Cooper Clarke, who Alex is a huge recent fan of. "He's this dead skinny guy with big mad hair, red tinted glasses and drainpipe jeans, a proper character," raves Alex. "Everyone tells us we've got a sh&* band name but he was like That's great! There's no trees in the arctic! How would it survive?' He painted this picture instantly, a real creative mind!"

With demos doing the rounds, across the web and at gigs, bizarre things started happening. Bizarre things like turning up for gigs in Wakefield to be greeted by hardcore Monkeys fans who'd driven from places as far away as Aberdeen. And when the band played theBoardwalk at the start of this year they were greeted with the entire crowd singing the lyrics to When The Sun Goes Down', a song that's never been released (at the time of writing this, the band have released just one single). In the space of a few months, word-of-mouth buzz had spread in a way the industry couldn't keep up with.

And, naturally for a band who've never once sat and contrived things, questions of the where next' variety are met with a shrug: "People already proper care about the music, before it's even finished. You can see it in their eyes and nobody can take that away from you. I guess it can still get bigger, though. Instead of hundreds of people singing the words, it could be thousands. Does that feel any different, I wonder?" Maybe like you, he's about to find out.

Bob Marley
REVIEWS
AllMusic
BOB MARLEY & THE WAILORS - Africa Unite: The Singles Collection

In the year Bob Marley would have turned 60, the past, present and future of his music are celebrated not only with the first Bob Marley & The Wailers greatest hits package to include both his early sides and his Island Records hits but also a new recording and two new remixes. Along with 17 vintage tracks, Africa Unite: The Singles Collection (Island/Tuff Gong/UMe), released November 8, 2005, spotlights "Slogans," the first new official Marley track released in more than a decade. It is believed Marley recorded the song in a Miami bedroom in 1979. The tapes were kept at Marley's mother's house and last year the reggae legend's sons Stephen and Ziggy revisited the acoustic demo. In 2005, Stephen overdubbed the tracks with other instruments, including guitar by Eric Clapton. Stephen and Ziggy produced "Slogans" specifically for this release.

Another new recording is a remix of "Africa Unite," whose original was heard on the 1979 album Survival. The song is presented here in an anthemic remix by will.i.am of The Black Eyed Peas, who was personally invited to create the remix by Rita Marley, Bob's wife. Also new is the Ashley Beedle Remix of "Get Up, Stand Up Vs. Jamrock," a mash-up of Bob's classic and "Welcome To Jamrock," the 2005 hit from youngest son Damian. Africa Unite: The Singles Collection commemorates Marley's life on record just as the 2005 Africa Unite concert in Addis Ababa, Ethiopia, on his 60th birthday(February 6) commemorated it on stage.