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Fantastic bands, incredible sound, join Plane Groovy and get back to the future  
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Artist pages:
Francis Dunnery  
Chris Difford  
Henry Priestman  
Stephen Harris  
Hello Leo   
Glass Hammer  
Big Big Train  
Chris Braide  
My Darling Clementine  
Comedy of Errors  
Thieves' Kitchen  
Matt Deighton  
Tom Brislin  
Duncan Reid  
Also Eden  
Judy Dyble  
Curved Air  
Darling BOY  
John Bentley  
Trevor and The Joneses  
Pat Dam Smyth  
Rosco Levee  
Joel Sarakula  
Mark Nevin  
Lotte Mullan  
Strange Majik  
This Oceanic Feeling  
Derek Philpott  
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John Galgano: There was a record store in the town I grew up and they sold used records for $1 each (of course when I grew up, they were all used!) I honestly can't begin to tell you the amazing music I discovered for a dollar a pop, but to give you an idea, the treasure trove I found there included Joni Mitchell's Blue, Pink Floyd's The Wall, Jethro Tull's Thick as a Brick and Zeppelin II. All of these wonderful albums I first heard on vinyl. Of course I've listened to all these classics on other media since that time, but nothing ever came close to the sound I heard on those records. Thankfully, I still have those and many other records and I take them out often. The sound of music just doesn't get any better.

When Chris Topham and Plane Groovy approached IZZ about putting Crush of Night on vinyl, I was touched and honored. The chance to hear IZZ music – music that I was a part of creating – on vinyl is literally be a dream come true for me. I am thrilled that releasing music on vinyl is experience a resurgence with many current artists. And it's for good reason. The music just sounds better on vinyl.

Music is more comfortable when heard on vinyl – as if that's where it's meant to be. So I am so grateful to all at Plane Groovy for giving IZZ the wonderful opportunity to bring our music home where it belongs. I hope you enjoy it as much as I do.

Tom Galgano: Well, I grew up with vinyl. I had all the Beatles albums and I remember just studying everything about them. From the actual record, to the sleeve it was in and of course the album cover. I particularly liked reading all the liner notes.... Who wrote what, who played piano etc...

So, for IZZ to have "Crush of Night" on vinyl is quite exciting for me.


Brian Coralian:

That insane photo collage...those band uniforms...and the cutouts - what?!? A cardboard moustache!!

I vividly remember the day when I decided to play my Dad's copy of Sgt. Pepper for myself. I had long been enthralled with these beautiful, bizarro tunes, and the magnificent landscapes the music painted on the canvas of my mind. For whatever reason, this was the first time I was the one putting the record on the turntable. As a result, this was also my first time truly examining the dust jacket, the lyrics, the cover art, and that aforementioned page of cutouts. As I carefully explored each element, Sgt. Pepper began to transform for me from a bunch of cool Beatles songs into a three-dimensional, multidisciplinary piece of art. The unity of theme - a marraige of graphic and auditory forces in the service of a concept; slightly elusive, perhaps even to the artists themselves.

The artwork magnified, and even, to a degree, helped define the music within. I understand how new technologies and delivery models have led us away from the world of vinyl. Nonetheless, I miss the visual and tactile elements of records. After all, shouldn't important things have some dimension to them...some heft? Vinyl is all about the celebration and adoration of music. Music as a place to visit...not a file to access.

Greg DiMiceli': I had a crappy record player when I was a kid and I have this memory of trying to listen to Billy Joel's The Bridge album. I was always so frustrated to hear the actual sound from the needle in the groove cutting right through the sound from the crappy speakers. That drove me nuts! In general, I think I never developed that deep appreciation for vinyl as so many people have. Nevertheless, I do associate records with a time when music sounded much more organic to me, as was the process for producing music. There is something special about that analog sound that is more fulfilling and resonates with me more so than that perfect, digital sound. I am also looking forward to seeing Crush of Night's artwork in full size. I promise not to cover it with tin foil and tan my face with it like I remember my mother and sister doing with Pink Floyd's The Wall!

Paul: I haven't got anything to say!

Anmarie Byrnes: My brother Greg was very proud of his "hi-fi" stereo sound system in the mid 80's. So proud, in fact, that I, as the annoying little sister was not allowed anywhere near it. In the afternoons, we'd get home from high school he would immediately retreat to his room and begin spinning his records. And I, not knowing how to pick the lock on the door, would sit on the floor outside of his room. It was there that I heard my first Dark Side of the Moon, Layla and Home By the Sea (a personal favorite). It was any album by The Police that wore out the needle the most, I think. So here we are...with an album on vinyl...that I sing on. Greg, if you want, you can sit outside my door and listen...