Recording Merch
Description: Are you a singer, musician or producer? This recording tee is like a warning label. When you are in the zone on that perfect song you don't want to be disturbed. Sound guys and gals will love this shirt. Do you know a boom operator that would love this? It makes a great gag gift or just grab one for yourself!
Description: No Limit Records is an American record company founded by Master P. The label's albums were distributed by Priority Records, Universal and Koch Records. The label included artists such as Snoop Dogg, Mercedes, Silkk the Shocker, Mystikal, Mia X, Mac, C-Murder, Magic, Romeo Miller, Fiend, Kane & Abel, and Soulja Slim. Anthony Boswell, head of Bout It Bout It Management, served as the vice president of operations as well as head of management for the label.
Description: The hit factory in Miami! The recording studio that brought you hits of the 70s like Clapton's "Layla", James Brown's "I Feel Good", Fleetwood Mac's Rumours LP, and numerous hits from The Bee Gees. Honor the past and show your love of 70s hits by wearing this authentic recreation of recording history.
Description: Rawkus Records is an American hip hop record label, owned by James Murdoch, known for starting the careers of many rappers. Rawkus started in 1995 with releases in hip-hop, drum and bass and fun-dustrial (Dystopia One). Label heads Brian Brater and Jarret Myer then signed some of the top underground talent from the New York area, notably Mos Def, Talib Kweli, Hi-Tek and Company Flow, who went on to define the label's sound. The string of 12" releases and full-length albums that followed helped initiate a resurgence in the New York/East Coast sound. Many of these are considered classics among hip-hop aficionados. During the mid to late 1990s, Rawkus became a dominant label in the underground hip-hop scene.
Description: RSO Records was a record label formed by rock and roll and musical theatre impresario Robert Stigwood and record executive Al Coury in 1973. The letters "RSO" stand for the Robert Stigwood Organisation. The company's main headquarters were at 67 Brook Street, in London's Mayfair. It underwent four distribution stages: by Atlantic Records from March 1973 to December 1975, by Polydor Records from January 1976 to December 1977, as an independent label under the PolyGram Group umbrella from January 1978 to around October 1981, and finally by PolyGram Records from around November 1981 until the label's end in 1983.
Description: What might be the most famous roots rock song of all time is certainly a love song to Alabama, but music lovers will want to focus on this lyric: "Now Muscle Shoals has got the Swampers, and they've been known to pick a song or two." Muscle Shoals Sound Studio in northwestern Alabama was home base for the Muscle Shoals Rhythm Section, also known as the Swampers. Throughout the ‘70s, they were featured on more than 200 albums and collaborated with the likes of Paul Simon, Bob Dylan, Willie Nelson, and of course, Lynyrd Skynyrd. Today, the studio is open for tours every day except Sunday.
Description: Ruthless Records was an American record label founded by Eric "Eazy-E" Wright in Compton, California on March 3, 1987. All of the Ruthless trademarks have been owned by Comptown Records, Inc. since 1987. Several artists and groups on the label such as N.W.A, Eazy-E, MC Ren, the D.O.C., Michel'le, and Bone Thugs-n-Harmony have released RIAA certified albums.
Description: Moon Ska Records was one of the most influential ska record labels of the 1980s and 1990s. The label operated from 1983 until 2000, and during those seventeen years, only released ska and ska-influenced music. Originally named Moon Records, as a tribute to Sun Records, the label changed its name to Moon Ska Records because another label owned the copyright to the Moon Records name. The label was started by Robert "Bucket" Hingley, founding member of The Toasters as a means to distribute albums by The Toasters. The label became an American source for many British ska import albums.
Description: Live musical performances should be experienced with visual attention, but the modern impulse demands holding a smartphone overhead to capture low-quality digital proof. You stand amidst the cheering crowd, raising your arm until it cramps, recording blown-out bass distortion and blinding stage lights through a tiny glass screen. Deep down, you know that this shaky, pixelated footage will languish undisturbed in your cloud storage for the next decade, never to be viewed or shared with another human. The humor here hilariously mocks our big curiosity of documenting live events, where fans willingly miss the thrill of the show just to store unusable audio noise and blurry footage that will sit permanently forgotten on a crowded hard drive.
