Nee Lewman
बैस्टर्ड
I have a 2010 F150 with 81,000 replaced a 99 ranger with 175,000
Pre-Order Thread
- Thread starter Captainfog
- Start date
Hemotep
Well-Known Member
The Wiggles on Impressed.
We’re really proud today to announce the release on vinyl - for the first time ever - of The Wiggles 1994 classic album, Yummy Yummy. Available to pre-order in one of the four iconic Wiggles colours: red, yellow, blue and purple, and strictly limited 125 copies of each. It’s released in time to ship for Christmas in Australia, too.
An Impressed copy of Yummy Yummy includes an individually-numbered obi strip which corresponds to the vinyl colour, alongside a bespoke essay by music journalist, new Dad and Impressed co-founder, Jonno Seidler...
"The Wiggles started out as a pub band with the best name ever (The Cockroaches, for those playing at home), one that made a point of writing actual songs. Some of their greatest, most enduring numbers started out as rock and roll bangers, reworked for children without losing any of their live energy. I’m not entirely sure where in my grey matter this enduring love of The Wiggles resides. There is no algorithm sophisticated enough to take in both my childhood and my current listening habits, but if there was, many of the songs on Yummy Yummy would easily be in my Top 10..."
Thanks to our friends at The Wiggles and ABC Music, Yummy Yummy is available to pre-order now and is released on December 15th - order before December 14th to give it the best chance of sitting under the Christmas tree.
The Wiggles Vinyl Yummy Yummy
Strictly limited run of The Wiggles 1994 album Yummy Yummy in purple, yellow, red and blue vinyl. There are only 125 of each. Each includes an individually-numbered obi strip which corresponds to the vinyl colour.
impressedrecordings.com
Nee Lewman
बैस्टर्ड
They are high.View attachment 189577
The Wiggles on Impressed.
We’re really proud today to announce the release on vinyl - for the first time ever - of The Wiggles 1994 classic album, Yummy Yummy. Available to pre-order in one of the four iconic Wiggles colours: red, yellow, blue and purple, and strictly limited 125 copies of each. It’s released in time to ship for Christmas in Australia, too.
An Impressed copy of Yummy Yummy includes an individually-numbered obi strip which corresponds to the vinyl colour, alongside a bespoke essay by music journalist, new Dad and Impressed co-founder, Jonno Seidler...
"The Wiggles started out as a pub band with the best name ever (The Cockroaches, for those playing at home), one that made a point of writing actual songs. Some of their greatest, most enduring numbers started out as rock and roll bangers, reworked for children without losing any of their live energy. I’m not entirely sure where in my grey matter this enduring love of The Wiggles resides. There is no algorithm sophisticated enough to take in both my childhood and my current listening habits, but if there was, many of the songs on Yummy Yummy would easily be in my Top 10..."
Thanks to our friends at The Wiggles and ABC Music, Yummy Yummy is available to pre-order now and is released on December 15th - order before December 14th to give it the best chance of sitting under the Christmas tree.
The Wiggles Vinyl Yummy Yummy
Strictly limited run of The Wiggles 1994 album Yummy Yummy in purple, yellow, red and blue vinyl. There are only 125 of each. Each includes an individually-numbered obi strip which corresponds to the vinyl colour.
Melt Face Molly Drop
Well-Known Member
do you install the parts yourself when it needs them?
Dead C
Well-Known Member
a strange daisy records beat tape - Ltd. Edition Vinyl
Proceeds from each sale will be donated to the UPBEAT ACADEMY.www.upbeatacademy.orgMastered by Nick PopeArt & Layout by Kevin Comarda + Patrick BaileyArranged by Strange Daisy RecordsThank You to all the artists for sharing your music 🖤• 180 Gram Vinyl Pressed @ NOrP• Reverse Board Jackets•...
www.strangedaisy.com
zdkaiser
Well-Known Member
I do my own maintenance. So I do as much as I can without having access to a lift. It honestly hasnt needed any parts, aside from engine mounts (which I could do myself)
Melt Face Molly Drop
Well-Known Member
Self taught or formal training? Definitely a good skill to have. Interested to see how maintenance changes with the move to EVs. Guessing still similar, aside from the oil of it all.
Nee Lewman
बैस्टर्ड
My father in law and I have taken the gas tank off the f150 twice already.
The ranger had a brand new clutch that we installed as well right before it really gave up the ghost. That was easily the hardest car job I’ve ever done.
Last edited:
zdkaiser
Well-Known Member
Just DIY, no training. Lots of online forums and youtube videos
Nee Lewman
बैस्टर्ड
Hell they changed a bunch with onboard computers. A car from the fifties is a hell of a lot easier to work on than a modern car. It is a lot easier to diagnose an issue in a modern car though, plug in a reader and bam, you know where to look.
Last edited:
Jan
Well-Known Member
Another hobby ruined by variant Collection
yukbon
Well-Known Member
I’ve got a really nice vintage Maserati myself, @blissfullychaotic was kind enough to just give it to me
Last edited:
dbarila
Well-Known Member
The Wiggles sure have changed in the past 8 years or so.View attachment 189577
The Wiggles on Impressed.
We’re really proud today to announce the release on vinyl - for the first time ever - of The Wiggles 1994 classic album, Yummy Yummy. Available to pre-order in one of the four iconic Wiggles colours: red, yellow, blue and purple, and strictly limited 125 copies of each. It’s released in time to ship for Christmas in Australia, too.
An Impressed copy of Yummy Yummy includes an individually-numbered obi strip which corresponds to the vinyl colour, alongside a bespoke essay by music journalist, new Dad and Impressed co-founder, Jonno Seidler...
"The Wiggles started out as a pub band with the best name ever (The Cockroaches, for those playing at home), one that made a point of writing actual songs. Some of their greatest, most enduring numbers started out as rock and roll bangers, reworked for children without losing any of their live energy. I’m not entirely sure where in my grey matter this enduring love of The Wiggles resides. There is no algorithm sophisticated enough to take in both my childhood and my current listening habits, but if there was, many of the songs on Yummy Yummy would easily be in my Top 10..."
Thanks to our friends at The Wiggles and ABC Music, Yummy Yummy is available to pre-order now and is released on December 15th - order before December 14th to give it the best chance of sitting under the Christmas tree.
The Wiggles Vinyl Yummy Yummy
Strictly limited run of The Wiggles 1994 album Yummy Yummy in purple, yellow, red and blue vinyl. There are only 125 of each. Each includes an individually-numbered obi strip which corresponds to the vinyl colour.
NoTrend
Well-Known Member
ugh just bought the bootleg version of these last month. Ah well, good to have official copies...
Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s ‘Walls Have Ears’ appeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité on par with elements of side B of ‘Master Dik’ to come later. With a bit of complexity to the situation of the release itself. Deleted as quickly as it appeared, it’s now issued for the first time officially under the band’s auspices.
The ’85 shows were the second time the band appeared on British soil, picking up on a newfound high profile in the press after their 1983 London debut supporting SPK and Danielle Dax. That particular gig, while admittedly a technically-challenged, volumatically room-clearing one for the band, nonetheless wowed music scribes in attendance. This anarchic set cast the New Yorkers in a bit of an exotic light, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art/punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good copy on top of their bludgeoning stage appearance. For Brits, Sonic Youth repped an all new avenue apart from the usual 4AD/Rough Trade/Some Bizarre hold on the scene, and were embraced. After a mostly dormant 1984, the band then established a new evolution within themselves via ‘Bad Moon Rising’ and found a home stateside on Homestead. In Britain, SY found its keyhole to the all-encompassing (even on an indie standpoint) music biz via Paul Smith, who was wowed by a cassette passed to him by Lydia Lunch. A promoter and label liaison who had forged many connections locally working for the likes of EMI and Cabaret Voltaire’s Doublevision label, Smith ultimately founded his own imprint Blast First to take on ‘Bad Moon Rising’ and evangelized the band with P.T. Barnum-esque gusto, eventually acting as a strong portal for UK footing for others of the American underground (Big Black, Butthole Surfers, Dinosaur Jr.). Blast First continued to act as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. But true to Barnum, Smith’s injection into the band’s creative sphere as a sort of de facto manager type was somewhat in guerilla mode, and the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL, their SST debut, was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the band and Smith parting ways after Daydream.
In this 2LP set brimming with primitive classics like “The Burning Spear”, “I Love Her All The Time”, “Death Valley 69” and “I’m Insane” (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). Claude Bessy (French punk raconteur who moved to LA for a period to cofound Slash Magazine and notoriously appeared in the Penelope Spheeris ‘Decline of Western Civilization’ documentary) humorously MC’s their intro to a October 30th ULU London gig with a lob at the indie label zeitgeist: vocally detailing how Rough Trade had come down on distributing the “Flower” 12” for sporting a xeroxed, nude female on the cover. The message was that music was reality, not manufactured subcultures, and Sonic Youth was there to present Britain with a healthy dose of it. The first two sides of ‘Walls’ are massive, cavernous, with newly-drafted drummer Steve Shelley in tow taking on past tunes and unveiling “Expressway To Yr Skull” in glorious form. They tear it up especially on one trash-fi excerpt of “Blood On Brighton Beach” (actually “Making the Nature Scene”) from a legendary outdoor gig November 8th where Moore, Gordon and Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.
The record’s second slab spotlights an April 1985 pre-Shelley gig supporting Nick Cave at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert, again featuring some molten takes on “Brother James”, “Kill Yr Idols”, “Flower” (Iisted as “The Word (E.V.O.L.)”), “Ghost Bitch” and others. The emergence of the Jesus and Mary Chain in the world gave Brit scribes a lazy and easy parallel, addressed here with a wink with the inclusion of “Speed JAMC”, another offstage tape interlude playfully scrolling through one of that band’s songs at fast-forward. In six more years the continual evolution of Sonic Youth would find them darlings of The Reading Festival, on tour with Nirvana in tow and continuing to smash down walls, but this document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world.
Brian Turner
Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s ‘Walls Have Ears’ appeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité on par with elements of side B of ‘Master Dik’ to come later. With a bit of complexity to the situation of the release itself. Deleted as quickly as it appeared, it’s now issued for the first time officially under the band’s auspices.
The ’85 shows were the second time the band appeared on British soil, picking up on a newfound high profile in the press after their 1983 London debut supporting SPK and Danielle Dax. That particular gig, while admittedly a technically-challenged, volumatically room-clearing one for the band, nonetheless wowed music scribes in attendance. This anarchic set cast the New Yorkers in a bit of an exotic light, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art/punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good copy on top of their bludgeoning stage appearance. For Brits, Sonic Youth repped an all new avenue apart from the usual 4AD/Rough Trade/Some Bizarre hold on the scene, and were embraced. After a mostly dormant 1984, the band then established a new evolution within themselves via ‘Bad Moon Rising’ and found a home stateside on Homestead. In Britain, SY found its keyhole to the all-encompassing (even on an indie standpoint) music biz via Paul Smith, who was wowed by a cassette passed to him by Lydia Lunch. A promoter and label liaison who had forged many connections locally working for the likes of EMI and Cabaret Voltaire’s Doublevision label, Smith ultimately founded his own imprint Blast First to take on ‘Bad Moon Rising’ and evangelized the band with P.T. Barnum-esque gusto, eventually acting as a strong portal for UK footing for others of the American underground (Big Black, Butthole Surfers, Dinosaur Jr.). Blast First continued to act as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. But true to Barnum, Smith’s injection into the band’s creative sphere as a sort of de facto manager type was somewhat in guerilla mode, and the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL, their SST debut, was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the band and Smith parting ways after Daydream.
In this 2LP set brimming with primitive classics like “The Burning Spear”, “I Love Her All The Time”, “Death Valley 69” and “I’m Insane” (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). Claude Bessy (French punk raconteur who moved to LA for a period to cofound Slash Magazine and notoriously appeared in the Penelope Spheeris ‘Decline of Western Civilization’ documentary) humorously MC’s their intro to a October 30th ULU London gig with a lob at the indie label zeitgeist: vocally detailing how Rough Trade had come down on distributing the “Flower” 12” for sporting a xeroxed, nude female on the cover. The message was that music was reality, not manufactured subcultures, and Sonic Youth was there to present Britain with a healthy dose of it. The first two sides of ‘Walls’ are massive, cavernous, with newly-drafted drummer Steve Shelley in tow taking on past tunes and unveiling “Expressway To Yr Skull” in glorious form. They tear it up especially on one trash-fi excerpt of “Blood On Brighton Beach” (actually “Making the Nature Scene”) from a legendary outdoor gig November 8th where Moore, Gordon and Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.
The record’s second slab spotlights an April 1985 pre-Shelley gig supporting Nick Cave at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert, again featuring some molten takes on “Brother James”, “Kill Yr Idols”, “Flower” (Iisted as “The Word (E.V.O.L.)”), “Ghost Bitch” and others. The emergence of the Jesus and Mary Chain in the world gave Brit scribes a lazy and easy parallel, addressed here with a wink with the inclusion of “Speed JAMC”, another offstage tape interlude playfully scrolling through one of that band’s songs at fast-forward. In six more years the continual evolution of Sonic Youth would find them darlings of The Reading Festival, on tour with Nirvana in tow and continuing to smash down walls, but this document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world.
Brian Turner
Twentytwo
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djdavedk
Well-Known Member
TenderLovingKiller®
Well-Known Member
I am very excited for this. This is the album that cost Blast First their UK record deal with Sonic Youth. They released this live album before clearing it with the band.