What the Artist & Labels Say

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Today is Record Store Day, it’s a big day! Mike brought us all some incredibly nice gifts, trying to contribute to the local economy, and we’re going home with some really nice vinyl from Horizon Records. You’re lucky because not all cities have record stores. You’re very lucky and we’re very happy to get this opportunity to give a shout-out to Horizon Records and Gene Berger. 
Eddie Vedder of Pearl Jam, onstage at the band’s sold-out show at Bon Secours Wellness Arena, 4/16/16

 


“ I miss horizon more than my mom.  unless you are my mom reading this, in that case i miss you more. if it weren’t for Horizon, I’d be listening to Creed.  where else can you get Eric Dolphy, El-p, Hindemith, Smog, and Doc Watson in the same place?  One of Greenville’s  treasures!     

—  John Byce, Greenville/Spartanburg native, drummer, music connoisseur

 

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“You have a really special place. Good Vibes are heavy here at Horizon”

William Tyler, Nashville singer, songwriter & guitarist, Merge Records recording artist.

 

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“We all need each other. “
Darrell Scott, songwriter extraordinaire, world-class singer/guitarist.

 

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“It’s a pure pleasure to work with Horizon Records – a genuine record store still serving a community with passion and knowledge. If only there were clones in every city. “
Tina Pelikan, ECM Records

 

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It's a pure pleasure to work with Horizon Records  - a genuine record store still serving a community with passion and knowledge! If only there were clones in every city.
Tina Pelikan, ECM Records 

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Today is Record Store Day… and we’re going home with some really nice vinyl from Horizon Records. You’re lucky because not all cities have record stores. You’re very lucky and we’re very happy to get this opportunity to give a shout-out to Horizon Records and Gene Berger.”
– Eddie Vedder of Pearl Jam, onstage at the band’s sold-out Bon Secours Wellness Arena show on 4/16/16.

  • NEW RELEASES 4/28: April is going out large as we get in new stuff from GORILLAZ, ROBERT CRAY, WILLIE NELSON, MARK LANEGAN, RON SEXSMITH, TROMBONE SHORTY & more!
    Robert Cray has been bridging the lines between blues, soul and R&B for the past four decades, with five Grammy wins and over 20 acclaimed albums. For his latest project, Robert Cray & Hi Rhythm, the Blues Hall of Famer traveled to Memphis with his friend, renowned Grammy Award winning producer Steve Jordan, to make a classic soul album with Hi Rhythm, the band that helped create that sound. Set inside an old theatre, the funky Royal Studios looks much as it did when Al Green was cutting those classics for Hi Records. Guitarist Teenie Hodges has passed away, but his brothers Rev. Charles Hodges (organ and piano) and Leroy "Flick" Hodges (bass), along with cousin Archie "Hubbie" Turner (keyboards), were still there.
  • NEW RELEASES, 4/14: YES, we do have the new KENDRICK LAMAR in-stock NOW, but that’s not all. We’ve got new STRING CHEESE INCIDENT, JOHN MAYER, and some jazz-classical love for Mr. Gene!
    Less obviously haunted by the influence of George Clinton than its predecessor, Damn still sounds rooted in early-70s soul. There are nods towards the luscious, harmony-laden mellowness of the Stylistics and the Chi-Lites (opener Blood even features a warped version of the kind of spoken-word monologue found on the latter’s single Have You Seen Her?), to the stentorian bellow that opens Curtis Mayfield’s If There’s a Hell Below We’re All Gonna Go and to the dense sound of psychedelic soul – by way of Outkast – on Pride. If it seems a more straightforward listen than To Pimp a Butterfly, there’s a cheering sense that this doesn’t equate to a lessening of musical ambition. There’s none of that album’s wilfully jarring quality – its sudden, anxious musical lurches and abrupt, short-circuiting leaps between genres – but the tracks on Damn still feel episodic and expansive: XXX alone goes from massed harmony vocals to a downbeat rap over glitching, stuttering samples, to a thrilling moment where it explodes in a mass of sirens, screeching tyres and heaving basslines, to a dramatic drop in tempo and an understated guest vocal from Bono in the space of four minutes. Rather than angsty disruptions, there’s a more subtle sense of disquiet here. The heavy-lidded drift of Yah would sound relaxed were it not for the presence of two grating bass notes that fit with the lyrics’ prickly unease, where images of contented family life rub up against “theories and suspicions”. Meanwhile, on the brilliant Pride, troubled lyrical shifts from modesty and confusion to self-belief – “I can’t fake humble because your ass is insecure” – are mirrored by a rap electronically treated so that its pitch gradually speeds up and slows down amid the woozy atmospherics and falsetto vocals. Elsewhere, there’s brilliant, dexterous storytelling on Duckworth – the saga of how Lamar’s father narrowly avoided being murdered by a criminal called Anthony, complete with an eye-popping, no-spoilers twist – and another demonstration of Lamar’s nonpareil ability to write songs about the pressures of wealth and success that somehow manage to elicit the listener’s sympathy rather than a roll of the eyes.