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  • Mott (Colored Vinyl) Mott (Colored Vinyl) Quick View

    $41.99
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    Mott (Colored Vinyl)

    Mastered For Vinyl By Kevin Gray At Cohearent Audio


    Faithful, Updated Rendering Of Original Gatefold Art Printed At Stoughton Printing Co


    Limited Foil-Numbered Edition of 500 150-Gram White Vinyl


    Manufactured For Pristine Sound At Quality Record Pressings


    Comes In Japanese-Style Resealable Poly Bag


    Mott the Hoople's follow-up album to All the Young Dudes - Mott - is a semi-autobiographical concept album about a rock band struggling for success. This album solidified the band's status as glam-rock heroes and is considered one of the best albums of their career and of the era.

    1. All The Way From Memphis
    2. Whizz Kid
    3. Hymn For The Dudes

    4. Honaloochie Boogie

    5. Violence

    6. Drivin' Sister

    7. Ballad Of Mott

    8. I'm A Cadillac

    9. I Wish I Was Your Mother
    Mott The Hoople
    $41.99
    Colored Vinyl LP Buy Now
  • All The Young Dudes (200 Gram) All The Young Dudes (200 Gram) Quick View

    $34.99
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    All The Young Dudes (200 Gram)

    Mastered For Vinyl By Kevin Gray At Cohearent Audio


    Faithful, Updated Rendering Of Original Art Printed At Stoughton Printing Co


    Limited Foil-Numbered Edition of 1000


    Manufactured For Pristine Sound At Quality Record Pressings


    Comes In A European-Style Poly Bag For Protection And Durability


    Best known for the song "All the Young Dudes" (written for the band by David Bowie), Mott the Hoople scored with their 1972 album of the same name. With a foundation in R&B, they became quite popular in the '70s glam scene. Their fifth studio album, All the Young Dudes, is considered a pivotal moment in the band's career. Though Mott the Hoople was heading toward a breakup at the time, Bowie penned the album's titular song and produced the record, making Mott the Hoople relevant again in the glam rock era.

    1. Sweet Jane
    2. Momma's Little Jewel
    3. All the Young Dudes
    4. Sucker
    5. Jerkin' Circus
    6. One of the Boys
    7. Soft Ground
    8. Ready for Love/After Lights
    9. Sea Diver
    Mott The Hoople
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • All The Young Dudes All The Young Dudes Quick View

    $34.99
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    All The Young Dudes

    Often called 'one of the dening Glam platters', Mott The Hoople's All The Young Dudes (1972) was an inuential record when it came out, and continues to impress listeners to this day. Coproduced by David Bowie, the album contains a balanced selection of well written songs by Ian Hunter and the boys. The band is on a roll, and having Bowie on board to colour in the songs with his distinctive style makes this an essential record for '70s Rock fans all over the globe.
    1. Sweet Jane
    2. Momma's Little Jewel
    3. All The Young Dudes
    4. Sucker
    5. Jerkin' Crocus
    6. One Of The Boys
    7. Soft Ground
    8. Ready For Love/After Lights
    9. Sea Diver
    Mott The Hoople
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • All The Young Dudes (Colored Vinyl) All The Young Dudes (Colored Vinyl) Quick View

    $34.99
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    All The Young Dudes (Colored Vinyl)

    Opaque Red Vinyl


    Mastered For Vinyl By Kevin Gray At Cohearent Audio


    Faithful, Updated Rendering Of Original Art Printed At Stoughton Printing Co


    Limited Foil-Numbered Edition of 1000


    Manufactured For Pristine Sound At Quality Record Pressings


    Comes In A European-Style Poly Bag For Protection And Durability


    Best known for the song "All the Young Dudes" (written for the band by David Bowie), Mott the Hoople scored with their 1972 album of the same name. With a foundation in R&B, they became quite popular in the '70s glam scene. Their fifth studio album, All the Young Dudes, is considered a pivotal moment in the band's career. Though Mott the Hoople was heading toward a breakup at the time, Bowie penned the album's titular song and produced the record, making Mott the Hoople relevant again in the glam rock era.

    1. Sweet Jane
    2. Momma's Little Jewel
    3. All the Young Dudes
    4. Sucker
    5. Jerkin' Circus
    6. One of the Boys
    7. Soft Ground
    8. Ready for Love/After Lights
    9. Sea Diver
    Mott The Hoople
    $34.99
    Colored Vinyl LP - Sealed Buy Now
  • Mott (200 Gram) Mott (200 Gram) Quick View

    $41.99
    Buy Now
    x

    Mott (200 Gram)

    Mastered For Vinyl By Kevin Gray At Cohearent Audio


    Faithful, Updated Rendering Of Original Gatefold Art Printed At Stoughton Printing Co


    Limited Foil-Numbered Edition of 500 200-Gram Black Vinyl


    Manufactured For Pristine Sound At Quality Record Pressings


    Comes In Japanese-Style Resealable Poly Bag


    Mott the Hoople's follow-up album to All the Young Dudes - Mott - is a semi-autobiographical concept album about a rock band struggling for success. This album solidified the band's status as glam-rock heroes and is considered one of the best albums of their career and of the era.

    1. All The Way From Memphis
    2. Whizz Kid
    3. Hymn For The Dudes

    4. Honaloochie Boogie

    5. Violence

    6. Drivin' Sister

    7. Ballad Of Mott

    8. I'm A Cadillac

    9. I Wish I Was Your Mother
    Mott The Hoople
    $41.99
    200 Gram Audiophile Virgin Vinyl LP Buy Now
  • Heaven & Hull Heaven & Hull Quick View

    $34.99
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    Heaven & Hull

    Available On Vinyl For The First Time


    Heaven And Hull was the final solo album by David Bowie alumnus and Rock guitarist Mick Ronson, released in 1994, following Ronson's death the previous year. The album features collaborations by long time friends of Ronson including David Bowie, Joe Elliott, and Ian Hunter. Other artists on this first-ever LP include Peter Noone, Martin Chambers and Chrissie Hynde, Phil Collen and John Mellencamp.


    The All The Young Dudes track on Heaven And Hull is from the Freddie Mercury Tribute Concert, where Ronson himself was suffering from cancer. On screen, he appears very thin, while still playing blistering guitar. It proved to be his last concert.


    Sham Morris, one of the album's producers: During the making of Heaven And Hull, (working title To Hull And Back) I asked Mick to visualize a characteristic from his home town of Hull. His first thought was the Humber Bridge. The Bridge became very symbolic for those of us working on the album and it was his wish to incorporate it in the artwork. Mick has crossed the Bridge now and left us this swan song.

    1. Don't Look Down
    2. Like A Rolling Stone
    3. When The World Falls Down
    4. Trouble With Me
    5. Life's A River
    6. You And Me
    7. Colour Me
    8. Take A Long Line
    9. Midnight Love
    10. All The Young Dudes
    Mick Ronson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mott Mott Quick View

    $34.99
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    Mott

    Ranked 366/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Import

    Remastered


    After their 1972 breakthrough album & hitsingle All The Young Dudes, Mott The Hoople released their Mott album.
    The single 'All the Way from Memphis' received considerable airplay on U.S. radio and the LP became the band's best seller to date in the U.S. Using the glam rock craze as their launch pad, the band straddled the widening gap between the teen-pop market and the college circuit. The LP Mott climbed into the Top 10 of the UK Albums Chart.


    By the time Mott was released it was clear that Ian Hunter had become the dominant figure of the band. Aside from the lead track, the album includes introspective songs such as Ballad of Mott The Hoople, which exposes Mott's near break-up, and the peculiar I Wish I Was Your Mother, featuring multi-tracked mandolin, in which Hunter sings of his wish to see his love as a child. Hard rockers are given their due with 'Whizz Kid', 'Drivin' Sister', 'Violence' and 'Honaloochie Boogie'. A fine performance is delivered by Hunter in the almost religious 'Hymn for the Dudes'.


    In 2003, the album was ranked number 366 on Rolling Stone magazine's list of the 500 greatest albums of all time.


    1. All The Way From Memphis

    2. Whizz Kid

    3. Hymn For The Dudes

    4. Honaloochie Boogle

    5. Violence

    6. Drivin' Sister

    7. Ballad Of Mott The Hoople

    8. I'm A Cadillac/El Camino Dolo Roso

    9. I Wish I Was Your Mother
    Mott The Hoople
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Little Death Shaker Little Death Shaker Quick View

    $19.99
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    Little Death Shaker

    Stripped of all noise influences and focusing on straight-up songs, Little Death Shaker is a record evocative of late nights and dusty parking lots, long drives and boozy hookups. This is the work of a dude who's spent his youth and young manhood on tour and it comes through in both the music and the lyrics. Where Castanets' lyrics gave us Ray Carver-ian fragments and it's-what-you-leave-out-that-counts minimalism, here we see Raposa back from the battleground with stories to tell.



    This is the most lyric-heavy Raposa's been and it's also the most playful and humorous, and you get the feeling some of these songs would be the ones that would go down best near 2am at some weird sports bar dive in southeast Alabama/Iowa/Mississippi. (We can just see some big biker dude/fallen NASCAR star/Gary Busey lookalike sitting back-to-bar, Bud in hand, having a good-natured laugh over the punchline from Some of My Friends or the WTF premise of the Dan Reeder penned You'll Never Surf Again.)



    The record begins with fighting spirit. Allegiance comes on with a punch of electric guitar and Raposa singing I woke up feeling/bold as shit. It's his rowdiest and most confident song to date, a real knockabout that'll take you by surprise if you're used to Castanets. Up next the title track verges on Queen (Flash Gordon soundtrack?) and Some of My Friends is a barnburner with the ghosts old Sun Studios players holding court.



    Highlights are many. The dark-as-Skoal interstate roller Whippoorwill, the slowly ramping Some Kind of Fool, which rolls easy and pretty with backup vocals from Matthew Houck of Phosphorescent before building to a shitkicking rock 'n' roll peak where we find Raposa delivering some of his best and most racy lyrics, singing the very un-indie-rock, I could spend this good money wherever I care to/taste all the honies that I choose /lay myself down beside anyone's flower/all alive in the morning with the dew. It's a song about libertine freedom and heartbreak ignored and taking the bull by the horns and being, well, kind of a bastard.



    More highlights: Castanets collaborator Talia Gordon taking main vocals on You're Not Standing Like You Used To (Kate Wolf); the after-afterhours minor chord jam Stateline, Little Death Shaker's most ruckus track of all, a late-night spent trapped in the stripclub/rig cab/country bar/tour van/your own damn head. At 10 minutes it's a tale of drugs and wayward love, a real red-lit kind of aloneness, backed by a legit live crawl, with high and ghostly organ and distorted vocals crackling like a bad CB connection.



    With Meridian, Raposa and Houck bring back the vibe of Some Kind of Fool and take it on a humid trip through the deepest South, gators in the water, snakes in the sand, a stormhead looming over the sun-dappled river. When Raposa sings oh honey here comes the storm you can just FEEL the weather breaking.



    One of this record's real charms is you can close your eyes and see these 13 tracks played live; you can see the drummer leaning over his kit with his brushes (and sunglasses on?), the backup singers standing around the mic, beers in hand, eyes closed, swaying side to side, the lights crisscrossing the stage. Meridian is no different. You can see this band. You can see these people playing together, and in a world of records that bands can't duplicate live, it's crazy-refreshing!



    The album's closer, Allegiance 2, brings backlongtime Castanets collaborator Bridgit Jacobsen (nÉe Decook) for a hushed and barely-there apology. Oh lord be kind to me/after all these devils I have kissed. As a prayer, a shrug, and an exhausted offering, it's a fitting way to end an album so concerned with sin and vice. It's also a fitting end-introduction to this new band. So meet Raymond Byron and the White Freighters and their record Little Death Shaker. Here's to the new!

    1. Allegiance

    2. Little Death Shaker

    3. Some of My Friends

    4. Turnpike/Bedsheet

    5. You'll Never Surf Again

    6. Don't That Lake Just Shine

    7. Whippoorwill

    8. A Little More Credit

    9. Some Kind of Fool

    10. You're Not Standing Like You Used To

    11. Stateline

    12. Meridian, MS

    13. Allegiance 2
    Raymond Byron And The White Freighter
    $19.99
    Vinyl LP - Sealed Buy Now
  • Band Of Outsiders Band Of Outsiders Quick View

    $16.99
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    Band Of Outsiders


    Limited Edition Black And Red Splattered Vinyl


    When jazz hits you in the face with a stack of bricks, Mike Dillon is there...twisting chaos into order before turning it back on itself again. -Splinters & Candy


    The Mike Dillon Band is a predictably gruesome and sublime elixir of stealthy jazz vibes, street poetry raps and post-punk sonic carnage. -Boulder Weekly


    A body in motion tends to stay in motion, at least when The Mike Dillon Band is supplying the dance music. The psychedelic rock group shakes and gyrates with heavy, vibraphone driven grooves, delivering a steady stream of infectious rhythms and hypnotic percussion. -Pittsburgh City Paper


    How many artists can claim being praised a punk rock provocateur, jazz vibraphone visionary and percussion virtuoso in the same sentence? There's only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Brave Combo and Ani DiFranco, collaborations such as Garage A Trois, The Dead Kenny Gs and Critters Buggin or bands he's fronted, including Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.


    With his latest effort, Band of Outsiders-released via Brooklyn label The Royal Potato Family-Mike Dillon has conjured the perfect storm of all these past endeavors. His manic creative vision found its match in three young musicians he met in New Orleans. Carly Meyers-whom Dillon describes as "a High Priestess of Trombone who channels the energy of Iggy Pop through the chops of JJ Johnson in second-line parade"-provides harmonic counterpoint to his vibes and percussion ("All Walks of Life") as she simultaneously ups the band's art-rock ante ("Carly Hates The Dubstep"). The rhythm section of bassist Patrick McDevitt and drummer Adam Gertner turns on a dime between snarling punk rock assaults ("Homeland Insecurity"), deep funky go-go ("Head"), ska grooves ("Here The Burro") and experimental hip-hop beats ("7AM At The Jazzfest") with all points covered in between.


    Dillon recorded Band of Outsiders at Studio Center in Miami with the help of co-producers Gary Vandy and Richard Maloney Jr. Vandy is an old school engineer whose work includes over 200 platinum records predominantly in the disco and dance genres. His love of Zappa is what attracted him to Dillon's work. In the age of pro-tools chicanery, the production is straightforward, capturing Dillon and his band playing live in a room.


    "Two tours of Mexico and a steady dose of Brazilian music was the jumping off point for these new songs," explains Dillon. "Add our love for The Melvins, Deerhoof, Bad Brains, Dead Kennedys, Trouble Funk and all things New Orleans and this album surpasses our intention to make the freakiest, most vibrant dance music on the planet."


    Lyrically speaking, Mike Dillon draws from his love of Miguel de Cervantes, William Burroughs, Kurt Vonnegut and Robert Anton Wilson to tell stories of New Orleans debauchery mixed with age-old themes of travel, love, self-destruction and greed. Delivered with Dillon's trademark vocal rasp, the record has the intensity of a Tom Waits-meets-Frank Zappa black comedy. Rumor has it that Dillon lived for the past seven years in the same apartment that Waits shared with Rickie Lee Jones. Dillon discounts those rumors: This apartment has housed dudes from Morning 40 Federation, Ani DiFranco, an old Conga player and a bunch of heroin addicts."


    Taken in its entirety, Mike Dillon's Band of Outsiders is a snapshot of four musicians hitting full stride. Having relentlessly toured the country in 2013-both headlining and opening for artists like Fishbone, Clutch, Primus and Galactic-its 13 songs bristle with a group mind, spill over the sides with the visions invoked during countless dead-of-night drives crisscrossing the country in a van and hit their target with a sonic assault only possible from a band that's played 400-plus shows over the last two years.


    "People are always trying to figure out how to describe our music. Maybe we should call it New Orleans punk jazz Brazilian math rock? It's a gumbo of tribal percussion, The Meters, old school hardcore, Brazil, hard bop and anything else that might move us," concludes Dillon. "But you know, I really don't care what you call it. We kick out the jams harder than anyone, and we also know when to heed the lessons of The Minutemen's Double Nickels On The Dime and keep things straight to the point. There's a reason we called the record what we did. We're the living, breathing definition of a band of outsiders, but together we deliver simple majestic beauty, let's leave it at that."

    1. Head
    2. Hand of God

    3. Homeland Insecurity
    4. Hero The Burro
    5. Carly Hates The Dubstep
    6. Great Lakes Tuna
    7. Missing
    8. All Walks of Life 9. Celebrate the Hate
    10. 7AM at the Jazzfest
    11. So Long Pal
    12. Baby Flint Talk
    13. Dauphine & Desire
    Mike Dillon
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • Days Are Gone Days Are Gone Quick View

    $23.99
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    Days Are Gone

    Days Are Gone is the debut album from indie-rock outfit/sisters Haim.


    Produced by Ariel Rechtshaid (Usher, Vampire Weekend) and James Ford (Florence and the Machine, Arctic Monkeys), Days Are Gone is an album years in the making. Since their first show as a group, which took place on July 7th, 2007, Haim have been gigging extensively. The first five years we just played every show we could play in L.A., Alana recalls. All we wanted to do was play. Then finally we realized we were playing too much. The sisters credit Casablancas specifcially for advising them that playing too many live shows is not the answer. To that end, the girls have now been more selective when lining up future tours. Still, as Alana explains, it was hard to turn down opening-slot offers from groups they love, specifically Florence and the Machine and Mumford & Sons. They take care of me like I'm their little sister, Alana says of the Mumfords, with whom Haim again will be playing support for later this year.


    Ask the girls to describe specific tracks on Days Are Gone and they quickly fire back: If I told you I'd have to kill you, Este deadpans. Wait, really? No clues at all? The thing is, she explains, you can ask me anything about anything and I'll tell you except for our music. The record is something we're tight-lipped about. Haim do reveal that the album contains a healthy dose of the songs they've been playing in their live sets - "Falling," "Forever," "Don't Save Me" - in addition to, as Alana says, a lot of new jams. What little they'll reveal about the new material is that the album's title track was co-written with Jessie Ware and Kid Harpoon.


    Rolling Stone had a chance to take the new album for a spin, however. And it's every bit worth the wait. There's palpable maturity in the lyrics: On If I Could Change Your Mind, Danielle is a self-admitted newbie at the whole love thing (I've never done this before/drove a million miles/back when you were mine/I was too young to know you were the one to find); later she's brushing off a former lover on Honey & I, then flat-out giving dude the cold shoulder (Honey, I'm not your honey-pie,) over a ripping electric guitar lick and a bass wobble generally reserved for sweaty dance clubs on the pop-friendly My Song 5. Sonically, the LP is a highly textural affair, from the 8-bit keyboard clatter on the title track to the lush, Eighties-style synths that sizzle throughout Running If You Call My Name.


    - Dan Hyman (Rolling Stone)

    1. Falling
    2. Forever
    3. The Wire
    4. If I Could Change Your Mind
    5. Honey & I
    6. Don't Save Me
    7. Days Are Gone
    8. My Song 5
    9. Go Slow
    10. Let Me Go
    11. Running If You Call My Name
    Haim
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Judas Judas Quick View

    $24.99
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    Judas

    The band Fozzy has really always been about one thing: having fun. What started out for guitarist Rich Ward as a weekend cover band soon became an internationally signed act with the biggest star in professional wrestling, Chris Jericho, as its lead singer. Their first few releases still had Fozzy playing covers but with adopted stage names and a backstory written for the movies. When you have such high-energy performers like Ward and Jericho - it still is debatably on who jumps higher, Ward on stage with his guitar or Jericho in the ring - creating a 'for fun' band was easy, however Ward and Jericho aren't just entertainers. Ward is probably one of the greatest and unjustly so, underrated riffers in rock and metal today. Jericho singing ability and overall passion for music makes one wonder just how he is able to find the time to excel in pretty much everything he does. It was these qualities that pushed the band to drop alter egos, get rid of the backstory and write original music.


    Over the course of the next 7 years, the band did just that; three albums worth to be exact. The records were fit in between Jericho's wrestling, TV and writing career. It wasn't until 2012's Sin & Bones though that the band really started to hit their stride. Jericho was winding down his involvement with sports, the band was touring more than ever before and their live show was as strong as ever. The entertainment, the fun factor, the showmanship were all there and in full force. More so than any point in their band's career.


    I'd be on stage looking out in the crowd and see such an interesting mix of people out there, comments Jericho, young kids, older long haired guys with ponytails, the denim and leather wearing dudes, Stuck Mojo fans, people that just knew me from my wrestling career, but the thing is they all had one thing in common; they were having fun. They were dancing, grooving, whether they wanted to or not. To me, that's what Fozzy has always been about and I think with this new record, we really captured that vibe.

    1. Judas
    2. Drinking With Jesus
    3. Painless
    4. Weight Of My World
    5. Wordsworth Way
    6. Burn Me Out
    7. Three Days In Jail
    8. Elevator
    9. Running With Bulls
    10. Capsized
    11. Wolves At Bay
    Fozzy
    $24.99
    Vinyl LP - Sealed Buy Now
  • Pocket Full Of Kryptonite Pocket Full Of Kryptonite Quick View

    $29.99
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    Pocket Full Of Kryptonite

    180 Gram Audiophile Virgin Vinyl


    Pocket Full of Kryptonite, originally pressed in 1991 sold over six million copies worldwide and was on Billboard's popchart for an incredible 115 straight weeks.


    This reissue of Pocket Full Of Kryptonite by SoundStageDirect is a special project for both the band and Seth Frank, President and founder of SoundStageDirect. Seth's passion for vinyl started at the young age of 11 when he began working at the Princeton Record Exchange. It was in that very record store where a friendship between Seth and Chris Barron, the lead singer of the Spin Doctors solidified over a mutual love of music.


    As the legend goes, Chris Barron went in to the Princeton Record Exchange in Princeton, N.J., when he was about 13 years old. He met 15-year-old Seth who at the time worked at the store which Chris thought was really cool. With $3 of hard-earned allowance in his pocket, Chris asked Seth, 'What's a really good album that's like, cheap?' Seth said, "Dude, 'Live At Leeds,' It's a killer album." And so Chris bought his first vinyl album for 99 cents, and walked out with enough money left over for a slice of pizza and a soda.


    The two teenagers who bonded over their passion for music and vinyl records in particular are still friends today, coming full circle with the limited edition 180 gram vinyl release of Pocket Full Of Kryptonite. It's very clear both men still share the same excitement about bringing music to people, each in their own way.


    The Spin Doctors are currently on tour with all of the original members (Chris Barron, Eric Schenkman, Aaron Comess & Mark White).

    1. Jimmy Olsen's Blues
    2. What Time Is It?
    3. Little Miss Can't Be Wrong
    4. Forty or Fifty
    5. Refrigerator Car
    6. More Than She Knows
    7. Two Princes
    8. Off My Line
    9. How Could You Want Him (When You Know You Could Have Me?)
    10. Shinbone Alley / Hard to Exist
    Spin Doctors
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Savages Savages Quick View

    $24.99
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    Savages

    Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.


    Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.


    "All of the things that make SOULFLY killer are combined in Savages," Max declares.


    »Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.


    "I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."


    A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.


    SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.


    In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).


    Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"


    Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."


    Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."


    Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."


    Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."


    Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."


    Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."


    Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."


    Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.


    Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"


    Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Are We Not Men? We Are Diva! Are We Not Men? We Are Diva! Quick View

    $15.99
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    Are We Not Men? We Are Diva!

    In that mythical era known as the 90's, five brave young men emerged from the legendary halls of some of the mightiest bands on Fat Wreck Chords with a single mission: make all the rest of these dildo punk bands covering popular songs obsolete. They crowned themselves Me First and the Gimme Gimmes and the world rejoiced. Now, seven records, scores of singles and nearly a thousand years later, having tackled every genre under the sun, the bold young knaves known colloquially as the Gimmes have ridden their success hard, and decayed into desiccated, old divas. Yet, the diva, she is immortal. And thus, imbued with the old-world, Mystic Pizza-esque swagger of Cher, the modern pop-art sensibility of Lady Gaga and the enthusiasm-for-drug-consumption of Whitney Houston, Me First and the Gimme Gimmes have returned from their beauty rest, busting out of their sequined gowns, and throwing vases at their assistants in order to present you with their latest opus, entitled Are We Not Men? We Are Diva!, slated to be released on none other than Fat Wreck Chords. And you'd best believe, whether because of their tantrums or their virtuosity, once you hear these fat ladies sing, there's not gonna be a dry eye in the house.


    For the uninitiated, Me First and the Gimme Gimmes consist of Lagwagon frontman Joey Cape on the guitar, Shiflett brother (and Foo Fighter) Chris Shiflett on the other guitar, Lagwagon drummer and Fat Wreck utility superhero Dave Raun on the skins, and are rounded out by Fat Wreck-head-honcho/NOFX main-dude Fat Mike, and incomparable crooner Spike Slawson. Together, Me First and the Gimme Gimmes-an outfit that has always operated more like a beer-hall Pussycat Dolls than a regular mortal band-contain so much hot air, so much pomp, so much attitude, that it's a wonder that these guys can still manage to pull their five individual tour buses into the same parking lot, put their differences aside and belt out the ballads without clawing each other's eyes out. But they do, for the love of the fans, the music, and of course, the applause.


    In the past, The Gimmes have tackled such disparate genres as Motown, country, show tunes and even Japanese pop (sung in real live Japanese!) but none of that enabled them to truly soar as high above the eagles as they desired, feeling the wind of other, lesser bands beneath their wings. So this time, the Fat (Wreck) Five decided to take on the un-take-on-able and hit us with cuts from the likes of Celine (gasp!) Christina (Sigh!) and Paula Abdul (oh no you di'int!) among others. And as Spike's baritone somehow manages to make Whitney Houston's (Dolly Parton-penned) Theme Song To The Bodyguard EVEN MORE EPIC, you will be moved to tears. You will find joy. You will shake in your very skin as the music of these divas gently takes you by the hand and shows you how to love again. AND! You'll buy tickets to see 'em on tour.


    Because that's right folks! Nothing says 'diva' like coming to your town to bask in the torrential, gushing blasts of your love, and the Gimmes will be hitting the entire world in support of Are We Not Men? We Are Diva!, except maybe Mike, who's such a diva that he's got substitutes on hand! So grab those flowers off of your grandma's grave and head out now, to check out Me First and the Gimme Gimmes on wax and in your town, before these five outrageous harpies either kill each other or wind up as a Vegas destination act, bloated, high on pills and uh, nevermind that last part. Just go see em, eh? It's a helluva time.


    - Troy Michael (Innocent Words)

    1. I Will Survive

    2. Straight Up

    3. Believe

    4. Beautiful

    5. My Heart Will Go On

    6. I Will Always Love You

    7. Top of the World
    8. Speechless

    9. Karma Chameleon

    10. Crazy for You

    11. On the Radio

    12. The Way We Were

    Me First & The Gimme Gimmes
    $15.99
    Vinyl LP - Sealed Buy Now
  • Magnolia Electric Co Magnolia Electric Co Quick View

    $24.99
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    Magnolia Electric Co


    10th Anniversay Deluxe Edition


    Expanded Reissue Of Songs: Ohia's Classic Record Gathering Together One Unreleased Song, Demos And Full-band Song Only
    Previously Available In Japan.


    Includes Rare Photos From The Era In Which It Was Recorded


    The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the
    sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the
    moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now- here at the end of that
    decade - with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of
    Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan
    favorite Whip Poor Will is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s
    final album Josephine (2009). Also included is the studio version of The Big Game Is Every Night. Previously only available
    on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th
    Century, through art and sporting culture - ultimately questioning what it means to be an American in the autumn of the
    American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each
    begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate,
    it's hard to look them right in the eyes. But you should.


    With the wailing lap steel of the album opener Farewell Transmission, Jason Molina & Company usher in a new day,
    playing the sort of rock that your cool uncle rolled to back in the '70s. Landing somewhere on the radar sonically between
    Bob Dylan's Desire and Bob Seger's Beautiful Loser, though thematically in-line with Lynyrd Skynyrd's Simple Man, The
    Magnolia Electric Co lies at the crossroads of working class rock, white soul, swamp rock and outlaw country


    While Songs: Ohia's last record Didn't It Rain was a meditation on roots and stability, Magnolia Electric Co. finds itself
    toiling with the wages of change, which is well illustrated in I've Been Riding with the Ghost, a real rig rocker that could
    have easily fit on Time Fades Away, on which Molina sings: See I ain't getting better, I am only getting behind. Standing on
    the crossroad trying to make up my mind. Trying to remember how it got so late. Why every night pain comes from a
    different place. Now something's got to change.


    This thematic preoccupation with change also manifests itself in the rotating cast of lead vocalists. While the entire album
    boasts a doo wop-like line-up with five vocalists on the floor, six of the eight songs have Molina in the tall stool with the
    ever-enchanting Jennie Benford (of Jim & Jennie & the Pinetops, who was also a key player on Didn't It Rain) as primary
    back-up vocalist. But on two songs, new Songs: Ohia players step up to take on lead vocal duties, singing Molina-penned
    songs. Lawrence Peters takes the lead on The Old Black Hen with his fantastic Merle Haggard-esque country croon, while
    Miss Scout Niblett appears from the nether world of the Ohia wardrobe with feathers in her hair and casts her spell on the
    Ohia rig barreling through Peoria Lunch Box Blues.


    Recorded live, in its entirety, at the hands of Steve Albini at his Electrical Audio Studio in Chicago, Illinois, with the same
    core back-up band that played on the Mi Sei Apparaso Come Un Fantasma Italian live album, this is the record where the
    Songs: Ohia fan demographics make a radical shift from the dominant bedroom universe of the world's lonely, sensitive,
    overqualified young white dudes, and finds refuge in the masses by being embraced by the world's truck drivers, sorority
    chicks, and hockey players, alike. Indeed, this is the first Songs: Ohia record with more than one song that could be played
    at a strip joint or monster truck show. Amid the mid-tempo slow jams, there lie some of the most upbeat material that
    Songs: Ohia has recorded to date.

    LP 1
    1. Farewell Transmission
    2. I've Been Riding With The Ghost
    3. Just Be Simple
    4. Almost Was Good Enough
    5. The Old Black Hen
    6. Peoria Lunch Box Blues
    7. John Henry Split My Heart
    8. Hold On Magnolia
    9. The Big Game Is Every Night (Bonus Track)
    10. Whip Poor Will (Bonus Track)


    LP 2
    1. Farewell Transmission (Demo)
    2. I've Been Riding With The Ghost (Demo)
    3. Just Be Simple (Demo)
    4. The Old Black Hen (Demo)
    5. Peoria Lunch Box Blues (Demo)
    6. John Henry Split My Heart (Demo)
    7. Hold On Magnolia (Demo)
    8. The Big Game Is Every Night (Demo)
    9. Whip Poor Will (Demo)

    Songs: Ohia
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
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