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  • CBGB: Original Motion Picture Soundtrack CBGB: Original Motion Picture Soundtrack Quick View

    $29.99
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    CBGB: Original Motion Picture Soundtrack

    WATCH OUT! PUNK IS COMING!


    By the end of 1973, New York City was bankrupt, Watergate had compromised the credibility of the U.S. government, and the Carpenters were the bestselling
    young recording act in America. Rock 'n' roll was dead!


    Enter Hilly Kristal, who dreamed of running a country & blues bar in the Bowery. Instead, the club he opened, CBGB (Country, Bluegrass, Blues) became
    the birthplace of punk and underground music. CBGB was the modern-day salon for the disenfranchised youth of New York City and Kristal gave these
    young local bands a stage. Artists such as the Talking Heads, Blondie, Patti Smith, Ramones, Dead Boys and Television all started at this iconic club.


    The story of Hilly Kristal and his legendary club will be coming to theaters this October when CBGB hits the big screen. The film has an all-star ensemble cast headed by Alan Rickman (the Harry Potter series, Die Hard) who plays Kristal. Co-starring with Rickman will be Malin Akerman (The Proposal,Suburgatory), Ryan Hurst (Sons Of Anarchy), Ashley Greene (The Twilight series), Johnny Galecki (The Big Bang Theory), Stana Katic (Castle) and
    Rupert Grint (the Harry Potter series).


    Omnivore Recordings is proud to present CBGB: Original Motion Picture Soundtrack on CD and naturally, double-LP (with first pressing on translucent
    pink vinyl). An essential collection of songs that made the punk movement, CBGB presents twenty slices of original American music, many rarely
    compiled or unavailable for years. The soundtrack contains music from influential artists that informed the scene (The Velvet Underground, The Stooges
    and MC5), to acts that broke through with huge commercial acclaim (Talking Heads, Blondie and The Police). And there's even music from bands whose
    legendary status will forever be linked to the club that gave them a voice (Dead Boys, Television. Wayne County, The Dictators and more).


    PUNK IS HERE with CBGB: Original Motion Picture Soundtrack

    1. Life During Wartime - Talking Heads
    2. Kick Out The Jams (Uncensored Version) - MC5
    3. Chatterbox - New York Dolls
    4. Soul Twist - Mink DeVille
    5. Careful - Television
    6. Blank Generation - Richard Hell & The Voidoids
    7. Slow Death - Flamin' Groovies
    8. I Can't Stand It - The Velvet Underground
    9. Out Of Control - Wayne County & The Electric Chairs
    10. Psychotic Reaction - The Count Five
    11. All For The Love Of Rock 'N' Roll (Live) - Tuff Darts
    12. All By Myself - Johnny Thunders & The Heartbreakers
    13. California Sun (Original DEMO) - The Dictators
    14. I Got Knocked Down (But I'lL Get Up) - Joey Ramone
    15. Get Outa My Way - The Laughing Dogs
    16. Sunday Girl (2013 Version) - Blondie
    17. I Wanna Be Your Dog - The Stooges
    18. Sonic Reducer - Dead Boys
    19. Roxanne - The Police
    20. Birds And The Bees - Hilly Kristal
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Bad Brains: Live At CBGB Bad Brains: Live At CBGB Quick View

    $16.99
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    Bad Brains: Live At CBGB

    Not to be confused with the CD release, LIVE CBGB 1982, this vinyl only release contains audio selections from the DVD release, LIVE CBGB 1982. Sure it sounds confusing, but the material on the CD and LP, while culled from the same series of live shows around Christmas 1982 at CBGBs, is completely different. Besides, who can have enough live stuff from the world's best hardcore band at the peak of their prowess? This colored vinyl slab comes in a limited edition for indie retail only. Includes blazingly awesome live versions of FVK, How Low Can a Punk Get, and more.
    1. The Meek
    2. The Regulator
    3. Unity Dub
    4. Banned In DC
    5. Joshua's Song
    6. Rally Round Jah's Throne
    7. Destroy Babylon
    8. Riot Squad
    9. I and I Rasta
    10. How Low Can A Punk Get
    11. FVK
    12. Right Brigade
    13. I And I Survive
    14. We Will Not
    Bad Brains
    $16.99
    Vinyl LP - Sealed Buy Now
  • Old School To New School Old School To New School Quick View

    $15.99
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    Old School To New School

    Their first album after the departure from their hardcore sound that was the self-titled record, Old School To New School features six tracks that were new to this release, an alternate version of Crazy But Not Insane and a few tracks recorded live at CBGB in 1992.
    1. Can I Get A Witness
    2. Wasted Life
    3. Drug X Free X Youth
    4. Parasite
    5. In Search Of ...
    6. Break Down The Walls
    7. Crazy But Not Insane
    8. Face Up To It
    9. Judgement Day
    10. In The Mirror
    11. As One
    Warzone
    $15.99
    Vinyl LP - Sealed Buy Now
  • Matchless Matchless Quick View

    $19.99
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    Matchless

    Underdog has been a staple in the hardcore scene since their inception in the 1980's and the release of Matchless will further cement their impact. The two constant elements of Underdog during its initial run were Richie Birkenhead (vocals) and Rus Wheeler Iglay (bass), who decided to start the band after talking at CBGB in 1985. Fast forward over twenty years and Underdog is back with this comprehensive release that includes both The Vanishing Point and Demos on double LP.
    Vanishing Point:


    1. Fron Now On
    2. A Lot To Learn
    3. Over The Edge
    4. Mass Movement
    5. Never Too Late
    6. Back To Back
    7. Underdog
    8. Without Fear
    9. Blindside
    10. The Vanishing Point
    11. No Matter What


    Demos:


    1. True Blue
    2. Special Forces
    3. Not Like You
    4. Frontside Grind
    5. Say It (To My Face)
    6. Not Too Late
    7. Looking Out For You
    8. Friends Like Them
    9. Over The Edge
    10. A Lot To Learn
    11. Underdog
    12. Mass Movement
    13. Reach Out
    14. Without Fear
    15. The Vanishing Point

    Underdog
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Talking Heads: 77 Talking Heads: 77 Quick View

    $32.99
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    Talking Heads: 77

    Import


    Ranked 290/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Talking Heads: 77 is the auspicious debut album from what was the most highly touted new wave band to ever emerge from New York's CBGB's scene and it immediately set them apart from their counterparts in both sound and scope. Both unique and infectious, David Byrne's high, yelping tenor serves as the perfect complement to the band's tightly-wound yet kinetic rhythms here, making for a tuneful collection of songs highlighted by the twisted anthem Psycho Killer and the joyous Pulled Up.

    1. Uh-Oh, Love Comes To Town
    2. New Feeling
    3. Tentative Decisions
    4. Happy Day
    5. Who Is It?
    6. No Compassion
    7. The Book I Read
    8. Don't Worry About The Government
    9. First Week/Last Week...Carefree
    10. Psycho Killer
    11. Pulled Up
    Talking Heads
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Greatest Hits: Deluxe Redux / Ghosts of Download Greatest Hits: Deluxe Redux / Ghosts of Download Quick View

    $53.99
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    Greatest Hits: Deluxe Redux / Ghosts of Download


    2-LP Color Vinyl Set Features:



    -150 Gram Color Vinyl


    -Live CBGB '77 DVD


    -2 Color 4-Page Inserts


    -Full Color Inner Sleeves


    -Vintage 1979 Gig Poster!


    2014 marks the 40th year since the inception of legendary Rock & Roll Hall of Famers BLONDIE! The band is kicking off the celebration with this very
    special release. GREATEST HITS: DELUXE REDUX / GHOSTS OF DOWNLOAD is a unique package containing 2 separate albums that salute both
    Blondie's past and their present. Greatest Hits: Deluxe Redux is a collection of the very best of Blondie revisited and recorded anew by the band over the
    past couple of years* while they were recording GHOSTS OF DOWNLOAD, a collection of brand new music aided and abetted by the some of the world's
    most unique artists headed up by BETH DITTO (The Gossip), MISS GUY, and the Columbian turntablists/hip hop collective SYSTEMA SOLAR.
    *Except for original 1999 recording of "Maria"

    GREATEST HITS: DELUXE REDUX
    1. Heart of Glass
    2. Dreaming
    3. The Tide is High
    4. Maria
    5. Sunday Girl
    6. Hanging on the Telephone
    7. Rapture
    8. One Way or Another
    9. Call Me
    10. Atomic
    11. Rip Her To Shreds


    GHOSTS OF DOWNLOAD
    1. Sugar On The Side (feat. Systema Solar)
    2. Rave (feat. Miss Guy)

    3. A Rose By Any Name (feat. Beth Ditto)
    4. Winter
    5. I Want To Drag You Around
    6. I Screwed Up
    7. Relax
    8. Take Me In The Night
    9. Make A Way
    10. Mile High
    11. Euphoria
    12. Take It Back
    13. Backroom


    DVD LIVE AT CBGB 1977
    1. Kung Fu Girls
    2. In The Sun
    3. Little Girl Lies
    4. Look Good In Blue
    5. Man Overboard
    6. A Shark In Jets Clothing
    7. Rifle Range
    8. In The Flesh
    9. XOffender
    10. Youth Nabbed As A Sniper
    11. Rip Her To Shreds
    12. Heart Full Of Soul
    13. I Love Playing With Fire
    14. Palisades Park
    15. Denis (rehearsal)

    Blondie
    $53.99
    Colored Vinyl LP + DVD - 2 LPs Sealed Buy Now
  • Leave Home (40th Anniversary Deluxe Edition) Leave Home (40th Anniversary Deluxe Edition) Quick View

    $64.99
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    Leave Home (40th Anniversary Deluxe Edition)

    3xCD/1 Vinyl LP Deluxe Edition Features New 40th Anniversary Mix By Album Engineer/Mixer Ed Stasium

    Also Includes A Newly Remastered Version Of The Original Mix, Rarities, And Unreleased Studio And Live Recordings

    Includes 12x12 Hardcover Book

    Limited Edition Of 15,000 Individually Numbered Copies

    Following the success of last year's 40th-anniversary edition of the Ramones' debut album comes a deluxe version of the group's follow-up, Leave Home. Originally released in January 1977, this 30-minute opus of buzzsaw rock introduced fans to classics like "Pinhead" "California Sun," and "Swallow My Pride."

    To celebrate the album's indelible legacy, Rhino will release the 3xCD/1 Vinyl LP LEAVE HOME: 40th ANNIVERSARY DELUXE EDITION. It contains two different mixes of the album, a remastered version of the original and a new 40th-anniversary mix by original Leave Home album engineer/mixer Ed Stasium, along with a treasure trove of unheard recordings, and an unreleased live show recorded in 1977 at CBGB's.

    The deluxe edition will be produced in a limited and numbered edition of 15,000 copies worldwide and comes packaged in a 12 x 12 hardcover book. In addition to the music, the set also features stories about the band by legendary former manager Danny Fields, as told to renowned music scribe Michael Azerrad, as well as details about making the album by Stasium.

    The first disc features two different mixes of Leave Home, opening with a remastered version of the original stereo mix. The highlight is the new 40th-anniversary mix of the full album, created by Stasium from the original multi-track tapes, and designed to better reflect the Ramones' raw power and beef up the sound. In the set's liner notes he writes: "Generally, the consensus was [the original] maybe sounded too clean, the guitars panned completely left-right detracted from the band's foreboding presence, and the reverb effects especially were a little excessive." The new 40th-anniversary mix is also featured on the LP that accompanies this deluxe edition.

    The second disc is overflowing with more than two dozen rare and unreleased recordings. It begins with rough mixes for 15 tracks recorded for Leave Home at Sundragon studio in New York. Most are missing elements that had yet to be recorded, offering a fascinating insight into the band's recording process and the development of the album. Also included are "Sheena Is A Punk Rocker" and "Babysitter," both of which served as replacement songs on the US and UK versions of the album, respectively, when the band removed "Carbona Not Glue" from the track list shortly after initial release. The disc concludes with a combination of 18 alternate mixes and instrumental versions of all tracks from the album.

    The final disc features an unreleased recording of the band's concert at CBGB's on April 2, 1977. The show took place a few months after Leave Home was released and includes live performances of album tracks like "Suzy Is A Headbanger," "Oh Oh I Love Her So," and "Babysitter," the latter of which was only performed live a handful of times, along with classics like "Blitzkrieg Bop" and "Now I Wanna Sniff Some Glue."

    LP: 40th Anniversary Mix
    1. Glad To See You Go
    2. Gimme Gimme Shock Treatment
    3. I Remember You
    4. Oh Oh I Love Her So
    5. Carbona Not Glue
    6. Suzy Is A Headbanger
    7. Pinhead
    8. Now I Wanna Be A Good Boy
    9. Swallow My Pride
    10. What's Your Game
    11. California Sun
    12. Commando
    13. You're Gonna Kill That Girl
    14. You Should Have Never Opened That Door


    CD 1: Original Album / Remastered Original Mix
    1. Glad To See You Go
    2. Gimme Gimme Shock Treatment
    3. I Remember You
    4. Oh Oh I Love Her So
    5. Carbona Not Glue
    6. Suzy Is A Headbanger
    7. Pinhead
    8. Now I Wanna Be A Good Boy
    9. Swallow My Pride
    10. What's Your Game
    11. California Sun
    12. Commando
    13. You're Gonna Kill That Girl
    14. You Should Have Never Opened That Door
    40th Anniversary Mix
    15. Glad To See You Go
    16. Gimme Gimme Shock Treatment
    17. I Remember You
    18. Oh Oh I Love Her So
    19. Carbona Not Glue
    20. Suzy Is A Headbanger
    21. Pinhead
    22. Now I Wanna Be A Good Boy
    23. Swallow My Pride
    24. What's Your Game
    25. California Sun
    26. Commando
    27. You're Gonna Kill That Girl
    28. You Should Have Never Opened That Door


    CD 2: Bonus Material
    Sundragon Rough Mixes
    1. Glad To See You Go*
    2. Gimme Gimme Shock Treatment*
    3. I Remember You*
    4. Oh Oh I Love Her So*
    5. Carbona Not Glue*
    6. Suzy Is A Headbanger*
    7. Pinhead*
    8. Now I Wanna Be A Good Boy*
    9. Swallow My Pride*
    10. What's Your Game*
    11. California Sun*
    12. Commando*
    13. You're Gonna Kill That Girl*
    14. You Should Have Never Opened That Door*
    15. Babysitter*
    40th Anniversary Extras
    16. Sheena Is A Punk Rocker (Single Version)
    17. I Don't Care (B-Side Version)
    18. Babysitter (UK Album Version)
    19. Glad To See You Go (BubbleGum Mix)*
    20. I Remember You (Instrumental)*
    21. Gimme Gimme Shock Treatment (Forest Hills Mix)*
    22. Oh Oh I Love Her So(Soda Machine Mix)*
    23. Carbona Not Glue (Queens Mix)*
    24. Suzy Is A Headbanger (Geek Mix)*
    25. Pinhead (Psychedelic Mix)*
    26. Pinhead (Oo-Oo-Gabba-UhUh Mix)*
    27. Now I Wanna Be A Good Boy (Bowery Mix)*
    28. Swallow My Pride (Instrumental)*
    29. What's Your Game (Sane Mix)*
    30. California Sun (Instrumental)*
    31. Commando (TV Track)*
    32. You're Gonna Kill That Girl (Doo Wop Mix)*
    33. You Should Have Never Opened That Door (Mama Mix)*


    CD 3: Live At CBGB's April 2, 1977
    1. I Don't Wanna Go Down To The Basement*
    2. Now I Wanna Sniff Some Glue*
    3. Blitzkrieg Bop*
    4. Swallow My Pride*
    5. Suzy Is A Headbanger*
    6. Teenage Lobotomy*
    7. 53rd & 3rd*
    8. Now I Wanna Be A Good Boy*
    9. Sheena Is A Punk Rocker*
    10. Let's Dance*
    11. Babysitter*
    12. Havana Affair*
    13. Listen To My Heart*
    14. Oh Oh I Love Her So*
    15. California Sun*
    16. I Don't Wanna Walk Around With You*
    17. Today Your Love, Tomorrow The World*
    18. Judy Is A Punk*
    19. Pinhead*


    * Previously Unreleased

    Ramones
    $64.99
    Vinyl LP + 3 CDs - Sealed Buy Now
  • Remain In Light Remain In Light Quick View

    $24.99
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    Remain In Light

    Ranked 126/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Cut from the Original Analog Masters and Pressed at RTI for Stunning Sound!


    Formed in the mid 70s by art school chums David Byrne, Chris Franz, and Tina Weymouth and ex-Modern Lover Jerry Harrison, Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands of all time. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius.


    From their 1977 debut through their Brian Eno and self-produced classics and on to their swan song (1988's Steve Lillywhite-produced Naked), Talking Heads constantly broke creative boundaries while also scoring smart radio hits including "Burning Down The House," "Wild Wild Life," and, from 1980's Remain In Light, the brilliant "Once In A Lifetime."


    Considered by many fans and critics alike to be the band's best album, Remain In Light was the third release in the Heads/Eno trilogy and fourth overall. More melodic and funkier sounding than that of its predecessors, the recording finds the band further exploring the African rhythms hinted at on 1979's Fear of Music with the help of a growing personnel that now included Adrian Belew (guitar), Bernie Worrell (keyboards), Steven Scales (percussion) and backing vocalists. As propulsive and essential as ever here on 180 gram vinyl courtesy of Warner Bros. Records!


    "On this New Wave watershed, the avant-punk avatars became polyrhythmic pop magicians. David Byrne and Co. combined the thrust of P-Funk, the kinky grooves of Afropop and the studied adventurousness of producer Brian Eno - and they still had a pop hit with 'Once in a Lifetime'." - Rolling Stone


    The Great Curve
    Crosseyed and Painless
    Born Under Punches (The Heat Goes On)
    Houses In Motion
    Once In A Lifetime
    Listening Wind
    Seen and Not Seen
    The Overload
    Talking Heads
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Suburban Myth Suburban Myth Quick View

    $16.99
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    Suburban Myth

    You could say that Sick Feeling are a Brooklyn-based band, and you'd be right,
    but their story is one that originates in Berkeley, Austin, Philadelphia, and the
    suburban New Jersey sprawl - scenes best known for their raw and trenchant
    undergrounds, vanguard cities to many.


    You could say that Sick Feeling are a new band, and even though Suburban
    Myth is their debut album, that's almost true. They've been together for two
    years, but their ranks have well-established histories playing in a wide-ranging
    list of bands including Ink & Dagger, And You Will Know Us By The Trail of
    Dead, and the Mongoloids, among others.


    You could also say that Sick Feeling are a hardcore-punk band, and you'd be
    right in the most fundamental sense, but what does that even mean when we're
    talking about a band that once curated a photo exhibit in New York and then
    showed up to play inside of a twelve-foot square box for three nonstop hours? A
    CBGB Sunday Matinee it was not, but risks like these speak to hardcore's historic
    sense of testing boundaries and appropriating space.
    After hearing Suburban Myth, you will be hard-pressed to say that Sick Feeling
    haven't somehow transformed their nascent punk paradigms into a viable model
    of what it means to be young and fucked up and still turned off by self-defeating
    ennui. Which means that the worst possible thing would be to confuse this band
    with the past-due punk of pessimism and power chords. Sick Feeling is the sound
    of American nostalgia being turned inside out.

    1. Gave Back (Suburban Myth Part 1)
    2. Not No (Sick Feeling)
    3. Liberal Arts
    4. Natural Ice
    5. I'm Chafing
    6. The Americans
    7. Suburban Myth (Part 2)
    8. Frauds
    9. Ambition
    10. Strangers
    11. The Party
    Sick Feeling
    $16.99
    Vinyl LP - Sealed Buy Now
  • Collected Collected Quick View

    $42.99
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    Collected

    Import


    Limited Pressing Of 500 Individually Numbered Copies On Gold Vinyl, Black Vinyl Thereafter


    180 Gram Audiophile Vinyl


    Gatefold Sleeve


    Printed Innersleeves


    4-Page Insert


    Collected is a brand new 2xLP compilation of Willy DeVille's tenure as the charismatic front man of Mink DeVille, AND of his later solo work. Featuring Spanish Stroll, Demasiado Corazon & Hey Joe, this 2-record set includes a 4-page booklet with extensive liner notes written by ex-band members and DeVille's inner circle. Containing one LP called The Mink DeVille Years and the second disc The Willy DeVille Years, this 27-song collection is the definitive document of his 35-year career.


    Mink DeVille was one of the New York Punk movement's founding bands while having the distinct honor of being CBGB's house band. Off their debut Cabretta, Spanish Stroll and Return To Magenta (produced by Jack Nitzsche) are included in this compilation. Off subsequent albums, Love & Emotion and Demasiado Corazon are also included.


    After their third album, Le Chat Bleu, Willy was the only original member left. After the sixth Mink DeVille album, Willy went solo with Miracle, working together with Mark Knopfler. The song Storybook Love became a hit because of the film The Princess Bride. After a musical journey, DeVille scored a hit with his Hey Joe cover in 1992. His last album Pistola was released in 2008. A year later, Willy DeVille died of pancreatic cancer age 58.


    This limited edition of 500 individually numbered copies is pressed on gold vinyl. Once sold out, this release will be available again on black vinyl.

    LP 1: Mink Deville Years
    1. Spanish Stroll
    2. Mixed Up, Shook Up Girl
    3. Just Your Friends
    4. Soul Twist
    5. Savoir Faire
    6. Heaven Stood Still
    7. Just To Walk That Little Girl Home
    8. Love And Emotion
    9. Maybe Tomorrow
    10. You Better Move On
    11. Demasiado Corazon
    12. Each Word's A Beat Of My Heart
    13. Italian Shoes
    14. I Must Be Dreaming


    LP 2: Willy Deville Years
    1. Miracle
    2. Storybook Love
    3. Hello My Lover
    4. Hey Joe
    5. Even While I Sleep
    6. Voodoo Charm
    7. Still (I Love You Still)
    8. Gypsy Deck Of Hearts
    9. Across The Borderline
    10. (Don't Want You) Hanging Around My Door
    11. Come A Little Bit Closer
    12. Right There, Right Then
    13. When I Get Home

    Willy & Mink DeVille
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • A Fiendish Threat (Awaiting Repress) A Fiendish Threat (Awaiting Repress) Quick View

    $24.99
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    A Fiendish Threat (Awaiting Repress)

    The king of Hellbilly, Mr. Hank3 himself, is pleased to announce a triple-threat of new releases. Hank3 will release a brand new DOUBLE country album, entitled Brothers of the 4x4, and a single punk album, entitled A Fiendish Threat, with his new project "3".


    Recording in his own home and releasing music on his own label, the Megaforce distributed Hank3 Records, allowed Williams complete creative control during the four month period it took to make both records.


    Besides living the songs subject matter first, Hank3 sang and played both guitar and drums on the records. As if pulling triple duty wasn't enough, he engineered, produced, mixed and mastered all the tunes as well. Not bad for someone who in his own words is dyslexic and has ADD, according to Hank3 "my mind is all over the place". But even a man talented and driven enough to do (count 'em) seven jobs at once has his limits, so Hank3 has once again assembled a top-notch ensemble of pickers and pluckers for Brothers Of The 4x4 and A Fiendish Threat.


    The required stand-up bass holds the low end down at the deft hands of Zach Shedd, with David McElfresh and Billy Contreras whipping razor sharp bows across the fiddle. Daniel Mason handles banjo, with a special guest appearance on Possum In A Tree by former National Old-Time Banjo Champion Leroy Troy working his banjo in the old school clawhammer style, while Andy Gibson wrings the sweetest of notes out his stand up steel guitar. Finally, long-time collaborator and fellow multi-instrumentalist extraordinaire Johnny Hiland rips his chicken pickin' guitar to feathers and shreds.


    With the release of Brothers of the 4x4 and A Fiendish Threat, Williams is ready to hit the road, and when he hits the road, he hits it much harder than most. Hank3 shows are legendary for their length and intensity, averaging three hours a night, starting with a country set and ending with whatever his latest musical experiment happens to be. For this touring cycle, fans will get to taste the hardcore punk horror rock of A Fiendish Threat, a rippingly fast blast of sounds reminiscent of The Misfits, Minor Threat, 7 Seconds, The Ramones and other punk rock greats that are as much a part of Hank 3's musical identity as his country roots. But A Fiendish Threat, like all of the man's musical output, is anything but a formulaic, by-the-numbers rehash of what has been previously done by others. Stand up bass, fiddle, and banjo are not exactly standard instruments in punk rock, but they are on this record, riding beneath 3's howling distorted vocals. Perhaps this is the birth of rebelcore punk? Whatever you want to call it, Williams has left his own touch on the genre, even utilizing a bizarrely beautiful Hula-music-on-acid sounding Hawaiian guitar at times. Some of the songs can make the listener feel like someone dropped LSD in their cheap draft beer at a CBGB matinee show headlined by a ghoulish Hawaiian punk band. A Fiendish Threat is yet another of Williams already numerous signature sounds, and he's excited to put it in front of the audience for the first time. You know when you do a new record, you just want to play it for all your friends. That's what I'm excited for with this punk record, I get use a voice that doesn't get used that often, and pay respects to some of my influences at the same time. Doing this record made feel like I was growing stronger- it took some of the years off me, to tell you the truth. Playing it makes me feel young again, he laughs, How long I will be able to pull it off all depends on the voice, man."


    With these dual releases, Brothers Of The 4x4 and A Fiendish Threat added to his already huge and varied arsenal of music, Hank3 will be raising all sorts of hell on stage while the fans raise their glasses in the audience once again, and you can bet your last dollar a damn good time will be had by all. The man goes full throttle all the time, every time, as anyone who has ever been to one of his innumerable shows will attest.


    Listen to Brothers of the 4x4 and A Fiendish Threat, go to a show, and find out for yourself. Just remember the next day, after a few aspirins, a dinner at your own table, and a sleep in your own bed, that Hank3 will be down the road doing his thing again, and for that rebel, "doing the best I can" means something a little different than it does for the average man.

    1. Can I Rip U
    2. Different From the Rest
    3. There's Another Road
    4. Broke Jaw
    5. Watchin U Suffer
    6. Breakin Free
    7. Face Down
    8. New Identity
    9. Feel the Sting
    10. Fight My Way
    11. Full On
    12. Your Floor
    13. A Fiendish Threat
    Hank3
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
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    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • Horses Horses Quick View

    $19.99
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    Horses

    Ranked 44/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Before recording the poetic proto-punk 1975 classic Horses, Patti Smith and her band honed the tunes in a triumphant run of shows at New York's iconic venue, CBGB. In the studio, producer John Cale then helped the band to further refine the songs in a process that brilliantly showcases their anarchic spirit and primitive beauty. Smith's background as a rock critic and poet is equally in evidence here as heard on the re-imaginings of such warhorses as Gloria and Land of 1000 Dances, where she boldly adds her own provocative and unflinching lyrics to great effect. Horses' influence on the burgeoning punk-rock movement is undeniable and it remains one of the finest debuts of all-time!

    1. Gloria
    2. Redondo Beach
    3. Birdland
    4. Free Money
    5. Kimberly
    6. Break it Up
    7. Land
    8. Elegie
    Patti Smith
    $19.99
    Vinyl LP - Sealed Buy Now
  • Crow Jane Alley Crow Jane Alley Quick View

    $34.99
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    Crow Jane Alley

    Import


    First Time On Vinyl


    It's hard to get a handle on what to call Willy DeVille's multi-genre music, though AMG writer Thom Jurek's description of ''Spanish soul-inflected love songs'' comes close. ''Muddy Waters Rose Out of the Mississippi Mud'' would be perfect for Rusty Kershaw, God rest his soul, a nice complement to the laid-back cover of Jay & the Americans' Top Three hit from 1964, ''Come a Little Bit Closer'' -- its presentation a wonderful nod to songwriters Wes Farrell and Bobby Hart. The evolution is startling 28 years after Mink DeVille gave listeners ''Let Me Dream if I Want To'' on the classic punk LP Live at CBGB's, and DeVille emerges as a major interpreter. The four minutes and 31 seconds of Bryan Ferry's ''Slave to Love'' may be one of the most distinct and unique adaptations of a Ferry tune put on record to date. Outside of the covers, the other eight tracks are Willy DeVille originals, ''(Don't Have A) Change of Heart'' liberally borrowing the melody from Kenny Rogers' hit ''Lucille.'' ''Trouble Comin' Every Day in a World'' slinks and lurks around the corner with another stylistic change, sounding a bit like that other Willie from the same era, Bostonian Willie ''Loco'' Alexander. Crow Jane Alley is a very respectable collection from this journeyman, starting off with the single ''Chieva'' and continuing with DeVille's novel exploration of sound and clever merging of styles.

    1. Chieva
    2. Right There, Right Then
    3. Downside Of Town
    4. My Forever Came Today

    5. Crow Jane Alley (for Jack)
    6. Muddy Waters Rose Out Of The Mississippi Mud
    7. Come A Little Bit Closer
    8. Slave To Love
    9. (Don't Have A) Change Of Heart
    10. Trouble Comin' Everyday In A World Gone Wrong
    Willy DeVille
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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