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Clash Hits Back'
Hits BackPrinted Innersleeves
60x60 CM Poster
The Clash Hits Back features 32 of the band's iconic tracks, across a 3LP set. The tracklisting is sequenced from the band's legendary Brixton Fairdeal show in 1982 and contains the best studio recordings of the full set, plus 8 additional iconic tracks. It comes with the original setlist, handwritten by Joe Strummer which he would tape to the back of his Telecaster before each gig.
Every show was different. Joe would spend a lot of time composing the running order, considering dynamics, emotional impact and the key the songs were in. This record is based on Joe's setlist from The Casbah Club UK Tour, Brixton Fairdeal, 10th July 1982. Mick, Paul & Topper
Includes a foldout exclusive poster and printed innersleeves. All tracks remastered from original tapes to audiophile quality.LP1
1. London Calling
2. Safe European Home
3. Know Your Rights
4. (white Man) In Hammersmith Palais
5. Janie Jones
6. The Guns Of Brixton
7. Train In Vain
9. Wrong 'em Boyo
10. The Magnificent Seven
11. Police On My Back
12. Rock The Casbah
1. Career Opportunities
2. Police & Thieves
3. Somebody Got Murdered
4. Brand New Cadillac
6. Ghetto Defendant
7. Armagideon Time
8. Stay Free
9. I Fought The Law
10. Straight To Hell
11. Should I Stay Or Should I Go?
1. White Riot
2. Complete Control
3. Clash City Rockers
4. Tommy Gun
5. English Civil War
6. The Call Up
7. Hitsville Uk
8. Radio Clash$49.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
Ranked 8/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Recorded in 1979 in London, which was then wrenched by surging unemployment and drug addiction, and released in America in January 1980, the dawn of an uncertain decade, London Calling is 19 songs of apocalypse, fueled by an unbending faith in rock & roll to beat back the darkness. Produced with no-surrender energy by legendary Seventies studio madman Guy Stevens, the Clash's third album skids from bleak punk (London Calling) to rampaging ska (Wrong 'Em Boyo) and disco resignation (Lost in the Supermarket).
The album was made in dire straits too. The band was heavily in debt and openly at war with its record company. Singer-guitarists Joe Strummer and Mick Jones wrote together in Jones' grandmother's flat. Joe, once he learned how to type, would bang the lyrics out, Jones said. Then I'd be able to bang out some music while he was hitting the typewriter. Strummer, Jones, bassist Paul Simonon and drummer Topper Headon spent nearly three months rehearsing and demoing songs in a garage in the Pimlico section of London - with one light and filthy carpet on the walls for soundproofing, recalled Strummer in 1989. We felt that we were struggling, he said, about to slide down a slope or something, grasping with our fingernails. But Stevens was on hand for inspiration. He threw chairs around the room if he thought a track needed zapping up, according to Strummer. The album ends with Train in Vain, a rousing song of fidelity (unlisted on the back cover because it was added at the last minute) that became the sound of triumph: the Clash's first Top 30 single in the U.S. - Rolling StoneLP 1
1. London Calling
2. Brand New Cadillac
3. Jimmy Jazz
5. Rudie Can't Fail
6. Spanish Bombs
7. Thr Right Profile
8. Lost In The Supermarket
10. The Guns Of Brixton
1. Wrong 'Em Boyo
2. Beath Or Glory
3. Koka Kola
4. The Card Cheat
5. Lover's Rock
6. Four Horsemen
7. I'm Not Down
8. Revolution Rock$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Two Sevens Clash'Two Sevens Clash' from Culture was the must-have reggae accessory for any self-respecting music fan back in that long hot summer of '77. Loaded up with hit anthems like "See Them A Come", "I Am Not Ashamed", "Natty Dread Taking Over" and the prophetic title track. 40th Anniversary edition is 3LPs in deluxe packaging. 'Two Sevens Clash' remains the defining album statement of the year that reggae crossed over - get ready to ride this lion to Zion!LP 1
1. Calling Rasta For I
2. I'm Alone In The Wilderness
3. Pirate Days
4. Two Sevens Clash
5. I'm Not Ashamed
6. Get Ready To Ride The Lion to Zion
7. Black Star Liner Must Come
8. Jah Pretty Face
9. See Them A Come
10. Natty Dread Taking Over
1. Two Sevens Clash/ Prophesy Revealed
2. Fulfillment - The Mighty Two
3. I'm Not Ashamed / Under Tight Wraps (feat. I Roy)
4. I'm Not Ashamed Version - The Mighty Two
1. See Them A Come / Mask Mi Mask (feat. Prince Weedy)
3. Informer Version - The Mighty Two
4. State Of Emergency - The Mighty Two
5. Natty Pass His GCE - Shorty The President
6. Natty Dread Taking Over / Invasion (feat. I Roy)
7. Natty Gone Clear - Joe Gibbs & The Professionals$38.99Vinyl LP - 3 LPs Sealed Buy Now
TribalLast summer Imelda May became a mother for the first time. You might expect her to turn to singing ballads. You would be horribly wrong.
"There are no lullabies on this album," laughs the lady who's brought rockabilly back into fashion sixty years after it was kicked into life by young men like
Carl Perkins and Elvis Presley, Gene Vincent and Jerry Lee Lewis.
"Tribal" is as primal a rock 'n' roll record as you could ever find, infused with the spirit of Sun Studios, where the sound was born in Memphis, Tennessee -
but given a 21st century kick up the butt by a girl from the back streets of Dublin.
Tribal" - her third album, following "Love Tattoo" and the Top Ten hit "Mayhem" - is her punchiest yet.
The songs on "Tribal" are infused with the rebel spirit that launched rock 'n' roll on an unsuspecting world way back in the mid-1950s, but also the rebel
spirit of the punk bands Imelda admired growing up in Dublin in the late 1970s as the youngest of five siblings - The Clash and The Undertones, The
Buzzcocks and The Cramps.
The motto for the way Imelda lives her life is the title of her new single 'It's Good To Be Alive'. "I wrote it in the early hours of the morning one day after I
had the baby," she reveals. "I was sleep-deprived and feeling very exhausted. I looked out of the window, watched the sun rise through the trees and felt
- God, it's good to be alive!"
Other song titles sum up Imelda's zest for life. 'It's Good To Be Alive'. 'I Wanna Dance'. 'Wicked Way'. 'Wild Woman'. Especially the latter, with its chorus:
"There's a wild woman livin' inside of me/A wicked, wicked wild woman, dyin' to be free". "You see people toning it down and becoming more responsible
as they get older. But inside, there's still the lunatic inside"1. Tribal
2. Wild Woman
3. It s Good To Be Alive
4. Gypsy In Me
5. Little Pixie
6. Hellfire Club
7. Five Good Men
8. Ghost Of Love
9. Wicked Way
10. Round The Bend
11. I Wanna Dance
12. Right Amount Of Wrong$19.99Vinyl LP - 2 LPs Sealed Buy Now
MelophobiaCage The Elephant's highly anticipated forthcoming third studio album, entitled 'Melophobia', is released via RCA Records. The album was recorded in Nashville, TN and reunites the band with producer Jay Joyce who produced the group's prior two releases.
This album has tested us as individuals and as a collective. We're five people fighting for our own ideologies of good music - we clash stylistically and sometimes even personally, said drummer Jared Champion. The studio is the place where we push all of those individual creative emotions together and smash them to the dispersion point until they explode like a Timebomb. With the explosion arrives something beautiful and in the end, when you listen back and goose bumps prick your skin like the first few drops of a summer rainfall on searing concrete, you know that you and your band of brothers have created something substantial. Conquering our melophobia is what drives us.
The new album is the follow up to 2011's acclaimed sophomore album Thank You Happy Birthday, which debuted at #2 on the Billboard Top 200 Chart and has sold over 250,000 copies to date. Rolling Stone, New York Times, LA Times, USA Today, and Entertainment Weekly praised the release as one of the best rock albums of the year. The album also spawned the hit single Shake Me Down which spent six weeks at #1 at Alternative radio. Their acclaimed self-titled debut album was released in 2009 and has sold over 550,000 copies to date. The album remained on the Billboard 200 Chart for an astounding 73 consecutive weeks and produced three Top 5 singles at Alternative Radio, including the massive hit Ain't No Rest For The Wicked. In additional to numerous Sold Out headline runs, Cage The Elephant has toured with Black Keys, Foo Fighters, Queens of the Stone Age, Muse, Stone Temple Pilots, Foals, Silversun Pickups, Manchester Orchestra, and many more.
- BWWMusicWorld1. Spiderhead
2. Come A Little Closer
4. It's Just Forever (featuring Alison Mosshart)
5. Take It Or Leave It
7. Black Widow
10. Cigarette Daydreams$16.99Vinyl LP - Sealed Buy Now
Boxed In"This album will enhance your life Oli Bayston, the main guy behind [Boxed In], is an impressive songwriter and his
piano-pinned dance-pop album carries zero duds." - NME
"[Boxed In] hits hard enough in places to get the party started and holds just enough back to make you want to return to
it again and again." - The Line of Best Fit
"Oli Bayston's transition from go-to producer to dazzling solo artist is complete." - DIY Mag
Boxed In is London, England-based songwriter and producer Oli Bayston. Having played in indie band Keith, written for
The 2 Bears, sung for George FitzGerald and been a producer for the likes of Charlie Boyer and the Voyeurs, Rosie Lowe
and The Bohicas, Oli is now bringing his wide array of talents to bear on his own solo project.
Boxed In brings together Oli's two greatest musical loves: Krautrock and house music. "The album has a bit of both of
those two things combined," he says, "But the principle focus is always the songs. I'm a slave to the songs and I try to
incorporate my love of specific genres of music into that." Inspired by the motorik rhythms of Can, Cluster and Neu! as
well as house producers, like PÉpÉ Bradock and Theo Parrish, Oli nevertheless emphasizes that the art of pop song writing
is right at the heart of Boxed In.
In the UK Boxed In is already buzzing with "Mystery" on the A List at BBC Radio 6 Music, Rough Trade's selecting the selftitled
debut as their album of the week January 19, and attention from influential press outlets like NME, Uncut, Sunday
Times Culture, The Sun, Clash, and The Line of Best Fit who rated the album 8/10 saying "[Boxed In] hits hard enough in
places to get the party started and holds just enough back to make you want to return to it again and again."1. Mystery
2. Subtle Knife
3. All Your Love Is Gone
5. No Joke
7. False Alarm
8. Foot of the Hill
9. Run Quicker
10. Lo Life (feat. CockNBull Kid)
11. Wild West$17.99Vinyl LP - Sealed Buy Now
Die ScreamingSomething sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.
Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.
With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.
This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.
Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.1. Thumper's Theme
2. Instruments of Hellfire
3. Curse of the Corpse
4. Black Souls
5. Show Me Your Skull
6. One By One
7. Lucifer Lives
8. Die Screaming$34.99Vinyl LP - Sealed Buy Now
AgitationsCobra Skulls have been on an upward trajectory since they sloughed off the shackles of their hometown of Reno, and started bringing their unique musical stylings to the masses back in 2005. Even with two full-lengths and 4 EPs to their credit already, not to mention a brutal tour schedule, the guys haven't let the breakneck pace slow them down.
Less than a year after their heralded debut release on Fat Wreck Chords, Bringing the War Home, they are set to deliver a follow-up full-length titled Agitations. As has become their calling card, the music on Agitations runs the gamut from rockabilly to folk/punk and hits all points in between. Any discerning listener can pick out hints of The Misfits, Against Me, The Clash, Chuck Berry, and any number of other varied artists in Cobra Skulls' music. The mastery of their craft is in the way they seamlessly blend an array of influences, giving nods to each, yet maintaining an old school punk fabric throughout each song.
The other hallmark of a Cobra Skulls record is the urgent message they propagate and the content on Agitations is no different. The lyrical themes on the album reflect a passion and vitriol uncommon in today's punk music and serve as an accelerant to the bonfire that is Agitations. All 13 tracks jolt the listeners' ears and conscience with a whiplash like intensity, just as a true punk rock album should.1. Six Degrees
2. Iron Lung
3. Now You Know
4. The Mess
5. On & On
6. All Drive
8. The Mockery
10. The Minimum
12. Running Out
13. Believe$15.99Vinyl LP - Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Poets Were My HeroesMorning Glory is made up of the stuff that the gritty, punk-crust motherland of New York's infamous Lower East Side has been known to spawn. This group of punkers and squatters had very humble beginnings indeed. Already in various other New York punk bands, Morning Glory first became the spark of an idea when Ezra Kire (Leftöver Crack, Choking Victim, INDK) took time off from touring and started to write some tunes in his NYC apartment.
In 2001, with nothing but a drum machine and an 8-track reel-to-reel, Ezra wrote and recorded the songs that would become Morning Glory's first LP, This Is No Time ta Sleep. Though it was self-recorded, home-released and had no touring support, it still managed to create a small but ubiquitous underground buzz. With a virtuosic range of musical elements such as ska, punk, metal, and even some rhyming, its catchy, anthemic sing-alongs showcased Ezra's flourishing writing talents. And while his lyrics stayed true to the caustic political edge of his other bands, the overall message remained more optimistic and leaned towards the humanistic, personal side of life.
In 2002, Ezra finally assembled a live band, handpicking musicians from the local NYC punk scene, including members of Nausea, World/Inferno Friendship Society and Stockyard Stoics. This lineup recorded the EP, The Whole World is Watching, released on Blacknoise Records in 2003. While the years that followed were spent recording and touring with Leftöver Crack, Morning Glory took a back seat.
But after these long years of touring, Ezra finally decided to give Morning Glory the attention it deserved in 2010 and began writing songs for what was to become the epic new album, Poets Were My Heroes. In the summer of 2011, Ezra and the band (with longtime members Early Gates, "Metal" Chris and Lucky Strano alongside new guitarist Adam Schrager) hit the studio with a barrage of new material. Picture the sonic kaleidoscope of punk noise meeting strings, horns, choirs, pianos and organs over a web of distorted guitars and marching, single kick pedal drums.
These are the sounds that make up Poets Were My Heroes, Morning Glory's Fat Wreck Chords debut and first full-length album recorded with a live band. Re-enlisting producer Jesse Cannon (The Menzingers, Saves the Day), a wealth of material was recorded, with only the very strongest songs being chosen to make up the album. It is both grand and elaborate, with each song evoking a different mood and style, challenging the musicianship of even the most dexterous players, while still maintaining its punk-inspired simplicity.
While the band itself has described themselves as "somewhere between Oasis and The Clash," they continue to break rules and write music that is true only to themselves, adhering to no genres, creeds or political factions. The sing-along choruses give the band a broader appeal than the standard politi-kill punk acts, but the key message is more subversive: "Think for yourself, decide for yourself, make up your own mind and love your friends. Only you know what is right for you. Together we are what we can't be alone." It's this unity in diversity that makes the band special and not just another punk outfit. Double vinyl includes digital download of full album.1. Everything's A Song (To Me)
2. Shelter From The Spoon
3. Poets Were My Heroes
4. March Of The Asylum
5. Quemar Las Fronteras
6. Divide By
7. Orphan's Holiday
10. Life's A Long Revenge
11. Another Way (Outside The Walls Of Eden)
12. Born To December$19.99Vinyl LP - 2 LPs Sealed Buy Now