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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
  • Smash Hits Smash Hits Quick View

    $19.99
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    Smash Hits


    Carefully Restored From The Original Analog Master Tapes


    Carefully restored from the original analog master tapes, featuring original poster and alternate cover art, the Legacy edition of the Jimi Hendrix Experience's Smash Hits includes timeless classics like Purple Haze, Hey Joe, Red House (a different take from the UK Are You Experienced version), Fire plus 8 more essential Hendrix tracks. First released in 1969, Smash Hits has proved to be immensely popular, serving as a critical introduction to the Hendrix canon for successive generations of fans.


    This 2016 edition of Smash Hits includes a recreation of the poster that came with the original U.S. LP release, depicting band members Jimi Hendrix, Mitch Mitchell and Noel Redding dressed in western attire on horseback. The photograph, taken by Grammy-winning photographer Ed Thrasher (Grateful Dead, Neil Young, the Beach Boys) at Warner Bros. film studios in Burbank, CA in early 1969, was conceived as sleeve art for the album. Now, for the first time ever, Thrasher's photo finally graces the cover of Smash Hits, as originally intended.

    1. Purple Haze
    2. Fire
    3. The Wind Cries Mary
    4. Can You See Me
    5. Hey Joe
    6. All Along the Watchtower
    7. Stone Free
    8. Crosstown Traffic
    9. Manic Depression
    10. Remember
    11. Red House
    12. Foxey Lady
    Jimi Hendrix Experience
    $19.99
    Vinyl LP - Sealed Buy Now
  • L.A. Confidential L.A. Confidential Quick View

    $18.99
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    L.A. Confidential

    Limited Edition Red Colored Vinyl


    L.A. Confidential contains a treasure trove of unreleased outtakes from the sessions that were initially recorded in 1979 and 1980 by Bomp mastermind Greg Shaw. After the initial break up of the Dead Boys, nihilistic front man extraordinaire Stiv Bators recorded material for Disconnected and several singles for Bomp. The music took a decidedly different approach, bypassing punk chutzpuh like Caught With the Meat in Your Mouth for '60s-derived garage pop abandon. Upon release, Dead Boys fans were less than enthused. Even so, this material stands on its own and continues to be rediscovered by a new audience much like Iggy's post-Stooges discs The Idiot and Lust for Life. The 18 tracks are all remastered from the original tapes, including alternate mixes of The Last Year, It's Cold Outside, Not That Way Anymore, Circumstantial Evidence, I'll Be Alright, a demo version of I'll Stand Accused, a rehearsal of the Damned's Neat, Neat, Neat, and Morrison Rant (recorded live at the Ritz in 1980), which is pure throwaway fun.

    1 It's Cold Outside
    2 Not That Way Anymore
    3 Last Year
    4 Circumstantial Evidence
    5 I'll Be Alright
    6 La, La [Jam]
    7 Have Love, Will Travel
    8 Crack Boom Bam
    9 Misery Loves Company
    10 Story in Your Eyes
    11 Morrison Rant [Live at the Ritz]
    Stiv Bators
    $18.99
    Vinyl LP - Sealed Buy Now
  • Dead Zone Boys Dead Zone Boys Quick View

    $16.99
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    Dead Zone Boys

    Dead Zone Boys, the third album from Jookabox (Indianapolis-born David Moose Adamson and Co.), is love story meets psychedelic zombie-musical. The zombie part came easy: Moose grew up on the east side of Indianapolis in the 90s, an area plagued by constant recession, pandemic homicide, and racial tension. It was this frantic energy and violence that infused itself into the Jookabox experience while musically nodding to early Ween, Black Sabbath, and fellow Indiana native, the King of Pop.
    1. Phantom Don't Go
    2. Don't Go Phantom
    3. You Cried Me
    4. Gonna Need the Guns/Doom Hope
    5. East Side Bangs/East Side Fade
    6. Glyphin' Out
    7. Evil Guh
    8. XXXiawn Shell
    9. Zombie Tear Drops
    10. Light
    11. F.I.T.F #1
    Jookabox
    $16.99
    Vinyl LP - Sealed Buy Now
  • Glass Boys Glass Boys Quick View

    $19.99
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    Glass Boys


    "It's a punk rock rush, a fundamentally teenage blast
    of endorphins that, if you're wired a certain way,
    you can't help but feel every time their guitars lock
    into a riff and the drums get rolling. Even when it's
    complicated, it's simple."
    - Stereogum, "Behind the Scenes
    of Fucked Up's Fourth Album"



    On their fourth album Toronto's Fucked Up pare things
    back to a single LP. In contrast to the sprawling epic
    of their last album, the punk rock opera David Comes
    To Life, the new album returns to rock'n'roll basics,
    verse-chorus-verse-chorus. It also features guitar
    solos, mellotron and piano.


    Recorded for the first time in analogue, with Bill
    Skibbe (The Dead Weather, The Kills, Lower Dens,
    Andre Williams), the album is bathed in a warm,
    almost romantic glow. In particular, Jonah Falco's
    virtuosic drumming shines forth, each snare hit
    shattering the air. Damian Abraham's throaty growl is
    not less punk, but the overall effect is a more human,
    relatable Fucked Up.


    While the imagery still includes the usual high-concept refrences (not least to classical mythology),
    Abraham and Mike Haliechuk's lyrics mostly address
    the puzzle of being in a punk rock band while having
    children and being in their early 30s. "So this is what
    it'd be like? Everything bathed in a harsh bright light?
    Why is the impact so immense? Maybe I know it
    could have been me instead."


    J Mascis, Gord Downie and George Pettit are the
    guest-star vocalists.

    1. Echo Boomer
    2. Touch Stone
    3. Sun Glass
    4. The Art Of Patrons
    5. Warm Change
    6. Paper The House
    7. Det
    8. Led By Hand
    9. The Great Divide
    10. Glass Boys
    Fucked Up
    $19.99
    Vinyl LP - Sealed Buy Now
  • Old Boys Old Boys Quick View

    $16.99
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    Old Boys

    Bishop Morocco is the musical vision of James Sayce and Jake Fairly. The Toronto-based duo recorded its 2008 self-titled debut at a homemade studio inside their shared in Groningen, Netherlands, earning international attention from the likes of Parisian tastemaker Collette and helping develop a strong following at home in Canada. That followed six years of Fairly (aka Fairmont) living in Berlin turning out techno hits on labels like Border Community and Kompakt and Sayce playing in bands like Tangiers and the Deadly Snakes.


    Two years later, Bishop Morocco arrives on Arts & Crafts with Old Boys, a six-track EP on which the band strays from its original new wave influences towards a thicker, more contemplative sound, aided by the addition of Ian Worang on guitar and Jon McCann on drums. A savvy delivery loaded with smart electronic instrumentation and richly textured melodies, Old Boys was recorded at another homemade studio, this time inside Fairly's mom's guest bedroom in West Toronto.


    It's at once proof of Bishop Morocco's collective progression as it is an expression of constant shifts in hometown imagery and the ongoing personal evolution of its principal members. The release marks Bishop Morocco's arrival as a fully realized project, relying less on paths forged by members favorite bands, and instead endeavoring to blaze a stark trail all its own.

    1. Bleeds
    2. Old Boys
    3. Colonial Man
    4. Melt My Mind
    5. City Island
    6. A Fine Line
    Bishop Morocco
    $16.99
    Vinyl LP - Sealed Buy Now
  • Grateful Dead Grateful Dead Quick View

    $24.99
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    Grateful Dead

    Originally released in March of 1967 on Warner Bros. Records, The Grateful Dead's self-titled debut album features seven folk/blues standards from the likes of Sonny Boy Williamson and Jessie Fuller along with a pair of originals in The Golden Road (To Unlimited Devotion) and Cream Puff War. The set unabashedly flaunts the Dead's musical roots and influences while simultaneously showcasing the promising songwriting that would subsequently help define an entire genre.
    1. The Golden Road
    2. Beat It On Down the Line
    3. Good Mornin' Little School Girl
    4. Cold Rain and Snow
    5. Sittin' On Top Of the World
    6. Cream Puff War
    7. Morning Dew
    8. New, New Minglewood Blues
    9. Viola Lee Blues
    Grateful Dead
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Queen Is Dead (Box Set) The Queen Is Dead (Box Set) Quick View

    $99.99
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    The Queen Is Dead (Box Set)

    Ranked 216/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Widely considered to be both The Smiths' finest work and one of the greatest albums ever made, 'The Queen Is Dead' has cast a significant influence over subsequent generations since it was first released in the summer of 1986. Now Warner Bros. Records can confirms the details of a newly mastered and expanded version of the album.

    The album features several of the band's finest moments including the title track and 'There Is A Light That Never Goes Out', as well as the iconic singles 'The Boy With The Thorn In His Side' and 'Bigmouth Strikes Again'.

    You cannot continue to record and simply hope that your audience will approve, or that average critics will approve, or that radio will approve, says Morrissey. You progress only when you wonder if an abnormally scientific genius would approve - and this is the leap The Smiths took with The Queen Is Dead.

    Johnny Marr adds, The Queen Is Dead was epic to make and epic to live.

    5LP Vinyl Boxset - featuring the 2017 master of the album, additional recordings and the 'Live In Boston' recording. Housed in lift off box with 2 double gatefolds and 1 single.

    Original Album - 2017 Remaster
    1. The Queen Is Dead
    2. Frankly, Mr. Shankly
    3. I Know It's Over
    4. Never Had No One Ever
    5. Cemetry Gates
    6. Bigmouth Strikes Again
    7. The Boy With The Thorn In His Side
    8. Vicar In A Tutu
    9. There Is A Light That Never Goes Out
    10. Some Girls Are Bigger Than Others


    Additional Recordings
    1. The Queen Is Dead (Full Version)
    2. Frankly, Mr. Shankly (Demo)
    3. I Know It's Over (Demo)
    4. Never Had No One Ever (Demo)
    5. Cemetry Gates (Demo)
    6. Bigmouth Strikes Again (Demo)
    7. Some Girls Are Bigger Than Others (Demo)
    8. The Boy With The Thorn In His Side (Demo Mix)
    9. There Is A Light That Never Goes Out (Take 1)
    10. Rubber Ring (B-side)
    11. Asleep (B-side)
    12. Money Changes Everything (B-side)
    13. Unloveable (B-side)


    Live In Boston (Previously Unreleased)
    1. How Soon Is Now?
    2. Hand In Glove
    3. I Want The One I Can't Have
    4. Never Had No One Ever
    5. Stretch Out And Wait
    6. The Boy With The Thorn In His Side
    7. Cemetry Gates
    8. Rubber Ring/What She Said/Rubber Ring
    9. Is It Really So Strange?
    10. There Is A Light That Never Goes Out
    11. That Joke Isn't Funny Anymore
    12. The Queen Is Dead
    13. I Know It's Over

    The Smiths
    $99.99
    Vinyl LP Box Set - 5 LPs Sealed Buy Now
  • Metal Avenger Metal Avenger Quick View

    $25.99
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    Metal Avenger

    The comeback album of the year - a brand new album of pure metal madness from the god of thunder himself, Thor!


    Joining thor on this epic recording is a slew of luminaries from both the rock and punk world including Henry Rollins (Black Flag), Fast Eddie Clarke (Motörhead), Cheetah Chrome (the Dead Boys), Jay Jay French (Twisted Sister), Joey Shithead (D.O.A.) and many more! The album was produced by Bruce Duff (Twisted Roots) and engineered by Paul Roessler (the Screamers, 45 Grave)!


    2015 was Thor's biggest year in decades - he's the subject of a major feature documentary film I Am thor, which was an official selection at the 2015 slamdance film fest and winner of the audience award for best doc at the fantasia fest, and has performed at several of the film's screenings in both.


    1. Out Of Control feat. Jussi Lehtisalo (Circle)
    2. Metal Avenger feat. Fast Eddie Clarke (Motörhead)
    3. Kings Of Thunder And Lightning feat. Scott Carlson (Repulsion)
    4. Master Of Revenge feat. Henry Rollins (Black Flag)

    5. Destruct feat. Brian Forsythe (Kix)

    6. The Hammer feat. Jay Jay French (Twisted Sister)
    7. Taste Of Victory feat. Betsy Bitch (Bitch) & Rikk Agnew (Christian Death)
    8. Heavy Load
    9. Legions Of The Psykon World feat. Jack Starr (Virgin Steele)
    10. Drive feat. Cheetah Chrome (The Dead Boys)

    11. Stars Upon Stars feat. Betsy Bitch (Bitch)

    12. T.H.O.R. feat. Joey Shithead (D.O.A.)
    13. Atomic Man feat. Peter StjÄrnvind (Krux)
    14. Wings Of Destiny feat. Niklas Stålvind (Wolf)

    15. Law Of The Universe
    Thor
    $25.99
    Vinyl LP - Sealed Buy Now
  • All Shook Down All Shook Down Quick View

    $34.99
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    All Shook Down

    Import


    180 Gram Audiophile Vinyl


    Insert


    All Shook Down is the seventh and final studio album by the band The Replacements, released in 1990. The band, hailing from Minneapolis, started out in 1979, and are considered pioneers of Alternative Rock, influencing a variety of acts along the way. Their influences ranged from The Rolling Stones, The Faces, Slade, Lou Reed and The Beatles to Punk rock bands such as The Ramones, Johnny Thunders, Dead Boys and The Clash.


    At the time All Shook Down was released, the band consisted of guitarist and vocalist Paul Westerberg, bass guitarist Tommy Stinson and drummer Chris Mars, added by lead guitarist Slim Dunlap. This album was originally intended to be Westerberg's solo artist debut. As a result, numerous session and side musicians including The Velvet Underground's John Cale performed on All Shook Down's
    13 songs, supplemented by the three other band members.


    Merry Go Round was the band's most successful Modern Rock Tracks single, reaching #1 for four non-consecutive weeks. The album also received a nomination for a Grammy Award for Best Alternative Music Album.

    1. Merry Go Round
    2. One Wink at a Time
    3. Nobody
    4. Bent Out of Shape
    5. Sadly Beautiful
    6. Someone Take the Wheel
    7. When It Began
    8. All Shook Down
    9. Attitude
    10. Happy Town
    11. Torture
    12. My Little Problem
    13. The Last
    The Replacements
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed 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
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    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
  • Give Me Convenience Or Give Me Death Give Me Convenience Or Give Me Death Quick View

    $34.99
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    Give Me Convenience Or Give Me Death

    Remastered And Available In A Deluxe Gatefold Sleeve


    Track for track and album after album, the Dead Kennedys were the most relentlessly political and controversial stateside punk rock band to gain much public notoriety. Originally released in 1987, Give Me Convenience or Give Me Death collects 17 of the band's singles, compilation tracks, and rarities spanning the eight years they played together.


    This is a wide and deep collection of favorites like California Über Alles and Holiday in Cambodia, but the real reason to pick up this disc is the more obscure and rare material. From 1979, Night of the Living Rednecks has hyperactive mouthpiece Jello Biafra relating a tale of being chased by irate rednecks while the rhythm sections jams. Their version of I Fought the Law rewrites it into a true-to-life murder ballad, while rippers like Life Sentence, Insight, Pull My Strings and Straight A's are off the map unless you were lucky enough to pick up the original singles or compilations that they're pulled from. And Kinky Sex Makes the World Go 'Round is Biafra at his sarcastic best, as he tells of one corporate head instructing another on the economic necessity of a new war. The DKs were a truly important and relevant band, and Give Me Convenience provides 17 livid reasons why. Boy, could we use them now. -- Carl Hanni

    1. Police Truck
    2. Too Drunk To Fuck

    3. California UberAlles
    4. The Man With The Dogs
    5. Insight
    6. Life Sentence

    7. A Child And His Lawnmower
    8. Holiday In Cambodia
    9. Night Of The Living Rednecks
    10. I Fought The Law
    11. Saturday Night Holocaust
    12. Pull My Strings
    13. Short Songs
    14. Straight A's
    15. Kinky Sex (Makes The World Go Around)
    16. The Prey
    17. Buzzbomb From Pasadena
    Dead Kennedys
    $34.99
    Vinyl LP - Sealed Buy Now
  • Onwards To The Wall Onwards To The Wall Quick View

    $13.99
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    Onwards To The Wall

    Without any official testing, Dead Oceans can safely say that the master recording for Onwards to the Wall is the loudest one ever submitted to the label for approval. Usually, they crank the volume to catch any digital pops or hisses that may foil a master. But this one they actually had to, ashamedly, put at half volume. This thing is pummeling. Theres no other way to capture the music of A Place To Bury Strangers than just beyond the boundary of whats considered properly loud. Produced, engineered, mixed and mastered by APTBS themselves, this is the sound of a band in control of making out of control music.


    Onwards to the Wall packs every bit of the searing sonic maelstrom listeners have come to expect from APTBS. Yet, the adroit songcraft thats always been there is brought more to the fore, pop hooks are repurposed and more instantly recognizable. Now joined by bassist Dion Lunadon, formerly of The D4, Ackerman has found a crucial companion in pulling timeless melodies from their jet engine textures. Standout So Far Away takes all the pure pop perfection of The Box Tops The Letter and shoots it through with a barely-harnessed dark energy and snarling propulsion. The title track carries a similar balance of classic, '60s-pop hooks and doomed-out vibes, employing a boy-girl vocal trade-off thats at once both sexy and menacing.


    Onwards to the Wall is a fresh, complete artistic statement from A Place To Bury Strangers . Its a new chapter, a prelude for what awaits us on the horizon. It is a taste of greatness to come.

    1. I Lost You
    2. So Far Away
    3. Onwards To The Wall
    4. Nothing Will Surprise Me
    5. Drill It Up
    A Place To Bury Strangers
    $13.99
    Vinyl LP - Sealed Buy Now
  • Stand By Me Soundtrack Stand By Me Soundtrack Quick View

    $36.99
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    Stand By Me Soundtrack

    Import


    30th Anniversary 180 Gram Vinyl


    Thirty years ago, director Rob Reiner chose the picturesque town of Brownsville, Oregon as the filming location for his classic coming-of-age story, Stand By Me. The heart-warming movie was nominated for an Academy Award and has continued to be a favourite of both critics and fans around the world.


    The film, whose plot is based on Stephen King's novella The Body and title is derived from the Ben E. King's eponymous song, which plays over the opening and ending credits, tells the story of four boys in small town Oregon who go on a hike across the countryside over Labour Day weekend in 1959 to find the dead body of a missing child.


    The classic original soundtrack is crammed with early rock & roll hits (Yakety Yak, Lollipop & Great Balls of Fire o.a.) and still sounds very alive today, decades after they were originally recorded.

    1. Everyday (Buddy Holly)
    2. Let the Good Times Roll (Shirley and Lee)
    3. Come Go With Me (The Del Vikings)
    4. Whispering Bells (The Del Vikings)
    5. Get a Job (The Silhouettes)
    6. Lollipop (The Chordettes)
    7. Yakety Yak (The Coasters)
    8. Great Balls of Fire (Jerry Lee Lewis)
    9. Mr. Lee (The Bobbettes)
    10. Stand By Me (Ben E. King)
    Various Artists
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The World Won't Listen The World Won't Listen Quick View

    $31.99
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    The World Won't Listen

    Remastered On 180 Gram Vinyl


    Rough Trade released two compilations of early singles and B-sides from The Smiths in 1987, the 24-track U.S.-only Louder Than Bombs and the 16-track U.K.-only The World Won't Listen. The two collections share 12-tracks, however, The World Won't Listen features four additional cuts in the singles The Boy With the Thorn in His Side and That Joke Isn't Funny Anymore as well as The Queen is Dead songs Bigmouth Strikes Again and There Is a Light That Never Goes Out. Reissued here on double 180 Gram audiophile vinyl.

    LP 1
    1. Panic (single)
    2. Ask (single)
    3. London (B-side)
    4. Bigmouth Strikes Again (The Queen Is Dead)
    5. Shakespeare's Sister (single)
    6. There Is a Light That Never Goes Out (The Queen Is Dead)
    7. Shoplifters of the World Unite (single)
    8. The Boy With the Thorn in His Side (single)


    LP 2
    1. Asleep (B-side)
    2. Unloveable (B-side)
    3. Half a Person (B-side)
    4. Stretch Out and Wait (B-side)
    5. That Joke Isn't Funny Anymore (single)
    6. Oscillate Wildly (B-side)
    7. You Just Haven't Earned It Yet, Baby (remix)
    8. Rubber Ring (B-side)

    The Smiths
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • 36 Cents 36 Cents Quick View

    $14.99
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    36 Cents


    "A lot of bands like to rehearse in the basement and play as
    many gigs as possible before hitting the studio, but The
    Lowest Pair had a different approach in mind. For their
    debut album 36¢. . . started recording virtually from the get-go, pairing a two-banjo approach with earnest, earthy
    songcraft."


    36¢ is The Lowest Pair's debut record recorded
    months after Kendl Winter (Olympia Washington)
    and Palmer T. Lee (Minnesota) decided to form the
    primarily double banjo outt. Recorded and
    engineered by Dave Simonett (Trampled by Turtles)
    at Suburban Dad Studios, it's the early pickin's,
    sweet off the tree, a newly formed endeavor by two
    seasoned pros. The duo swap lead vocals
    throughout the album's 11 tracks, combining Kendl's
    banjo skills with Palmer's midwestern croon. Prior to
    this Kendl has released 3 full length albums under
    her name for K Records and Palmer has released
    two albums with his band Boys n' the Barrels.
    Palmer has also performed with Drew Peterson and
    The Dead Pigeons.

    1. Oh, Susanna
    2. Tuesday Morning 10a.m.
    3. Living Is Dying
    4. Pear Tree
    5. Rumi's Field
    6. Do You Leave The Light On?
    7. Last Summer
    8. Moving On
    9. Trying To Feel At Home
    10. Magpies At Sunset
    11. Dock My Boat
    The Lowest Pair
    $14.99
    Vinyl LP - Sealed Buy Now
  • Make Out With Violence Make Out With Violence Quick View

    $34.99
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    Make Out With Violence

    Make Out With Violence is a genre-bending tale of a boy trying to fulfill his unrequited love for a girl who has risen from the dead. Set against the backdrop of a summer of cicadas and swimming pools, the film blends elements of up-beat teenage melodrama with the strange gravity of classic coming of age stories. It tells the story of twin brothers Patrick and Carol Darling, newly graduated from high school and struggling to come to terms with the unexplained disappearance of their friend, the bright and beautiful Wendy Hearst. When a drive through the countryside surrounding their suburban community leads to the discovery of Wendys mysteriously animated corpse, the boys secretly transport the undead Wendy to an empty house in hopes of somehow bringing her back to life. As the sweltering summer pushes on, they must maintain the appearance of normalcy for their friends and family as they search for ways to revive the Wendy they once knew, or, failing that, to satisfy their own quests for love amongst the living and the dead. Features an award winning original pop soundtrack by The Non-Commissioned Officers.
    1. Flour
    2. Radar Heart (Rody Please)
    3. Over the Banister
    4. Cinderella
    5. Ride
    6. Poison Lust
    7. Frozen Tongue
    8. No Means No
    9. Sweet Eleanor
    10. You Don't Even Know Her
    11. Anyway OK
    12. Spidertown
    Various Artists
    $34.99
    Vinyl LP + DVD - Sealed Buy Now
  • Eat A Peach Eat A Peach Quick View

    $34.99
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    Eat A Peach


    Remastered From Original Analog Tapes


    Cut On Copper Plates Using Abbey Road Mastering's Direct DMM Lathe


    Faithfully Restored Artwork


    Eat A Peach is the third studio album from the Allman Brothers and was originally released in February of 1972. It
    has been remastered from original analog tapes by Keven Reeves (Brothers And Sisters, The 1971 Fillmore East
    Recordings) to 192kHz 24-bit audio and then cut on copper plates using Abbey Road Mastering's Direct Metal
    Mastering (DMM) lathe. This title is being issued on 180g, heavy weight vinyl. The original artwork has been
    faithfully reproduced as well.


    Having firmly established themselves as The Grateful Dead of the South via their enormously successful 1971 Live at the Fillmore East double album, the Allman Brothers had just begun work on a new studio collection when slide guitarist Duane Allman died in a motorcycle accident. Undaunted, the group rallied together and completed Eat a Peach, which, via inclusion of the 34-minute-plus Mountain Jam, blossomed into a double LP. While keyboardist-singer Gregg Allman shone on tracks like Sonny Boy Williamson's One Way Out and his own Melissa, it was second guitarist Dickey Betts who came out from under the departed Allman's shadow with his lead vocal on Blue Sky and his incendiary playing throughout. -Billy Altman


    1. Ain't Wastin' Time No More
    2. Les Brers in A Minor
    3. Melissa
    4. Mountain Jam
    5. One Way Out
    6. Trouble No More
    7. Stand Back
    8. Blue Sky
    9. Little Martha
    10. Mountain Jam, Cont'd.
    The Allman Brothers Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Babel Babel Quick View

    $16.99
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    Babel


    Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.


    Fantastic 4 Star review from American Songwriter!



    There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.

    So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.


    Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.


    The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.


    While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.


    Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.


    There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.


    Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.


    1. Babel
    2. Whispers In The Dark
    3. I Will Wait
    4. Holland Road
    5. Ghosts That We Knew
    6. Lover Of The Light
    7. Lovers' Eyes
    8. Reminder
    9. Hopeless Wanderer
    10. Broken Crown
    11. Below My Feet
    12. Not With Haste
    Mumford And Sons
    $16.99
    Vinyl LP - Sealed Buy Now
  • Proud To Be (20th Anniversary Edition) Proud To Be (20th Anniversary Edition) Quick View

    $19.99
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    Proud To Be (20th Anniversary Edition)

    Proud to Be, the Epitaph debut of Dead Fucking Last (referred to in retail land and heretoafter as DFL), appeared on the punk scene in 1995, making 2015 the glorious 20th anniversary of this bombshell of sheer hardcore energy. In celebration, Epitaph is releasing Proud to Be for the first time on full-length vinyl, in a glorious 20th anniversary edition. A missive from the days when 20 tracks of adolescent guitar/vocal angst clocked in at 30 minutes. And of course, produced by Adam Horowitz (Beastie Boys).
    1. Proud To Be DFL
    2. Word Of Mouth
    3. Lost Cause
    4. Return Of The Knucklehead
    5. Mr. Popular
    6. Function At The Center
    7. Home Is Where The Heart Is
    8. Hit The Floor
    9. Club Stupid
    10. Minus Adam
    11. Better Off Dead
    12. S.B.C.G.
    13. Free Haircut
    14. Society's Pressure
    15. Self Pity
    16. Action Everybody
    17. Sourpuss
    18. Insane Authority
    19. Good Cop, Bad Cop
    20. What's The Difference
    DFL
    $19.99
    Vinyl LP - Sealed Buy Now
  • Hardly Criminal Hardly Criminal Quick View

    $21.99
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    Hardly Criminal

    Crash's story unfolds with that particularly Southern swagger and with a tale of a Louisiana boy bred on Waffle House breakfasts and monster truck rallies, local Rodeos and the flicker of family bonfires. There was college for a hot minute, there was a move to the Irish Channel, there was the soaking in of all that is New Orleans, wet heat and Sazeracs, the wailing horns of jazz funerals, the teetering handmade floats of Mardi Gras, crawfish and etouffee and howling at the moon. There was work where he could get it, toiling as a PA on the studio sets, Hollywood coming south for the tax credits. It was on these film productions where crash earned his nickname, something to do with a questionable work ethic and repetitive tardiness (he admits you d have to ask one Ms. Rita Wilson for the real deal details). And yet despite his reputation (or perhaps because of it), he was anointed "assistant" to Johnny Knoxville during The!Dukes!of!Hazzard s run. (One can only imagine ) crash later joined the critically adored local act The Deadly Syndrome as lead singer and frontman, bringing his gris gris into the beautiful belly of the L.A. beast. Since then, crash has been barreling ahead, recording prolifically with The Deadly Syndrome, working with famed producer Daniel Lanios, composing a live stage score, acting in a few national commercials, and finally, after Deadly disbanded in 2013, heading out on the road with his pals, Edward Sharpe and The Magnetic Zeros, as percussionist and angelic vocal accompaniment. And somewhere in that heady mix in that combination of the rolling road, of California eucalyptus sway and dark NOLA mysteries, he discovered his true self - the wildaeyed, slyatongued, strutting, winking and wonderful crash of this here solo debut. Produced and engineered by the multitalented Ed Sharpe lead guitarist, Mark Noseworthy, (and featuring friends from the Zeros, Dawes, The Mystic Valley Band and more ) Hardly Criminal is the culmination of all that is strange and sad, hilarious and harmonious, about crash s own true tale. It is story a moving, funny, weird, and stunningly beautiful. You can hear the South, yes, Neville swing and Dr. John juaju, but you can also hear smooth soul, booty funk, and ragged folk, a mix of sounds taken from his past and pushed into the future, all accompanied by a deadpan storytelling prowess and a voice like a Cajun Prince (as in "The Artist Formerly Known As"). Hardly!Criminal! is the sum of crash s best parts - the sonic celebration of his story so far. So, set down a spell, cool yer bones, cher... and listen
    1. Hardly Criminal
    2. Motion Animal
    3. All My Friends
    4. High Wall
    5. Mine Always, Lioness
    6. Britches Catch Fire
    7. Song For The Birds
    8. Refinally
    9. Mad At The Clouds
    10. If God Was A Cajun
    11. Almighty Equal
    Crash
    $21.99
    Vinyl LP - Sealed Buy Now
  • b'lieve i'm goin down... b'lieve i'm goin down... Quick View

    $27.99
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    b'lieve i'm goin down...

    Kurt Vile does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why this focused, brilliantly clear and seemingly candid record is a breath of fresh air. Recorded and mixed in a number of locations, including Los Angeles and Joshua Tree, b'lieve I'm goin' down... is a handshake across the country, east to west coast, thru the dustbowl history ("valley of ashes") of woody honest strait forward talk guthrie , and a cali canyon dead still nite floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of singer songwriter upcycling. In Kurt's words, "I wanted to get back into the habit of writing a sad song on my couch, with nobody waiting on me. I really wanted it to sound like it's on my couch -- not in a lo-fi way, just more unguarded and vulnerable." It's a weird, accepting, mature record, acknowledging the inherent immaturity of being a person whether father, husband , partner, adult, musician, not perfect, but compelling for its understanding that's life though so sad to say - Kim Gordon
    1. Pretty Pimpin
    2. I M An Outlaw
    3. Dust Bunnies
    4. That S Life Tho (Almost Hate To Say)
    5. Wheelhouse
    6. Life Like This
    7. All In A Daze Work
    8. Lost My Head There
    9. Stand Inside
    10. Bad Omens
    11. Kidding Around
    12. Wild Imagination
    Kurt Vile
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Iceberg/Freedom Of Speech Iceberg/Freedom Of Speech Quick View

    $34.99
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    Iceberg/Freedom Of Speech

    Import

    The Iceberg/Freedom of Speech... Just Watch What You Say! is the third studio album by infamous rapper Ice-T, released in 1989. The album has an uncharacteristically gritty sound, featuring some of the darkest musical tracks that Ice-T ever released.


    The album was released after Ice-T was encountering censorship problems on tour. The album's cover, featuring a B-boy with a shotgun shoved in his mouth, and two pistols pressed against each side of his head, reflected Ice-T's experiences with the concept of freedom of speech.


    This album is arguably the closest hip-hop has come to George Orwell's 1984. Instead of focusing heavily on gangsta rap, Ice-T made First Amendment issues the album's dominant theme. Setting the album's tone is the opener, Shut Up, Be Happy, featuring Dead Kennedy's Jello Biafra. There are a few examples of first-rate gangsta rap here - including The Hunted Child and the chilling Peel Their Caps Back as well as some humoristic raps on My Word Is Bond and The Girl Tried to Kill Me.

    1. Shut Up, Be Happy (Spoken Words By Jello Biafra)
    2. The Iceberg
    3. Lethal Weapon
    4. You Played Yourself ("The Boss")
    5. Peel Their Caps Back
    6. The Girl Tried To Kill Me
    7. Black 'n' Decker
    8. Hit The Deck
    9. This One's For Me
    10. The Hunted Child
    11. What Ya Wanna Do? ("Do You Wanna Go Party?")
    12. Freedom Of Speech
    Ice-T
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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