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  • Neil Young Neil Young Quick View

    $22.99
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    Neil Young

    Whether as a singer, a songwriter or a guitarist, Neil Young has been one of the most influential and important artists of the rock era. Blending folk, country and rock, the acoustic and the electric, the melancholy and the hopeful, Young has been an icon for the uncompromising and unpredictable since the 1960s.


    His self-titled 1968 solo debut album, following his exit from Buffalo Springfield, bridged what was and what would be. Although the eponymous release was his only album not to chart, it featured the classic track The Loner and marked the launching point of an illustrious solo career. Neil Young was followed by the three acknowledged masterpieces, Everybody Knows This Is Nowhere, After the Gold Rush and Harvest.

    1. Emperor of Wyoming
    2. Loner

    3. If I Could Have Her Tonight

    4. I've Been Waiting for You
    5. Old Laughing Lady

    6. String Quartet from Whiskey Boot Hill

    7. Here We Are in the Years

    8. What Did You Do to My Life?

    9. I've Loved Her So Long

    10. Last Trip to Tulsa
    Neil Young
    $22.99
    Vinyl LP - Sealed Buy Now
  • The Ballads V The Ballads V Quick View

    $19.99
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    The Ballads V

    Gatefold 2xLP + CD


    THE HISTORY OF ROCK IS FULL OF MISCONCEPTIONS. WE ALL HEARD THAT POPULAR ONE: ROCK MUSIC IS LOUD AND DANGEROUS, IT´S THE DEVIL'S
    MUSIC. BUT DOESN'T EVERYBODY KNOW AT LEAST ONE BEAUTIFUL SONG BY A ROCK BAND?


    Even if you are not attending the mighty School of Rock, you know one of those bloody emotional moments when the lead guitar sings its way through the solo and the
    chorus comes back while you are flying on the wings of heaven. Or something else. We all need a little bit of silence sometimes, just to stop from being part of this crazy
    world we live in.


    One of the finest moments on this ballad compilation is the new song "On The Edge Of Our Time", being one of the best ballads he's ever written to date. But the climax of
    "The Ballads V" is without a doubt the fascinating new song "Love's Holding On". Singer Johnny Gioeli is joined by Bonnie Tyler here!


    There are 9 more songs, of course, pretty much known from his previous albums (e.g. Neil Young' "Hey Hey My My " and Deep Purple' "Mistreated") which wraps up another
    classic, dynamic and high-quality Axel Rudi Pell album. As one fan from Israel said on Facebook: "If there was justice in the music business, your ballads would be as big
    as the Scorpions one."

    LP 1
    1. Love´s Holding On
    2. I See Fire
    3. On The Edge Of Our Time
    4. Hey Hey My My
    5. Lived Our Lives Before
    6. When Truth Hurts


    LP 2
    1. Forever Free
    2. Lost In Love
    3. The Line (Live)
    4. Mistreated (Live)


    CD
    1. Love´s Holding On
    2. I See Fire
    3. On The Edge Of Our Time
    4. Hey Hey My My
    5. Lived Our Lives Before
    6. When Truth Hurts
    7. Forever Free
    8. Lost In Love
    9. The Line (Live)
    10. Mistreated (Live)

    Axel Rudi Pell
    $19.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Everybody Wants Some!! Soundtrack Everybody Wants Some!! Soundtrack Quick View

    $28.99
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    Everybody Wants Some!! Soundtrack

    The official soundtrack curated by the film's director Richard Linklater, featuring classic songs from Van Halen, The Cars, The Knack, and many more.


    Quote from Linklater: The Everybody Wants Some soundtrack tries to capture the amazing diversity of what was on the table musically at that time. So many artists were at the top of their game, and it seemed like a lot of popular genres were viable. Metal and R&B were as big as ever, disco was still hanging in there (although it would be 'dead' within a year or so), and, thanks to the movie Urban Cowboy, country was suddenly cool in places it hadn't been before. Even more exciting was the immediacy of punk and new wave, and the first examples of this thing you'd eventually know as hip-hop. Over the years some of this has been parodied and made to look ridiculous, but this movie is asking you to experience it as if for the first time - from those opening drum beats of 'My Sharona' to the utter newness of 'Rapper's Delight.'

    LP 1
    1. My Sharona - By The Knack
    2. Heart Of Glass - By Blondie
    3. Take Your Time (Do It Right) - By S.O.S. Band
    4. Heartbreaker - By Pat Benatar
    5. Every 1's A Winner - By Hot Chocolate
    6. Alternative Ulster - By Stiff Little Fingers
    7. Everybody Wants Some!! - By Van Halen
    8. Let's Get Serious - By Jermaine Jackson
    9. Pop Muzik - By M
    10. Because the Night - By Patti Smith Group
    11. I Want You To Want Me (Live) - By Cheap Trick
    12. Rough Boys - By Pete Townshend


    LP 2
    1. Ain't Talkin' 'Bout Love - By Van Halen
    2. Bad Girls - By Donna Summer
    3. Hand In Hand - By Dire Straits
    4. Whip It - By Devo
    5. I'm Bad, I'm Nationwide - By ZZ Top
    6. Maybe I'm A Fool - By Eddie Money
    7. Romeo's Tune - By Steve Forbert
    8. Give Up The Funk (Tear The Roof Off The Sucker) - By Parliament
    9. Driver's Seat - By Sniff 'n' The Tears
    10. Cars - By Gary Numan
    11. Good Times Roll - By The Cars
    12. Rapper's Delight (Single Version) - By The Sugarhill Gang

    Various Artists
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Crazy Horse (Awaiting Repress) Crazy Horse (Awaiting Repress) Quick View

    $24.99
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    Crazy Horse (Awaiting Repress)

    'Crazy Horse' is the self-titled official 1971 debut album from the band Crazy Horse, originally released on Reprise Records. Members of the band had previously released an album in 1968 as The Rockets and had also featured twice on albums with Neil Young; 'Everybody Knows This Is Nowhere' and 'After The Gold Rush'. Known for famous collaborations the band also recruited Ry Cooder to play on three tracks on the album.
    1. Gone Dead Train
    2. Dance, Dance, Dance
    3. Look At All The Things
    4. Beggars Day
    5. I Don't Want To Talk About It
    6. Downtown
    7. Carolay
    8. Dirty, Dirty
    9. Nobody
    10. I'll Get By
    11. Crow Jane Lady
    Crazy Horse
    $24.99
    180 Gram Audiophile Virgin Vinyl LP -Sealed AWAITING REPRESS Buy Now
  • Hopes & Fears (Awaiting Repress) Hopes & Fears (Awaiting Repress) Quick View

    $24.99
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    Hopes & Fears (Awaiting Repress)

    180g vinyl reissue of Keane's acclaimed and much sought-after debut album Hopes & Fears. The gold-certified album includes the hit singles Somewhere Only We Know, Everybody's Changing & Bedshaped.
    1. Somewhere Only We Know
    2. Bend And Break

    3. We Might As Well Be Strangers
    4. Everybody's Changing
    5. Your Eyes Open
    6. She Has No Time
    7. Can't Stop Now
    8. Sunshine
    9. This Is The Last Time
    10. On A Day Like Today
    11. Untitled 1
    12. Bedshaped
    Keane
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Back Roads And Abandoned Motels Back Roads And Abandoned Motels Quick View

    $19.99
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    Back Roads And Abandoned Motels

    Back Roads And Abandoned Motels consists of the Jayhawks' versions of songs originally written by front man Gary Louris with and for other artists, including Come Cryin' to Me (originally released on Natalie Maines' Mother in 2013); Everybody Knows and Bitter End (released on Dixie Chicks' Taking The Long Way in 2006); Gonna Be a Darkness (written and performed by Louris and Jakob Dylan for True Blood: Music From The HBO Original Series - Volume 3 in 2011); Need You Tonight (originally released on Scott Thomas' Matson Tweed in 2015); El Dorado (originally released on Carrie Rodriguez' She Ain't Me in 2008); Bird Never Flies (originally released on Ari Hest's The Break-In in 2007); Backwards Women (written with Wild Feathers but never recorded) and Long Time Ago (written with Emerson Hart of Tonic but never recorded). In addition the album premieres two brand-new songs.
    1. Come Cryin' to Me
    2. Everybody Knows
    3. Gonna Be a Darkness
    4. Bitter End
    5. Backwards Women
    6. Long Time Ago
    7. Need You Tonight
    8. El Dorado
    9. Bird Never Flies
    10. Carry You to Safety
    11. Leaving Detroit
    The Jayhawks
    $19.99
    Vinyl LP - Sealed Buy Now
  • Live At The Cellar Door Live At The Cellar Door Quick View

    $24.99
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    Live At The Cellar Door


    Mastered By Chris Bellman At Bernie Grundman Mastering And Pressed At Pallas In Germany


    Neil Young will release Live At The Cellar Door, the latest in his Archives Performance Series, on Reprise Records. The album collects recordings made during Young's intimate six-show solo stand at The Cellar Door in Washington D.C. between November 30th and December 2nd, 1970, a few months after Reprise released his classic third solo album After The Gold Rush in August.


    The album, which features Young performing on acoustic guitar and piano, includes tracks that are interesting for several reasons, such as stunning live versions of songs that appeared on After The Gold Rush (Tell Me Why, Only Love Can Break Your Heart, Birds, Don't Let It Bring You Down and the title track) and solo performances of the Buffalo Springfield songs Expecting To Fly (from their 1967 second album Buffalo Springfield Again), I Am A Child (from their third and final album Last Time Around and Young's 1977 Decade compilation), and Flying On The Ground Is Wrong, from their 1966 self-titled debut.


    In addition, Live At The Cellar Door features early, raw performances of songs that wouldn't appear until subsequent Young albums, including the rarity Bad Fog Of Loneliness (which appears on Live At Massey Hall '71 - released in 2007-but was previously unreleased until the studio band version was included on Archives Vol. 1 1963-1972), Old Man (released two years later on 1972's Harvest album), a rare solo performance of Cinnamon Girl on piano (the full band version appears on Young's 1969 second solo album Everybody Knows This Is Nowhere), and Down By The River, also from Everybody Knows This Is Nowhere.


    Live At The Cellar Door was recorded by Henry Lewy and produced by Young.

    1. Tell Me Why
    2. Only Love Can Break Your Heart
    3. After the Gold Rush
    4. Expecting To Fly
    5. Bad Fog of Loneliness
    6. Old Man
    7. Birds
    8. Don't Let It Bring You Down
    9. See the Sky About to Rain
    10. Cinnamon Girl
    11. I Am A Child
    12. Down By the River
    13. Flying On The Ground Is Wrong
    Neil Young
    $24.99
    180 Gram Audiophile Classic Vinyl LP - Sealed Buy Now
  • Send Them All To Hell Send Them All To Hell Quick View

    $28.99
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    Send Them All To Hell

    The German PANZER, the Teutonic Heavy Metal trio, is comprised of yet three undisputed genre legends: Vocalist & bass-player Schmier, best known as frontman of DESTRUCTION and HEADHUNTER, guitarist Herman Frank (ACCEPT, VICTORY) as well as drummer Stefan Schwarzmann (ACCEPT).


    The initial idea was born when drummer Stefan Schwarzmann, who has relocated to Switzerland about seven years ago, had a chat with the owner of renowned Swiss club Z7 in Pratteln. The two tried to figure out a way to fill the empty space within touring and recording, the venue has been facing with its most frequently playing bands. To make a long story short: Nobert Mandel (owner of Z7) had the idea of a trio, with both Stefan and Herman in it. The only vacancy for bass and vocals wouldn't stay open for long, as Stefan had the phone number and mail address of DESTRUCTION's Schmier right at hand - and so "The German Panzer" was born!


    Commented vocalist & bass-player Schmier: "When Stefan Schwarzmann, drummer of ACCEPT and an old friend came to me with the idea of putting a band together, I first thought he tried to fool me hahaha! But the idea sounded amazing from the beginning and after the first meeting with Herman Frank, the German guitar legend, that everybody knows from his work with ACCEPT and VICTORY and Stefan, we realized really fast, that this team could really kick some serious ass together. And Instead of talking too long about it, we started writing songs right away and within some weeks had half of the album recorded and it sounded wicked! We don t wanna re-invent the metal-wheel. We play the music we love, easy as that and it's great fun cause we all dig this shit since we are teenagers!


    Naming a band after fierce war machinery might seem a bit off for some, but if you take a look at the lyrics, this is picture perfect. The lyrics provoke, criticize and are part of the art. "My lyrics criticize... I don t pray," adds Schmier.


    And as difficult as the search for a name was at first, with all members being German die-hards and organizers of the Teutonic scene, The German PANZER seemed to be the name everybody remembers right away.


    As for the album title, »Send Them All To Hell« was almost mandatory, as these are the first words to be heard on the record, with Schmier whispering them into the mic. With the exception of one track that feature all three members, all songs are written entirely by Herman Frank and Schmier.


    If you like it heavy, more melodic or if you dig Speed Metal, then The German PANZER will hit right on - Or to say it with Herman Frank: "No left - no right! Just straight forward like a Panzer!

    1. Death knell

    2. Hail and kill

    3. Temple of doom

    4. Panzer

    5. Freakshow

    6. Mr. Nobrain

    7. Why?

    8. Virtual collision

    9. Roll the dice

    10. Bleed for your sins

    11. Murder in the skies (Gary Moore Cover)
    The German Panzer
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Newport Uproar (Pure Pleasure) Newport Uproar (Pure Pleasure) Quick View

    $34.99
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    Newport Uproar (Pure Pleasure)

    The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn't happened since Duke « he begins, casting back in his mind to 1956 and the nearest comparable triumph.



    There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival's climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.
    Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.



    All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo-driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel's long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.



    Musicians:



    • Lionel Hampton (vibraphone, piano, drums)

    • Illinois Jacquet (tenor saxophone)

    • Snooky Young, Wallace Davenport (trumpet)

    • Al Grey, Benny Powell (trombone)

    • Jerome Richardson, George Dorsey, Ed Pazant (reeds)

    • John Spruill, Milt Buckne (piano)

    • Billy Mackel (guitar)

    • George Duvivier (bass)

    • Steve Little (drums)



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Turn Me Loose
    2. Thai Silk
    3. Tempo's Birthday
    4. Greasy Greens
    5. Greasy Greens (Encore)
    6. Meety Benny Baily
    7. Medley:
    Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
    8. Misunderstood Blues
    9. Flying Home
    Lionel Hampton
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hug Of Thunder Hug Of Thunder Quick View

    $25.99
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    Hug Of Thunder

    "I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.

    They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.

    Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."

    Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.

    "He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."

    As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."

    Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"

    Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.

    The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.

    The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".

    Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."

    But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.

    "The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."

    Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"

    That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.

    "My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"

    So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."

    1. Sol Luna
    2. Halfway Home
    3. Protest Song
    4. Skyline
    5. Stay Happy
    6. Vanity Pail Kids
    7. Hug of Thunder
    8. Towers and Masons
    9. Victim Lover
    10. Please Take Me With You
    11. Gonna Get Better
    12. Mouth Guards of the Apocalypse
    Broken Social Scene
    $25.99
    Vinyl LP - Sealed Buy Now
  • Bob Dylan Bob Dylan Quick View

    $49.99
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    Bob Dylan

    Bob Dylan on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Transparent to the Source: Hyper-Detailed 45RPM Pressing Brings the Simple Sounds of Dylan's Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective


    Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 180 gram 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and dimensions-the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background noise. Wider grooves mean more information reaches your ears.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.


    This title is not eligible for discount.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Bob Dylan (Mono) Bob Dylan (Mono) Quick View

    $49.99
    Buy Now
    x

    Bob Dylan (Mono)

    Bob Dylan On Numbered Limited Edition 180 Gram Mono 45RPM 2LP From Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Mastered From The Original Master Tapes And Strictly Limited To 3,000 Copies


    Mobile Fidelity Mono 45RPM 2LP Features Unparalleled Directness And Sound Dylan, Producers Originally Intended


    Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness-the husk and bark to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.


    As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album-making the mono mix all the more historically valuable and truthful.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's See That My Grave Is Kept Clean, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin. It all starts here.


    This title is not eligible for discount.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • 1991 1991 Quick View

    $15.99
    Buy Now
    x

    1991

    Azealia Banks is a 20-year-old lyricist from Harlem, NYC. Since her first steps as a child in off-Broadway theatre productions to her training at La Guardia High School of Performing Arts - a breeding ground for stars - she's been steadily perfecting her craft and making a name for herself. Now prepping her debut album, Azealia has been teasing her audience with gems like 212 - a certified club pleaser on rotation in dance floors around the globe - in addition to a slew of other records that showcase her range as an artist and will let people know what all the buzz is about. Whether her music hits you with seasoned bars or her angelic voice and hooks, Azealia Banks gives everybody a reason to rewind that track.
    1. 1991
    2. Van Vogue
    3. 212
    4. Liquorice
    Azealia Banks
    $15.99
    Vinyl LP - Sealed Buy Now
  • Lehmann Linear 2 COLORS AVAILABLE Lehmann Linear Quick View

    $1,119.00
    Buy Now
    x

    Lehmann Linear


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Dynamic headphones are much more different than most people realize. For the same sound pressure level the power needed with different headphone models can vary up to a factor of about 500! Impedances can be different to a factor of more than 20!


    This is the reason why different headphone models have very individual requirements to the headphone amplifier driving them in terms of voltage and current. Everybody who once has connected a high quality headphone to any given standard headphone output knows about this problem.


    Since the launch of the Linear in 2004 there is a high end headphone amplifier to realize even the highest demands to reference quality headphone music reproduction. The selectable gain (0 dB, 10 dB, 20 dB) of the Linear effectively optimizes the output level of the zero global feedback Class A output stage. Practically all high quality dynamic headphones available will show their best possible performance, no matter if you have an easy to drive low impedance pair of headphones or an ineffective pair of 600 ohms studio cans.


    Top notch components and a highly sophisticated circuit design

    Carefully selected top notch components and a highly sophisticated circuit design guarantee top performance listening pleasure. For stereo setups with just one source like a CD player or a turntable with a phono stage the Linear is the simplest and most effective active preamp one can think of. All audio connectors including the two Neutrik phone jacks come with gold plated connectors. No external Y-adapter is needed!


    The faceplate and the massive milled aluminium knob for the smooth running 27 mm ALPS high grade volume control are available in anodized black or silver.


    To get the best out of your headphone you will have to try the Linear.


    Warranty:

    All Lehmannaudio products come with a 2 year full warranty. Simply register your product after purchase.


    Lehmann Audio
    $1,119.00
    Headphone Amplifier - 2 Colors Available
    Buy Now
  • Women And Children First (Remastered) Women And Children First (Remastered) Quick View

    $24.99
    Buy Now
    x

    Women And Children First (Remastered)

    Remastered


    Van Halen's third record in as many years, Women and Children First doesn't surrender anything to its two famous predecessors. Eddie Van Halen, David Lee Roth, and company go for broke, amping up the energy and escalating the heaviness on a concise, hard-hitting 9-song set that also throws a few surprises into the mix.


    Anchored by the one-two punch of And the Cradle Will Rock and Everybody Wants Some!!, the 1980 release marks the first and only time the group employed a female vocalist, as Nicolette Larson sings on the chorus during Could This Be Magic? In addition, the opening track features a phase-shifter-effected Wurlitzer piano being played through a 100-watt Marshall amplifier, the change in instrumentation a hint of the ambition that was to come.


    Make no mistake: Women and Children First knows how to party hard, but there are also undercurrents of somber tension missing on the first two albums. Van Halen matures here and it's a welcome evolution, as confirmed by the power ballad In a Simple Rhyme and country-flavored Take Your Whiskey Home. But above all, this album rocks harder than any other VH effort.


    No, the bottle of hairspray and liter of Jack Daniel's aren't included with this killer reissue, but cue this meticulously pressed LP up on a good system, turn up the volume, and the good time pleasures forever associated with early Van Halen come rushing back! Guaranteed.


    Mastered from the original analog tapes and pressed at RTI, Rhino's new 180g LP brings brings the dynamics and punch of the fervent music into crystal-clear focus and also shines a spotlight on the group's trademarks: Roth's shuck-and-jive deliveries; Alex Van Halen's booming percussion; Michael Anthony's soulful bass; and of course, Eddie Van Halen's inimitable guitar heroics.


    Rock on!

    1. And The Cradle Will Rock...
    2. Everybody Wants Some!!
    3. Fools
    4. Romeo Delight
    5. Tora! Tora!
    6. Loss Of Control
    7. Take Your Whiskey Home
    8. Could This Be Magic?
    9. In A Simple Rhyme
    Van Halen
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • FREEMAN FREEMAN Quick View

    $16.99
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    FREEMAN

    Listening to Marvelous Clouds, Aaron Freeman's 2012 debut under his own name, fans might have felt that he was ignoring an elephant in his room-a drug-and-alcohol-related onstage flame-out that made viral headlines the year before. But Clouds, a deceptively chill Rod McKuen covers record, was just a warm-up for the artist once known as Gene Ween. In the opening minutes of FREEMAN, the self-titled debut from his new band, Freeman addresses addiction and its aftermath with the combination of merciless self-inventory and artful songcraft that earned Ween one of the most devoted fan bases in contemporary pop. This song, the unmistakably autobiographical Covert Discretion, is a quiet shocker. Save your judgments for someone else, Freeman sings. Be grateful I saved me from myself.


    As bitter as it sounds, the track clears the air. FREEMAN represents a new beginning- Aaron Freeman's first album of original material since disbanding Ween and getting sober-but it isn't a record mired in its maker's private struggles. It's simply a collection of gorgeous, subtly offbeat songs-in other words, a continuation of the thread that runs through the entire Ween catalog. The lush psychedelic pop of The English and Western Stallion; the melancholy plea of More Than the World; the unflappable, Plastic Ono Band-esque blues-rock of Gimmie One More-these are songs that bear the unmistakable Aaron Freeman stamp.


    And to hear Freeman tell it, they wouldn't have been possible if he'd stayed in his old band. There was so much of 'Aaron had to break up Ween because of addiction' and 'Aaron broke up Ween in order to pursue his solo work,' he says. But I broke up Ween because we were at a creative dead end way before our last record, La Cucaracha. Basically we were going through the motions, becoming a showcase band.


    Freeman stresses that FREEMAN is more about renewal than turning his back on the past. I want this record to pay homage to Ween, he says. These are the same songs I would've written in Ween-except without [ex-bandmate] Mickey. Several tracks hark back to the role-playing that was a hallmark of Freeman's back-catalog: (For a While) I Couldn't Play My Guitar Like a Man, a badass blues-rock meditation on lost mojo; or Black Bush, a trippy, heavily stylized ode to the natural beauty of Freeman's recently adopted hometown of Woodstock.


    But there's also a fresh perspective here, the sound of a shadow lifting. Delicate Green, which savors life's everyday blessings, is one of the sweetest, most sincere songs Freeman has written. And All the Way to China and El Shaddai reference Jewish texts-Kabbalah readings and James A. Michener's The Source, respectively-that guided him through his darkest times. There's a lot of spiritual stuff on here because that really helped me, Freeman says. I listened to a lot of reggae-'Jah gonna help me through Babylon,' you know? I listened to a lot of Paul McCartney too, and I thought, if he can do this, break up the fucking Beatles, I can certainly break up Ween and be okay.


    Aaron Freeman has also turned his back on substance abuse, a fact that might concern fans who mistake intoxication for inspiration. I wrote the songs I wrote in Ween despite all the drugs and alcohol I was doing, not because, Freeman says. Most people don't get sobriety at all. They assume you're this better-than-thou monk sitting on a mountain, judging everybody. It's not that way: You have to let everybody do their thing, and you get weirder. A song like FREEMAN's Golden Monkey, which rivals Ween's underrated Quebec for sheer mind-warping brilliance, proves Freeman's point.


    In order to get to FREEMAN, Aaron Freeman had to make a clean break. If I hadn't left my partnership, there wouldn't be anything, he explains. I'd probably be dead too. I know that at the end of the day, this is the best thing I could've done for me and for every Ween fan. FREEMAN, an album that distills the Aaron Freeman aesthetic-built on equal parts wonder and malaise, frankness and mysticism, defiance and vulnerability-to its headiest essence, proves his point. This man, known for so long by another name, is finally free.

    1. Covert Discretion
    2. The English And Western Stallion
    3. (For A While) I Couldn't Play My Guitar Like a Man
    4. El Shaddai
    5. Black Bush
    6. Gimme One More
    7. More Than the World
    8. All The Way To China
    9. Golden Monkey
    10. Delicate Green
    11. There Is A Form
    12. I Know A Girl
    FREEMAN
    $16.99
    Vinyl LP - Sealed Buy Now
  • Nilsson Schmilsson Nilsson Schmilsson Quick View

    $34.99
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    Nilsson Schmilsson

    Import

    Harry Nilsson could be one of the more neglected but great singer-songwriters of the 20th century. John Lennon & Paul McCartney both named him as their favourite American singer in a 1968 press conference.


    The Monkees, Fred Astaire, the Yardbirds, and later artists such as Aimee Mann and Mariah Carey recorded his songs.


    But ask the average Joe about him, and they probably won't know that he was the man behind classics such as 'Everybody's Talkin', 'One' and 'Without You'.


    Harry had a taste for Tin Pan Alley songs & McCartney-esque melodies, but his impish wit and impressive vocal range give his songs an extra dimension.


    Nilsson Schmilsson contains his biggest hit 'Without You', along with other classics such as the faux-tropical song 'Coconut' and the bluesy 'Early In The Morning'.


    This album is more accessible and cohesive than any of his other albums and received a number of Grammy nominations on its 1971 release, yet it still manages to keep the mischievous and slightly off-kilter humour.


    Available on Music On Vinyl with its original artwork!

    1. Gotta Get Up (2:23)

    2. Driving Along (2:03)

    3. Early In The Morning (2:48)

    4. The Moonbeam Song (3:19)

    5. Down (3:24)


    1. Without You (3:15)

    2. Coconut (3:48)

    3. Let The Good Times Roll (2:42)

    4. Jump Into The Fire (6:53)

    5. I'll Never Leave You (4:16)

    Harry Nilsson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Back To The Front Back To The Front Quick View

    $19.99
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    Back To The Front

    Explaining the relevance and influence of ENTOMBED is probably as superfluous as pointing out why Slayer rule, Lemmy is bigger than God and Dio the greatest loss in metal history. A legend is a legend. Fullstop. F**k off!


    If you still require a proper explanation that is less shot from the hip, well let us start with this: The Swedish Death Metal forefathers and genre innovators have inspired tons of bands all around the globe with their invincible trademark sound. However, as the band's last album "Serpent Saints - The Ten Amendments" dates back to 2007, there is definitely more than a good reason for a bit of catch-up and ask why it took so long to finish the band's superb 10th opus, programmatically titled "Back To the Front", vocalist extraordinaire L-G Petrov states:


    ""Serpents " was a fairly good album but a little weak compared to previous works and the distribution wasn't that great yet we continued playing shows throughout the past years but never really got going with new songs. At some point we decided that it was time for a new album, so we sat down and played riffs that we had from before as well as many new riffs and started putting them together which really sparked our motivation. That really gave us a push! We feel that this is the best album so far in many years and I think you can hear it on the album!"


    Thematically, the will and determination to back up such words with fantastic songs is reflected in the powerful album title and part of the concept of the record as guitarist Nico Elgstrand describes:


    "A lot of the album is about being at war in different ways and struggles/shortcomings of mankind, so we felt that "Back To The Front" fitted really well. It has a military reference obviously and we also feel like a platoon (ha ha, a small platoon) that has been behind the frontlines for a long time anxious to get back into battle. Not mean and lean but rather fat and bored and really keen on getting back to what we do best, which of course is to kill! Metaphorically speaking needless to say, ha ha. Also it is a very direct way of saying we've been away for way too long, we know and that we will now aim to stay at the front until the friggin' battle is won! The cavalry has finally arrived if you will (without horses though, ha ha)!"


    Well spoken, Sir, yet expectations will be incredibly high on this one as ENTOMBED's roots and legacy goes way back into the year 1987 when they formed under the name NIHILIST. In 1989 the formation changed its name to ENTOMBED and together with Morbid (for whom singer LG played drums), Treblinka/Tiamat, Grave and Dismember, ENTOMBED/NIHILIST established themselves among the earliest bands to forge the immortal Swedish death metal sound that became really popular and unique due to its punkish roots and especially that chainsaw guitar sound, today inseparably linked to terms like "Skogsberg", "Sunlight Studio" or just "Stockholm sound". Inspired by such diverse acts as Autopsy, Motörhead, Discharge or Kiss, over the years ENTOMBED did not shy away from thinking outside of the coffin resulting in a style some fans called Death'n'Roll but in the end it was, is and will be just a band with a style and impact entirely their own.


    So, what awaits the listener on "Back To The Front"? Produced by Roberto Laghi (In Flames, Hardcore Superstar) at Studio Bohus (Abba, Europe) in KunÄlv, it's 666% true to the ENTOMBED everybody loves. While not falling for total regression back to the early classics "Left Hand Path" or "Clandestine", it is a total bone-crushing opus that will have fans of all periods cry tears of joy and even the most stubborn fan of the early days join in shame. "The goal was to have riffs that felt fresh and exciting, to make an album that felt old school as well as fresh and up to date, showing who ENTOMBED are today," L-G puts it quite simply and Nico continues: "I thoroughly enjoy the fact that I find it super hard to pick 2 or 3 songs as the best of it, because i really like 'em all. I think that they all have something new and fresh yet it feels very old school in some way. "Kill To Live" with its surprising ENTOMBED-intro turned out very cool and the track also has an almost cinematic yet classic metal feel to it, dunno why, but it just invigorates me. "Second To None" kinda makes me wanna drive a tank while listening, and that to me is how proper metal should sound! It makes you wanna do mighty things so to speak!"


    From the morbid, pissed-off lyrics over detuned, massive riffs to the inimitable brick-heavy groove and LG Petrov's titanic roar, "Back To The Front" not only musically but also visually with its stunning painting by Necropolitus Cracoviensis Zbgniew Bielak II (Watain, Ghost, Vader) seems to send a respectful nod to the old school as L-G confirms: "The skull will always be a part of ENTOMBED. I totally agree, we have taken away some of the rock parts and gone with more metal, and I think fans new and old will appreciate that."


    With European touring under way in December with label mates and black metal genre leaders WATAIN - vocalist Erik actually penned lyrics for the song "Carnage" (from "When In Sodom" EP, 2006) - and former band member Nicke Andersson contributed parts to the new song "Vulture And The Traitor", the Swedish metal platoon ENTOMBED anno 2013 has all its weapons polished and reloaded and is ready to shatter the entire music scene with an uncompromising full frontal assault. So, let us all enjoy "Back To The Front" and celebrate the fact that the legend called ENTOMBED has finally returned. Goddamn!

    1. Kill To Live
    2. Bedlam Strike
    3. The Underminer
    4. Second To None
    5. Allegiance
    6. Waiting For Death
    7. Eternal Woe
    8. Digitus Medius
    9. Vulture And The Traitor
    10. Pandemic Rage
    11. Soldier Of No Fortune
    Entombed A.D.
    $19.99
    Vinyl LP - Sealed Buy Now
  • Infinite Worlds Infinite Worlds Quick View

    $15.99
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    Infinite Worlds

    Within the songs of Laetitia Tamko there are infinite worlds: emotional spaces that grow wider with time, songs within songs that reveal themselves on each listen. Tamko is a multi-instrumentalist and a producer, recording since 2014 as Vagabon. On her forthcoming debut, Infinite Worlds, she hones her singular voice and vision with an unprecedented clarity.


    "I feel so small / my feet can barely touch the floor / on the bus where everybody is tall," she sings softly and with caution, as she begin the album with "The Embers." Driving punk drums pry her song open, exploding it into an anthem that pushes back at entitled people who make others feel tiny. "I'm just a small fish / and you're a shark that hates everything," she sings, repeating that line and over and over with strength and power. "I've been hiding in the smallest space / I am dying to go / this is not my home," Tamko starts carefully on "Fear & Force," before her finger-picked guitar playing gives way to slow-building synth claps and ethereal harmonies. "Mal a L'aise" is one of the album's focal points, a five-minute meditation of ambient dream pop, featuring Tamko's usage of samples; some are samples from a Steve Sobs song on which Tamko was featured, enticing the one writing collaboration of the album. "Mal a L'aise" means "discomfort" in French, Tamko's first language, and throughout the song she works through different meanings of that word: social, cultural, physical.


    Infinite Worlds builds upon Tamko's stripped-down demos that have been circulating online and throughout the independent music community for the past two years. Her Persian Garden cassette, released in 2014 via Miscreant Records, was a lo-fi collection where she embraced a first-thought best-thought approach, making songs that began with just her voice and guitar. But here, Tamko is a main performer of synths, keyboard, guitars, and drums, at times enlisting the work of session studio musicians. This had Tamko channeling the thoughtfulness of her lyricism into her arrangement and production as well. The result is a wide-ranging eight-song collection that's pleasantly unclassifiable: hypnotic electronic collages, acoustic ballads, and bursts of bright punk sit side-by-side cohesively, all tied together by Tamko's soaring voice.


    "I write a lot about places, archiving my memories in spaces that I used to be in, spaces I am currently in, or spaces I will eventually be in" she says. "Archiving different moments that I've been thinking about, have gone through. It's not always autobiographical though. It could be about different situations I've seen people I love in. Or people I don't know in. I think that comes a lot from being in different environments. Like growing up in Cameroon. There, we are happy with very little. Then moving here and seeing how the culture differs from where I'm from."


    Tamko's songs are embedded with her own story and personal history: growing up in Cameroon, her family's move to New York and adjusting to culture shock. Her family left Cameroon just in time for her to begin high school in the states. She grew up around music and loved it, but finishing engineering school was a priority before music could start to feel like a real possibility. "When I was in Cameroon, my mom would have these 'reunions' which was just her friends coming over on Sundays," she says. "There was a lot of music around me. Traditional West-African songs sung as group chants, hand drums and percussive instruments being played, etc." To date, Tamko mostly listens to East and West African music nostalgic of her childhood, styles of music that influence her own in subtle ways.


    Infinite Worlds was recorded at Salvation Recording Co. in New Paltz, NY with engineer and co-producer Chris Daly. Tamko and Daly worked closely and tirelessly in his upstate NY studio through the winter into the spring of 2016. The album's title references a book of poetry by Dana Ward called The Crisis of Infinite Worlds, a book Tamko found particularly inspiring during her recording process, but also very challenging to read: "I had to think critically while reading Dana Ward, it was exciting to be challenged in that way. While I was writing the album, it was a lot of me thinking critically about how to actualize my ideas, and the challenge of reaching proficiency in new instruments. It sort of mirrored my experience reading Dana Ward's book. I found myself combing his writing over and over and over until I grabbed something from it."


    And as she sat with her songs, she found more and more. "A lot of it is about finding a space for myself, whether it is physical, emotional, social" Tamko says. "It's about finding that place where I feel most comfortable. And also finding that the confidence within myself can continue to grow. And finding what it takes for me to feel whole through making music."

    1. The Embers
    2. Fear & Force
    3. Minneapolis
    4. Mal à L'aise
    5. 100 Years
    6. Cleaning House
    7. Cold Apartment
    8. Alive and A Well
    Vagabon
    $15.99
    Vinyl LP - Sealed Buy Now
  • Todd Todd Quick View

    $39.99
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    Todd


    First Time Audiophile Vinyl & Gatefold Cover Presentation Of This 1973 Masterwork!


    Mastered Impeccably By Joe Reagoso From The Original Bearsville Records Tapes


    As founding member of the late sixties Philly rockers Nazz, multi-instrumentalist, vocalist, songwriter and producer
    Todd Rundgren was barely in his 20's when he began his long solo journey and became one of the music industry's most
    prolific and celebrated rock artists.


    For his 5th album Todd, the legendary Todd Rundgren delivered a huge double album event complete with 17 stellar
    performances making this one of his most revered efforts of his four decade career. As with many of his solo albums, Todd
    played mostly all of the instruments, sang, wrote and produced this masterwork. The album also catapulted Todd Rundren's
    marquee as a singer/songwriter even further with his smash hit single A Dream Goes On Forever.


    Album opener How About A Little Fanfare immediately brings the listener onto a hypnotic prog-rock journey as only
    Todd Rundgren can deliver. With solid tracks like I Think You Know, filled with exceptional guitar work, solid lyrical imagery
    and his soulful vocals, the artist truly pours it all out on this tune. More smashes abound as A Dream Goes On Forever sets
    the other three sides of this masterwork into full swing.


    Known to write some very key ballads in his long career, Todd nails one of his finest ever with his brilliant Philly soul
    sound on The Last Ride. Soon to be followed with more hard rockers like his guitar driven Everybody's Going To Heaven/
    King Kong Reggae and the iconic Heavy Metal Kids, the future electronica of In And Out The Chakras We Go, the soulful pop
    of Izzat Love, and the superlative album closer Sons of 1984 all would go on to become Todd Rundgren staples and some
    of his most enduring work ever recorded.


    This amazing two album set hasn't been on vinyl for several decades that is until now Friday Music is honored to
    announce for the first time ever on 180 Gram Audiophile Vinyl, the classic Todd Rundgren masterwork Todd. As a continuing
    installment in our career spanning Todd Rundgren Friday Music 180 Gram Audiophile Series, this limited edition album will
    also be presented for a very short time in a first time gatefold cover which will feature the original LP cover artwork, photo
    and lyrics, not seen in decades.


    Mastered from the authorized original Bearsville Records tapes by Joe Reagoso (Todd Rundgren, Meat Loaf, The Cars)
    at Friday Music Studios, the Todd album will be one of the most anticipated audiophile albums released this fall.


    Todd Rundgren Todd A history making rock album from a rock legend, an audiophile dream release first time
    180 Gram Vinyl & Gatefold Cover is now an audiophile vinyl dream come true From your friends at Friday Music Stay
    tuned for more Todd Rundgren & Utopia original Bearsville Records and Warner Bros. Records audiophile recordings from
    Friday Music.

    LP 1
    1. How About A Little Fanfare
    2. I Think You Know
    3. The Spark Of Life
    4. An Elpee's Worth Of Toons
    5. A Dream Goes On Forever
    6. Lord Chancellor's Nightmare Song
    7. Drunken Blue Rooster
    8. The Last Ride
    9. Everybody's Going to Heaven/King Kong Reggae


    LP 2
    1. No. 1 Lowest Common Denominator
    2. Useless Begging
    3. Sidewalk Cafe
    4. Izzat Love?
    5. Heavy Metal Kids
    6. In And Out The Chakras We Go formerly: Shaft Goes To Outer Space)
    7. Don't You Ever Learn
    8. Sons of 1984

    Todd Rundgren
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Blood // Sugar // Secs // Traffic Blood // Sugar // Secs // Traffic Quick View

    $17.99
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    Blood // Sugar // Secs // Traffic

    Hey, what's this? Well that, my friend, is the newest album from The
    Gotobeds, entitled Blood // Sugar // Secs // Traffic. It's their second
    full-length LP and their first for Sub Pop. Whoa, whoa, please slow down.
    I'm already completely lost. What you just said sounded like a stream of
    complete gibberish. Okay, I'll lay it out for you and if you have any
    questions could you yell them at me? SOUNDS GOOD. The Gotobeds
    formed vaguely around 2009 in Pittsburgh and play a mutant strain of rock
    music that is often filed under punk, indie rock, or 99-cent discount bin.
    WAIT, THE GOTOBEDS? I HEARD THEY WERE KNUCKLEHEADS! Only if
    the knuckle is the part of the human body that contains the brains. Much
    like their previous releases on underground stalwart labels like Mind Cure
    and 12XU, this new album artfully slips intelligence and experimentation
    into a dying art form. It's a harder feat than you'd think.


    And sure, their live shows have often been compared to an all night party
    where I feared for my life and the lives of everybody in the five block
    radius, and their recorded output is akin to the sonic manifestos of four
    men deprived of human love and raised on beer and Swell Maps, Mission
    of Burma, and old Fall records. But what you get with The Gotobeds,
    delivered in spades on this album, is smart, noisy rock with just the right
    amount of stupid.


    FAIR ENOUGH. SO HOW'D THIS GET MADE? It was recorded in bursts
    over several months of 2015 in their friend My War Matt's basement in
    Pittsburgh. Unlike previously, the songs were conceived and recorded in
    blocks, which resulted in a more experimental feel. But this is no chin
    stroking curate's egg. You like loud, double guitar leads? OF COURSE I DO.
    WHO DOESN'T? You're in luck, because this album is carpeted with em,
    thanks to Eli Kasan and TFP. On a song like 'Bodies,' it sounds as if
    you've walked into the biggest Guitar Center, but, you know, not terrible.
    Keeping it all locked down is the rhythm section of drummer, Cary Belback
    and bassist, Gavin Jensen. They allow the downright prettiness of a song
    like Red Alphabet to shine, and the lyrics on the anti-sexism thrash of
    Crisis Time to punch through.


    THIS ALL SOUNDS WONDERFUL, IS THERE ANYTHING ELSE I NEED
    TO CARE ABOUT? Eh, probably not. Except that Tim Midyett (Silkworm,
    Bottomless Pit, Mint Mile) and some bum (Protomartyr) are featured as
    guest vocalists on Rope and Why'd You, respectively. Also, I'd be remiss
    to not mention the fact that the band's live show is a testament to the
    cathartic nature of speed, skill, repetition, noise, and red stage lights. If
    you don't believe me, ask the bands they have played with, like Total
    Control, Tyvek, or The Replacements. Also, they rep Pittsburgh harder than
    anyone possibly could and come off better for it...which is saying
    something.


    I THINK I UNDERSTAND. BLOOD // SUGAR // SECS // TRAFFIC IS THE
    GREATEST ALBUM SINCE THE LAST GOTOBEDS RECORD? Yes. Now
    please stop yelling. -Joe Casey, Protomartyr

    1. Real Maths/Too Much
    2. "Bodies"
    3. Brass Not Rash
    4. Rope
    5. Why'd You
    6. Red Alphabet
    7. Cold Gold (LA's Alright)
    8. Crises Time
    9. Manifest
    10. Glass House
    11. Amazing Supermarkets
    The Gotobeds
    $17.99
    Vinyl LP - Sealed Buy Now
  • Brotherhood Of The Snake Brotherhood Of The Snake Quick View

    $28.99
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    Brotherhood Of The Snake

    The forbearers of thrash resemble a Lovecraftian brotherhood. They're the elder gods who set everything in motion for generations to imitate, while still ruling the roost from on high. Testament stand proudly among the same vanguard that boasted "The Big 4" and beyond.


    For over three decades, the Bay Area quintet-Chuck Billy [vocals], Eric Peterson [guitar], Alex Skolnick [guitar], Steve DiGiorgio [bass], and Gene Hoglan [drums]-has consistently delivered unadulterated, unbridled, and unbreakable metal in its purest form without compromise or any signs of slowing down. Over the course of seminal releases ranging from The Legacy and Practice What You Preach to The Gathering and The Formation of Damnation, which won "Best Album" at Metal Hammer's 2008 Golden Gods Awards, the group's sales exceeded 14 million worldwide with 2 million in the U.S. alone. Most recently, 2012's critically praised Dark Roots of Earth assaulted the charts, moving over 20,000 first-week copies and seizing #12 on the Billboard Top 200, the band's highest U.S. chart bow ever. However, in 2016, Testament returns with more teeth than ever on Brotherhood of the Snake [Nuclear Blast]. "The first record is always classic because you form the band, you're totally into it, you go through the club scene, find yourself, and write your initial album over multiple years," explains Eric. "Then, you get signed and end up in a cycle. We took some time to do Brotherhood of the Snake, and it shows. Different influences came in. Normally, there are a few straight ahead thrash songs. We haven't had this many thrash tracks since The Legacy. It's a new era."


    "I view Testament like I did when we started," adds Chuck. "I've been fortunate to be doing this for over 30 years. It means a lot. We're just going to continue doing what we do." Following a whirlwind of touring in support of Dark Roots of Earth, the guys began individually writing in late 2013. In between a rigorous tour schedule, new music organically assembled. During the spring of 2016, they hit the studio with Juan Urteaga [Machine Head, Exodus] and quickly cut the album's 10 tracks.


    "Having separate periods to write set it apart," Eric continues. "Everybody played hard. Chuck really surprised me and belted out stuff that's more melodic over the heavy speed metal riffs. It blended really well together." "It does flow," Chuck agrees. "There's a lot of musicianship going on there, and I was finding hooks in the moment. I was able to feel it and just go."


    The record commences on a deadly note with the title track. A whiplash-inducing riff catapults Chuck's unmistakable growl forward before snapping into mind-numbing leads. It's a brutal breakneck basher on par with the band's best. "It was actually one of the first songs we put together," says the singer. "Once we heard it mixed, we were all like, 'Wow, we have the direction we're going in. It's really heavy.'"


    Elsewhere on the record, "The Pale King" gallops ahead on an apocalyptic barrage of drums and guitars before culminating on an unshakable chant. "It was really natural," smiles Eric. "It has that old school vibe, but this new energy to it. It never lets up. I love that!" Brotherhood of the Snake concludes on the crushing yet cinematic "The Number Game," which evinces Chuck's knack for a vivid lyrical story.


    "I actually wrote it with Steve 'Zetro' Souza," he recalls. "I had that chorus, and it was one of those things where it had to be repeated. It's 14 days and 14 nights where this guy's on a killing spree. He does a countdown, and your life is based on the number you are. It was trip."


    A fascinating concept rears its head during many of Brotherhood of the Snake's key moments, nodding to the mythical race from which the record it shares a name. "There's a connection between the alien world and religion, and the whole storyline came from it," explains Chuck. "There's a story of a Sumerian race 6,000 years ago that went on crusades to basically dethrone religions. The earth was basically the place where their leader, The Pale King, set people to be imprisoned and mine for gold. It got the ball rolling."


    Ultimately, this Brotherhood remains as powerful as ever. "If a Testament fan knows our history or has followed our last couple of records, they'll hear the progression," the front man leaves off. "Everything is right there and in-your-face. That's the way it should be with us."

    1. Brotherhood Of The Snake
    2. The Pale King
    3. Stronghold
    4. Seven Seals
    5. Born In A Rut
    6. Centuries Of Suffering
    7. Neptune's Spear
    8. Black Jack
    9. Canna-Business
    10. The Number Game
    Testament
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
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