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  • Greatest Hits: God's Favorite Band Greatest Hits: God's Favorite Band Quick View

    $27.99
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    Greatest Hits: God's Favorite Band

    The collection chronicles the sonic journey of one of the most essential and dynamic rock bands in recent history. The playlist includes 20 hits spanning the band's prolific 31 years as a band, plus a brand new song called Back In The USA and a new duet with award-winning Country Music superstar Miranda Lambert on Ordinary World.
    1. 2000 Light Years Away
    2. Longview
    3. Welcome To Paradise
    4. Basket Case
    5. When I Come Around
    6. She
    7. Brain Stew
    8. Hitchin' a Ride
    9. Good Riddance (Time of Your Life)
    10. Minority
    11. Warning
    12. American Idiot
    13. Boulevard of Broken Dreams
    14. Holiday
    15. Wake Me Up When September Ends
    16. Know Your Enemy
    17. 21 Guns
    18. Oh Love
    19. Bang Bang
    20. Still Breathing
    21. Ordinary World (feat Miranda Lambert)
    22. Back In The USA
    Green Day
    $27.99
    Vinyl LP - Sealed Buy Now
  • God's Favorite Customer (Pre-Order) God's Favorite Customer (Pre-Order) Quick View

    $20.99
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    God's Favorite Customer (Pre-Order)

    Release Date: June 1, 2018*


    Written largely in New York between summer 2016 and winter
    2017, Josh Tillman's fourth Father John Misty LP, God's Favorite
    Customer, reflects on the experience of being caught between
    the vertigo of heartbreak and the manic throes of freedom.


    God's Favorite Customer reveals a bittersweetness and directness
    in Tillman's songwriting, without sacrificing any of his wit or
    taste for the absurd. From "Mr. Tillman," where he trains his lens
    on his own misadventure, to the cavernous pain of estrangement
    in "Please Don't Die," Tillman plays with perspective throughout
    to alternatingly hilarious and devastating effect. "We're Only
    People (And There's Not Much Anyone Can Do About That)" is a
    meditation on our inner lives and the limitations we experience in
    our attempts to give and receive love. It stands in solidarity with
    the title track, which examines the ironic relationship between
    forgiveness and sin. Together, these are songs that demand to
    know either real love or what comes after, and as the album
    progresses, that entreaty leads to discovering the latter's true
    stakes.


    God's Favorite Customer was produced by Tillman and recorded
    with Jonathan Rado (Foxygen), Dave Cerminara (Jonathan
    Wilson, Foster the People, Conor Oberst), and Trevor Spencer
    (FJM). The album features contributions from Haxan Cloak,
    Natalie Mering of Weyes Blood, longtime collaborator Jonathan
    Wilson, and members of Misty's touring band.


    *Please note that release dates are subject to change.

    1. Hangout at the Gallows
    2. Mr. Tillman
    3. Just Dumb Enough to Try
    4. Date Night
    5. Please Don't Die
    6. The Palace
    7. Disappointing Diamonds Are the Rarest of Them All
    8. God's Favorite Customer
    9. The Songwriter
    10. We're Only People (And There's Not Much Anyone Can Do About That)
    Father John Misty
    $20.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Live at Brixton Live at Brixton Quick View

    $23.99
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    Live at Brixton


    Includes DVD


    Metal Hammer Golden Gods Award Winner for "Best Live Band"


    To tide everyone over until their new album hits Of Mice & Men have delivered their first live album "Live at
    Brixton". Of Mice & Men have always been able to capture the raw emotion and energy from their live performances
    and pour that into their studio albums, there's still something undeniably special about actually seeing
    the band live. Live at Brixton catches Of Mice & Men playing a sold-out headline show at the legendary O2
    Academy Brixton in London. The live album includes 15 songs that are all fan
    favorites from the band's entire catalog. The entire performance was also captured by 12 cameras, ensuring that
    every special moment was included.


    Of Mice & Men have sold over 500,000 albums to date, and have played sold out tours around the globe with
    artists like Linkin Park, Bring Me The Horizon and Rise Against. The band's previous full length, Restoring
    Force debuted at #4 on the Billboard Top 200, selling over 50,000 copies in its first week, and has gone on to
    sell over 200,000 copies in the US alone.


    There's a reason why Of Mice & Men won the Golden Gods award for Best Live Band in 2015. They play every
    show like it's their last. This LP/DVD set is a must have for old fans of the band, or for new fans who are looking
    for a collection of the band's greatest songs.

    1. Public Service Announcement
    2. Glass Hearts
    3. Broken Generation
    4. O.G. Loko
    5. Let Live
    6. You Make Me Sick
    7. This One's For You
    8. Feels Like Forever
    9. Bones Exposed
    10. Would You Still Be There
    11. Another You
    12. Identity Disorder
    13. Second & Sebring
    14. The Depths
    15. You're Not Alone
    Of Mice & Men
    $23.99
    Colored Vinyl LP + DVD - 2 LPs Sealed Buy Now
  • Cocky Cocky Quick View

    $21.99
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    Cocky

    Kid Rock struts back into the spotlight with COCKY, the long-awaited follow-up to his 1998 classic, DEVIL WITHOUT A CAUSE. Packed with brash tracks like the swaggering first single, Forever, COCKY sees Detroit's Favorite Son doing what he does best - stirring up a multitude of musical styles into his own unique brand of chicken-fried rock n' roll.


    Electric metal, streetwise hip-hop, classic country, powerhouse punk, and redneck boogie all combine to make that unstoppable, undeniable Kid Rock sound - the very same sonic assault that blew up radio and MTV with such hits as Bawitdaba, Cowboy, Only God Knows Why, and American Bad Ass. With larger-than-life arena anthems like Lonely Road Of Faith, COCKY burns with rambunctilus energy, thanks in large part to the always-brawny backing of the Twisted Brown Trucker band, along with special guest shots from Sheryl Crow and Snoop Dogg.

    1. Trucker Anthem
    2. Forever
    3. Lay It on Me
    4. Cocky
    5. What I Learned Out on the Road
    6. I'm Wrong, But You Ain't Right
    7. Lonely Road of Faith
    8. You Never Met a Motherfucker Quite Like Me
    9. Picture (featuring Sheryl Crow)
    10. I'm a Dog
    11. Midnight Train to Memphis
    12. Baby Come Home
    13. Drunk in the Morning
    14. WCSR (featuring Snoop Dogg)
    Kid Rock
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Against The Grain (Awaiting Repress) Against The Grain (Awaiting Repress) Quick View

    $19.99
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    Against The Grain (Awaiting Repress)

    Against the Grain is the fifth album (and seventh release overall) by punk rock band Bad Religion released on November 23, 1990.
    Like Bad Religion's previous two albums, Suffer and No Control, and subsequent album, Generator, Against the Grain is considered by many to be the band's greatest album, and it contains many songs that are constantly cited as the band's best, including Faith Alone, 21st Century (Digital Boy), Anesthesia, Against the Grain, God Song and Modern Man. Other favorites are Get Off, Flat Earth Society and Walk Away, but are rarely played live. Walk Away has never been played live once. Despite no promotion by radio and television, Against The Grain managed to sell over 100,000 copies
    1. Modern Man
    2. Turn on the Light
    3. Get Off
    4. Blenderhead
    5. Positive Aspect of Negative Thinking
    6. Anesthesia
    7. Flat Earth Society
    8. Faith Alone
    9. Entropy
    10. Against the Grain
    11. Operation Rescue
    12. God Song
    13. 21st Century Digital Boy
    14. Misery and Famine
    15. Unacceptable
    16. Quality or Quantity
    17. Walk Away
    Bad Religion
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Connect Connect Quick View

    $19.99
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    Connect

    Sick Puppies is a three piece rock band that formed in Australia in the late 1990s. The current lineup for the band is Shimon Moore on guitar, Emma Anzai on bass and Mark Goodwin on drums. In the early 2000s the band, which at the time did not include Mark, moved to the states to start their career as a professional rock band. They were signed to Virgin Records and released their second album, Dressed Up As Life which has sold over 200,000 copies in the United States and abroad since it's release in 2007. The band furthered their career and released their third full length album Tri-Polar in 2009 which featured hits such as, You're Going Down, Riptide, Maybe and Odd One.


    Connect is an album that takes all types of Sick Puppies sound and combines it all into one. You have hints of Welcome To the Real World, Dressed Up As Life and Tri-Polar in the album. You have the hard rock and heavy bass songs such as, Die To Save You, There's No Going Back, Walk Away, Gunfight and The Trick The Devil Did; and you have the ballads, Poison, Where Did The Time Go, Telling Lies, Connect, Run, Healing Now and Under A Very Black Sky. The album comes together really well and isn't the bad kind of overpowering. Fans, if you've been anxiously awaiting this album to see if it's good; I'm here to tell you that this album is very good and worth the wait.


    My Favorite Song Is... There's No Going Back. The song starts right off the bat with a very rhythmic acoustic guitar. The chorus then comes in and hits you with very strong lyrics. There's no going back / when life's a loaded gun / you pull the trigger, trigger / There's no going back / the past is in the past / thank God it doesn't last forever /. The use of Emma as a backup vocalist has always been something I wanted the band to do in every song, and this song, her small presence gives it such a bigger presence on the album. There's No Going Back is also the band's first single off the album.


    - aNewRisingDesign

    1. Die to Save You
    2. There's No Going Back
    3. Walking Away
    4. Gunfight
    5. Poison
    6. Where Did the Time Go
    7. Telling Lies
    8. Connect
    9. Run
    10. The Trick the Devil Did
    11. Healing Now
    12. Under a Very Black Sky
    Sick Puppies
    $19.99
    Vinyl LP - Sealed Buy Now
  • Boys Night Out Boys Night Out Quick View

    $25.99
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    Boys Night Out

    Oak Ridge Boys fans have been clamoring for a live album of hits for several years now, but as the band explained, "For some reason or another, the time never seemed right. One project after another would rise up and the live album idea was always put on the back burner" Then, in early 2013, lead vocalist and producer Duane Allen saw the stars align as the band was able to get its hands on some top quality remote recording equipment, and promptly began
    capturing performances of their current show dubbed "Boys Night Out." Night after night, The Oak Ridge Boys wowed audiences across the nation with a set list that packed all of the group's hit singles and fan favorites into one magnificent celebration. Years of preparation have made such well-loved songs as "You're The One," "Thank God For Kids," and the brilliant "Bobbie Sue" sound even more exhilarating than when they were originally recorded! It might
    not be quite the same as being there, but it's thrillingly close!
    1. You're The One
    2. American Made
    3. (I'm Settin') Fancy Free
    4. Love Song
    5. Y'all Come Back Saloon
    6. Sail Away
    7. Dream On
    8. This Crazy Love
    9. Trying To Love Two Women
    10. Come On In
    11. Make My Life With You
    12. Thank God For Kids
    13. Elvira
    14. Bobbie Sue
    Oak Ridge Boys
    $25.99
    Vinyl LP - Sealed Buy Now
  • Outlaws 'Til The End, Vol. 1 (Orange Vinyl) (Pre-Order) Outlaws 'Til The End, Vol. 1 (Orange Vinyl) (Pre-Order) Quick View

    $21.99
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    Outlaws 'Til The End, Vol. 1 (Orange Vinyl) (Pre-Order)

    Release Date: July 6, 2018*


    Pressed On Orange Colored Vinyl


    Going against the grain comes naturally for DevilDriver. The globally-renowned California Groove Machine have been a constant and effective force in the heavy metal world for the best part of two decades now. Thanks to widely lauded albums like 2005's epoch-shredding The Fury Of Our Maker's Hand, 2011's ante-raising, ultra-brutal Beast and 2016's acclaimed career peak Trust No One, the band led by vocalist Dez Fafara (ex-Coal Chamber) are firmly established as one of the most consistent and best-loved bands in modern metal. But in 2018, expectations are about to be torched in the mother of all campfires!


    A monstrous collection of savage and slamming metal interpretations of Dez and his comrades' favorite outlaw country songs, Outlaws 'Til The End is both a startling curveball and a ferocious statement of individuality from a band with cojones to spare. "The blues and outlaw country are what made rock'n'roll. They were around before rock'n'roll...and in my head, I've always heard these songs heavy", explains Dez.


    From the opening seconds of DevilDriver's face-flaying version of Hank III's 'Country Heroes' (featuring the man himself on guest vocals) onwards, Outlaws 'Til The End is simply one of the most vicious records the band have made yet. More importantly, these evocative, irresistible songs have all been wholly rebuilt from the ground up, powered by the classic DevilDriver sound and embellished with Dez's unmistakable feral roar.


    Completing this unprecedented project is a host of metal and country luminaries providing unforgettable cameos: Wednesday 13, Brock Lindow (36 Crazyfists) Burton C. Bell (Fear Factory), Lee Ving (Fear), Randy Blythe and Mark Morton (Lamb Of God) and none other than John Cash Jr, son of Johnny Cash. The perfect marriage of badass country grit and neck-wrecking groove metal supremacy, it's a pistol-packing game-changer delivered by true heavy metal outlaws.


    *Please note that release dates are subject to change.

    1. Country Heroes
    2. Whiskey River
    3. Outlaw Man
    4. Ghost Riders in the Sky
    5. I'm the Only Hell Mama Ever Raised
    6. If Drinkin' Don't Kill Me
    7. The Man Comes Around
    8. A Thousand Miles From Nowhere
    9. Copperhead Road
    10. Dad's Gonna Kill Me
    11. A Country Boy Can Survive
    12. The Ride
    DevilDriver
    $21.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • Outlaws 'Til The End, Vol. 1 (Pre-Order) Outlaws 'Til The End, Vol. 1 (Pre-Order) Quick View

    $21.99
    Buy Now
    x

    Outlaws 'Til The End, Vol. 1 (Pre-Order)

    Release Date: July 6, 2018*


    Going against the grain comes naturally for DevilDriver. The globally-renowned California Groove Machine have been a constant and effective force in the heavy metal world for the best part of two decades now. Thanks to widely lauded albums like 2005's epoch-shredding The Fury Of Our Maker's Hand, 2011's ante-raising, ultra-brutal Beast and 2016's acclaimed career peak Trust No One, the band led by vocalist Dez Fafara (ex-Coal Chamber) are firmly established as one of the most consistent and best-loved bands in modern metal. But in 2018, expectations are about to be torched in the mother of all campfires!


    A monstrous collection of savage and slamming metal interpretations of Dez and his comrades' favorite outlaw country songs, Outlaws 'Til The End is both a startling curveball and a ferocious statement of individuality from a band with cojones to spare. "The blues and outlaw country are what made rock'n'roll. They were around before rock'n'roll...and in my head, I've always heard these songs heavy", explains Dez.


    From the opening seconds of DevilDriver's face-flaying version of Hank III's 'Country Heroes' (featuring the man himself on guest vocals) onwards, Outlaws 'Til The End is simply one of the most vicious records the band have made yet. More importantly, these evocative, irresistible songs have all been wholly rebuilt from the ground up, powered by the classic DevilDriver sound and embellished with Dez's unmistakable feral roar.


    Completing this unprecedented project is a host of metal and country luminaries providing unforgettable cameos: Wednesday 13, Brock Lindow (36 Crazyfists) Burton C. Bell (Fear Factory), Lee Ving (Fear), Randy Blythe and Mark Morton (Lamb Of God) and none other than John Cash Jr, son of Johnny Cash. The perfect marriage of badass country grit and neck-wrecking groove metal supremacy, it's a pistol-packing game-changer delivered by true heavy metal outlaws.


    *Please note that release dates are subject to change.

    1. Country Heroes
    2. Whiskey River
    3. Outlaw Man
    4. Ghost Riders in the Sky
    5. I'm the Only Hell Mama Ever Raised
    6. If Drinkin' Don't Kill Me
    7. The Man Comes Around
    8. A Thousand Miles From Nowhere
    9. Copperhead Road
    10. Dad's Gonna Kill Me
    11. A Country Boy Can Survive
    12. The Ride
    DevilDriver
    $21.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Condolences (Gray w/Black Splatter) Condolences (Gray w/Black Splatter) Quick View

    $29.99
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    Condolences (Gray w/Black Splatter)

    Pressed On Gray Vinyl With Black Splatter


    A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.


    "All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"


    After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.


    MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.


    Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.


    "It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."


    In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.


    "The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."


    Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.


    "It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"

    1. Last Rites
    2. What The Night Brings
    3. Cadaverous
    4. Blood Sick
    5. Good Riddance
    6. You Breathe, I Kill
    7. Omen Amen
    8. Cruel To You
    9. Eulogy XIII
    10. Prey For Me
    11. Lonesome Road To Hell
    12. Condolences
    13. Death Infinity
    Wednesday 13
    $29.99
    Colored Vinyl LP - Sealed Buy Now
  • Santana Santana Quick View

    $49.99
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    Santana

    Numbered, Limited Edition


    Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version


    Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended


    Ranked #149 on Rolling Stone's List of the Greatest Albums of All Time


    Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.


    Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.


    Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.


    For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.


    Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before-as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.


    Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.


    This title is not eligible for discount.

    1. Waiting
    2. Evil Ways
    3. Shades Of Time
    4. Savor
    5. Jingo
    6. Persuasion
    7. Treat
    8. You Just Don't Care
    9. Soul Sacrifice
    Santana
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Circles Circles Quick View

    $17.99
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    Circles

    In the years since [Soul Coughing's] 1999 breakup, [Mike Doughty] has re-emerged as a top-notch singer-songwriter, seemingly eager to shed the ghosts of his past. So ultimately, it was a nice surprise when, earlier this year, he announced he was going to do an album of re-imagined versions of tracks he originally recorded with Soul Coughing. If you've listened to any one of the band's albums, you probably can understand why there has been a little cult following built behind their work.


    On "Circles Super Bon Bon " Doughty reclaims the songs and, most likely, delivers them in ways he had originally imagined. In interviews, he has discussed how he would have to fight for songs to sound a certain way. Sometimes, he would have to concede. So one could look at this album as a revisionist exercise. How his former bandmates feel about this is unknown. But, the big surprise is he actually improves and/or nicely compliments the vast majority of these cuts.


    Much of the record is given more of a pop sheen than one probably would expect. The effect works. Sure, some of the songs were hits in their original form (like "Super Bon Bon" and "Circles," for instance) but the collection's revelatory moments generally stem from the songs that didn't get airplay.


    "The Idiot Kings," in its original form, had a brooding, heavy, driving quality. The version here is infinitely brighter, thanks to a choice key change and a well-used drum loop.


    "True Dreams of Wichita" was originally an upright-bass driven lament. In its new form, it loses no intensity while it ends up sounding like a more complete cousin to Primitive Radio Gods' 1996 hit, "Standing Outside A Broken Phone Booth With Money In My Hand."


    In fact, the album on the whole seems celebratory. Doughty is aiming these songs at an audience willing to dance. "How Many Cans" and "Sleepless," which were originally both slow-building, almost meditative dirges packed with an underlying sense of menace, now bounce around with newly reinforced backbones.


    This album demonstrates that Soul Coughing really should've had more hits and Doughty deserves respect as one of his generation's keenest songwriters. While Doughty, himself, was probably exorcising personal demons by re-imagining these songs, in the process, he has given them a second life.


    Any fan of Soul Coughing should find this album, at the very least, to be a fascinating companion-piece to the original takes. In this surprising move, Doughty does his legacy proud. While some favorites may have not made the track list, this album, nevertheless, is a reminder of these songs' lasting endurance. This is Doughty's well-earned victory lap.


    Allan Raible (ABC News Music)

    1. Sleepless
    2. How Many Cans
    3. True Dreams of Wichita
    4. Super Bon Bon
    5. Mr. Bitterness
    6. The Idiot Kings
    7. Monster Man
    8. Maybe I'll Come Down
    9. Unmarked Helicopters
    10. So Far I Have Not Found the Science
    11. I Miss the Girl
    12. Circles
    13. St. Louise Is Listening
    Mike Doughty
    $17.99
    Vinyl LP - Sealed Buy Now
  • From Fear To Eternity From Fear To Eternity Quick View

    $56.99
    Buy Now
    x

    From Fear To Eternity

    From Fear To Eternity: The Best of 1990-2010 is a 3LP set spanning 20 years of music following the huge 2010 studio album The Final Frontier, which hit #1 in 28 countries around the world. It also became the band's highest-charting album in the U.S., where Iron Maiden was also awarded their first Grammy for Best Metal Performance for El Dorado, which is also included on this collection.


    Iron Maiden's current phenomenal global success has seen the band not only scale new-found heights aided by their unique method of touring, but has meant their ever-expanding fan base now encompasses a brand new generation of metal lovers. From Fear To Eternity is a chance for these fans to explore the group's rich history, with the highlights of their last eight studio albums distilled into this handy collection, which follows 2009's Somewhere Back In Time, a compilation of their earlier work from 1980-1990.


    Perennial favorites found on this album include songs also featured on Maiden's The Final Frontier World Tour set list, such as Fear of the Dark, The Wicker Man, Blood Brothers, and Dance Of Death alongside recent classics El Dorado and the hauntingly evocative When The Wild Wind Blows. It also includes singles like Holy Smoke and Be Quick or Be Dead together with more progressive thought-provoking album tracks like Afraid To Shoot Strangers and For the Greater Good of God. This 'Best-of' collection charts the musical development of Britain's most successful metal band as they have evolved their sound, producing longer, more complex songs, while gaining huge critical acclaim in the process.

    LP 1

    1. The Wicker Man
    2. Holy Smoke
    3. El Dorado
    4. Paschendale
    5. Different World
    6. Man On The Edge (Live)
    7. The Reincarnation of Benjamin Breeg
    8. Blood Brothers
    9. Rainmaker


    LP 2
    1. Sign of the Cross (Live)
    2. Brave New World
    3. Fear Of The Dark (Live)
    4. Be Quick Or Be Dead
    5. Tailgunner
    6. No More Lies
    7. Coming Home
    8. The Clansman (Live)


    LP 3
    1. For the Greater Good of God
    2. These Colours Don't Run)
    3. Bring Your Daughter... To The Slaughter
    4. Afraid to Shoot Strangers
    5. Dance of Death
    6. When the Wild Wind Blows

    Iron Maiden
    $56.99
    Limited Edition Picture Disc Vinyl LP - 3 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
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