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  • Pet Sounds (Stereo) (200 Gram 45 RPM) Pet Sounds (Stereo) (200 Gram 45 RPM) Quick View

    $54.99
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    Pet Sounds (Stereo) (200 Gram 45 RPM)


    Ranked 2/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time!


    Stereo


    Lacquer Plating By Gary Salstrom


    200-Gram Vinyl Pressed At Quality Record Pressings


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Mastered By Kevin Gray At Cohearant Audio


    Stereo Mix Produced By Mark Linett Under The Supervision Of Brian Wilson


    The ultimate pressing of The Beach Boys' iconic album from Analogue Productions!
    Pet Sounds, the 11th studio album by The Beach Boys, is acclaimed by critics
    and musicians alike as one of the most influential works in the history of popular
    music. Brian Wilson wrote and composed almost all of the songs - mono
    mixes created under Wilson's supervision were how the surf rockin' California
    crew rose to fame, and now Analogue Productions brings them to you with THE
    definitive Pet Sounds reissue on 200-gram vinyl at 45 RPM pressed at Quality
    Record Pressings. You get to choose - either the mono or stereo album version,
    or both!


    The reception for our previously-issued 33 1/3 version drew praise from reviewer
    Michael Fremer of AnalogPlanet.com who wrote: "The instrumental separation
    and front-to-back layering is nothing short of astonishing compared to the pleasing
    mush offered up by other editions." Acclaimed mastering engineer Kevin
    Gray has been able to extract details heretofore uncaptured from the tape with
    Brian Wilson's original mono mix "and present it in a way that is pleasing and
    natural to the ear," wrote Lee Dempsey, for Endless Summer Quarterly.


    Our stereo version was mixed from an assembled digital multi-track master that
    synced the original 4-track master instrumental with the 4 or 8-track vocal overdub
    master. The stereo mix was mixed to 15 ips 1/4" analog tape with SR noise reduction.


    Even better, the 45 RPM versions of this historical musical masterpiece makes your
    cartridge a near-perfect tracker by way of reduction of inner-groove distortion, a
    clear sonic advantage. You get two 200-gram LPs in a beautiful tip-on gatefold
    jacket from Stoughton Printing.


    Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as
    well as other cutting edge audio techniques for its time. Conventional keyboards
    and guitars were combined with exotic touches of orchestrated strings, bicycle
    bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments,
    Coca-Cola cans, barking dogs, and more. This classic has some of the
    group's most stunning melodies - "Wouldn't It Be Nice," "God Only Knows," "Caroline
    No," and "Sloop John B" (the last of which wasn't originally intended to go on
    the album) are the well-known hits, but equally worthy are "You Still Believe in Me,"
    "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."


    VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n'
    Roll History, as judged in a poll of musicians, executives and journalists. It's been
    ranked No. 1 in several music magazines' lists of the greatest albums of all time,
    including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling
    Stone's 500 Greatest Albums of All Time list.


    This title is not eligible for discount.

    LP 1
    1. Wouldn't It Be Nice
    2. You Still Believe Me
    3. That's Not Me
    4. Don't Talk (Put Your Head On My Shoulder)
    5. I'm Waiting For The Day
    6. Let's Go Away For Awhile
    7. Sloop John B


    LP 2
    1. God Only Knows
    2. I Know There's An Answer
    3. Here Today
    4. I Just Wasn't Made For These Times
    5. Pet Sounds
    6. Caroline No

    Beach Boys
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Carve Out The Face Of My God Carve Out The Face Of My God Quick View

    $13.99
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    Carve Out The Face Of My God

    Infinite Body is Kyle Parker, once know throughout the world as Gator Surprise in his youthful days. Now a grown man he has cast aside his harsh outpouring and transformed it into a lush and bright planetary awakening. Drawing the harmony of the spheres into his brain and channeling it through his fingertips onto recorded medium INFINITE BODY causes sound to bloom where there once was only darkness! Yes! This rules! You might have witnessed such events live during Infinite Body tours with No Age, Dan Deacon and Deerhunter.

    1. Dive

    2. A Fool Persists

    3. What They Wanted To Be Was Useless

    4. Out To Where I Am

    5. On Our Own To Fall Off

    6. Beside Me In The Dawn

    7. Sunshine

    8. Lived On Its Knees (For Matt)

    9. He Runs Without Feet And Holds Without Hands

    10. Drive Dreams Away

    11. Carve Out The Face Of My God

    Infinite Body
    $13.99
    Vinyl LP - Sealed Buy Now
  • Carving Out The Eyes Of God (Awaiting Repress) Carving Out The Eyes Of God (Awaiting Repress) Quick View

    $20.99
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    Carving Out The Eyes Of God (Awaiting Repress)

    After the release of A Haunting Curse, Goatwhore stayed busy playing multiple tours across all over the world including a coveted spot on 2007's Sounds of the Underground and 2008's Ozzfest in Texas where metal juggernauts Metallica closed out the day of metal. Other tours and dates included Sunn O))), Hatebreed, All Shall Perish, Celtic Frost, Venom, Fear Factory, Suffocation, Cattle Decapitation, God Forbid, and Amon Amarth just to name a few. Obviously Goatwhore kept themselves busy throughout the course of the album cycle playing with a wide variety of bands proving just how multi faceted the group's reach is.


    Enter 2009: New Orleans, LA's sons of American no-frills black metal, GOATWHORE, have just announced that the title of their fourth full-length album, and second for Metal Blade, will be Carving Out the Eyes of God. For the follow up to 2006's A Haunting Curse, GOATWHORE headed back to St. Petersburg, FL to record with producer Erik Rutan at Manna Studios with mastering being handled by Alan Douches of West West Side.


    Vocalist Ben Falgoust comments on the direction of the new album; I don't really know how to explain this. I don't want to come off with the typical speech about how this record is our best yet and all of that. I will say that I am quite pleased how it has turned out and all parts relating to it. I feel every member put a great deal of effort into their part of the project. I even feel Erik Rutan busted his ass even more this time to make us feel that we didn't take any steps backwards in the recording and production of this release. I don't even really care what the critics say. I think the end result is basically coming up with something you have put a lot of work into and the satisfaction achieved in completing it. I will say that the new material is ripping metal and we still have that 'Goatwhore' sound, whatever that may mean for each individual that enjoys or hates what we do. Just look at it as another step in the evolution of this band. Each person that hears it will have his or her own perception of it. Like it or not, we don't have a say in it. The only thing we can do is just keep writing the way we do and accept the criticism. Doesn't mean we are gonna listen to the criticism and change. Just give it an honest listen and if you dig it, awesome! If you don't, then pass it on to a friend or use it as a new drink coaster.


    Guitarist Sammy Duet had this to add; Dark, heavy, evil. Erik Rutan did one hell of a job on it. If you don't like it... kiss my ass.

    1. Apocalyptic Havoc
    2. The All-Destroying
    3. Carving Out The Eyes Of God
    4. Shadow Of A Rising Knife
    5. Provoking The Ritual Of Death
    6. In Legions, I Am Wars Of Wrath
    7. Reckoning Of The Soul Made Godless
    8. This Passing Into The Power Of Demons
    9. Razor Flesh Devoured
    10. To Mourn And Forever Wander Through Forgotten Doorways
    Goatwhore
    $20.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • God's Favorite Customer God's Favorite Customer Quick View

    $20.99
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    God's Favorite Customer


    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.

    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 Buy Now
  • The Tree Of Forgiveness (Awaiting Repress) The Tree Of Forgiveness (Awaiting Repress) Quick View

    $20.99
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    The Tree Of Forgiveness (Awaiting Repress)

    The highly-anticipated album, The Tree of Forgiveness, is Prine's first collection of new material since 2005's Grammy-winning Fair and Square. Rather than going out on a limb, Prine cultivated the themes that have brought international acclaim since the 1970s. For example, he can take a topic like loneliness and make it funny or heartbreaking.


    Prine teamed with Grammy-winning producer Dave Cobb to record in Nashville's historic Studio A, enlisting friends like Brandi Carlile, Jason Isbell, and Amanda Shires to sing along. The songs are new, although some had waited to be finished for decades, like a co-write with Phil Spector called 'God Only Knows'; Another incomplete song, 'I Have Met My Love Today' now celebrates the unexpected spark that leads to lifelong romance -- with a dash of youthful innocence. The musical arrangements may be simpler than on past efforts, yet his unique ability to distill complex emotions into everyday language remains fully intact.

    1. Knockin' on Your Screen Door (by John Prine and Pat McLaughlin)
    2. I Have Met My Love Today [ft. Brandi Carlile] (by John Prine and Roger Cook)
    3. Egg & Daughter Nite, Lincoln Nebraska, 1967 (Crazy Bone) (by John Prine and Pat McLaughlin)
    4. Summer's End (by John Prine and Pat McLaughlin)
    5. Caravan of Fools (by John Prine, Dan Auerbach and Pat McLaughlin)
    6. The Lonesome Friends of Science (by John Prine)
    7. No Ordinary Blue (by John Prine and Keith Sykes)
    8. Boundless Love (by John Prine, Dan Auerbach and Pat McLaughlin)
    9. God Only Knows (by John Prine and Phil Spector)
    10. When I Get to Heaven (by John Prine)
    John Prine
    $20.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Take A Picture Take A Picture Quick View

    $24.99
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    Take A Picture

    Take a Picture blends Margo's infectious and highly intelligent songcraft with her absolutely unique voice - equal parts girl group innocence and seductive torch. One of the most endearing and delicious soft rock records from its era, here's an impeccable Sundazed vinyl reissue of this '68 masterpiece, direct from the original masters.


    Margo Guryan is the most original songwriter that I've ever produced, and also something of an enigma. Underneath it all, she's a schooled composer, but she writes moving pop songs. She writes from her heart, but also from her head.

    - John Hill, album producer


    When Margo heard God Only Knows for the first time, she dropped everything. Steeped in learnings of jazz and composition, Margo was shaping her musical self in 1966, and Pet Sounds was just what she wanted to hear. Inspired, and working in the glow of Brians masterpiece, Margo began work on Take A Picture. Its a beautiful lost gem. I love this album dearly. The first thing to notice is Margos voice, a unique upper register whisper. But when it starts off you say whoa, what is this? as Sunday Morning sounds like a garage funk band with studio musician talents. The albums production is wonderful in that it is so expert, but never showy. This is one of the most laid back albums Ive heard. Another sunday morning staple....Its jazz, slightly psych pop, with all the ornaments of the Pet Sounds orchestra. A brilliant record...

    -The Rising Storm

    1. Sunday Morning
    2. Sun
    3. Love Songs
    4. Thoughts
    5. Don't Go Away
    6. Take a Picture
    7. What Can I Give You?
    8. Think of Rain
    9. Can You Tell
    10. Someone I Know

    11. Love
    Margo Guryan
    $24.99
    Vinyl LP - Sealed Buy Now
  • It's A Corporate World It's A Corporate World Quick View

    $18.99
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    It's A Corporate World

    Dale Earnhardt Jr. Jr. is a Detroit-based based recording and songwriting project created by Josh Epstein and Daniel Zott. In July of 2010 Quite Scientific Records released the very first Dale Earnhardt Jr. Jr. material, the Horsepower EP, recorded entirely in Zott's basement studio using a single microphone and home recording gear.


    Consisting of three original songs and a cover of Brian Wilson's God Only Knows, the EP drew instant praise from numerous outlets such as NPR, The Guardian, the New York Times and ever-pioneering U.S. radio stations KCRW and KEXP. In the months that followed their sound came to be described as everything from psych-retro pop to an inspired mix of hip-hop and folk to minimalist alterna-pop and beach wave.


    Having taken the time to fully piece together a dozen carefully crafted tracks Dale Earnhardt Jr. Jr. barrels into 2011 with their first full-length album, It's a Corporate World. A project that started without expectations may suddenly have to contend with some, but by throwing aesthetic limitations out the window, Dale Earnhardt Jr. Jr. have allowed for the creation of the unexpected and a seemingly limitless future.

    1. Morning Thought

    2. Nothing But Our Love

    3. Skeletons
    4. An Ugly Person On A Movie Screen
    5. When I Open My Eyes
    6. Husbands (Interlude)
    7. It's A Corporate World
    8. Simple Girl
    9. If It Wasn't You...
    10. Vocal Chords
    11. We Almost Lost Detroit
    12. The Fisherman

    Dale Earnhardt Jr. Jr.
    $18.99
    Vinyl LP - Sealed Buy Now
  • Nobody But Me Nobody But Me Quick View

    $19.99
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    Nobody But Me

    Michael Buble's new album Nobody But Me is scheduled to be released via Warner Bros / Reprise Records. Nobody But Me is the multi-Grammy, multi-platinum award winning singer's first album in three years and is his 9th studio album. It follows the critically acclaimed To Be Loved album, which was his fourth album to reach No. 1 on Billboard's Top 200 Charts.


    The exciting new collection of original pop tunes and beautiful standards highlight Buble's talent as a profound interpreter of the American songbook as well as his gifted songwriting and producing style.


    Nobody But Me was recorded in Los Angeles and Vancouver and includes three new Buble' penned originals along with breathtaking reinventions of classics including "My Baby Just Cares For Me," "The Very Thought of You," Brian Wilson's "God Only Knows" and the Johnny Mercer classic "I Wanna Be Around". Guest artists on the album are Meghan Trainor and Black Thought (of The Roots). The new album is co-produced by Buble along with Johan Carlsson for MXM Productions, Alan Chang, Jason "Spicy G" Goldman, The Monsters and Strangerz.


    "I don't know that I've ever had this much fun working on an album. It was especially thrilling to collaborate with my band who understand that I want to sound better than I've ever sounded. I'm also very proud of the new songs. Having the opportunity to co-produce was a joy for me personally," commented Buble.

    1. I Believe In You

    2. My Kind Of Girl

    3. Nobody But Me (feat. Black Thought)
    4. On An Evening In Roma (Sotter Celo de Roma)
    5. Today Is Yesterday's Tomorrow
    6. The Very Thought Of You
    7. I Wanna Be Around
    8. Someday (feat. Meghan Trainor)
    9. My Baby Just Cares For Me
    10. God Only Knows
    Michael Buble
    $19.99
    Vinyl LP - 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
  • Pet Sounds (Mono) (200 Gram 45 RPM) Pet Sounds (Mono) (200 Gram 45 RPM) Quick View

    $54.99
    Buy Now
    x

    Pet Sounds (Mono) (200 Gram 45 RPM)


    Ranked 2/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time!


    Mono


    Lacquer Plating By Gary Salstrom


    200-Gram Vinyl Pressed At Quality Record Pressings


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Mastered By Kevin Gray At Cohearant Audio


    Stereo Mix Produced By Mark Linett Under The Supervision Of Brian Wilson


    The ultimate pressing of The Beach Boys' iconic album from Analogue Productions!
    Pet Sounds, the 11th studio album by The Beach Boys, is acclaimed by critics
    and musicians alike as one of the most influential works in the history of popular
    music. Brian Wilson wrote and composed almost all of the songs - mono
    mixes created under Wilson's supervision were how the surf rockin' California
    crew rose to fame, and now Analogue Productions brings them to you with THE
    definitive Pet Sounds reissue on 200-gram vinyl at 45 RPM pressed at Quality
    Record Pressings. You get to choose - either the mono or stereo album version,
    or both!


    The reception for our previously-issued 33 1/3 version drew praise from reviewer
    Michael Fremer of AnalogPlanet.com who wrote: "The instrumental separation
    and front-to-back layering is nothing short of astonishing compared to the pleasing
    mush offered up by other editions." Acclaimed mastering engineer Kevin
    Gray has been able to extract details heretofore uncaptured from the tape with
    Brian Wilson's original mono mix "and present it in a way that is pleasing and
    natural to the ear," wrote Lee Dempsey, for Endless Summer Quarterly.


    Our stereo version was mixed from an assembled digital multi-track master that
    synced the original 4-track master instrumental with the 4 or 8-track vocal overdub
    master. The stereo mix was mixed to 15 ips 1/4" analog tape with SR noise reduction.


    Even better, the 45 RPM versions of this historical musical masterpiece makes your
    cartridge a near-perfect tracker by way of reduction of inner-groove distortion, a
    clear sonic advantage. You get two 200-gram LPs in a beautiful tip-on gatefold
    jacket from Stoughton Printing.


    Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as
    well as other cutting edge audio techniques for its time. Conventional keyboards
    and guitars were combined with exotic touches of orchestrated strings, bicycle
    bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments,
    Coca-Cola cans, barking dogs, and more. This classic has some of the
    group's most stunning melodies - "Wouldn't It Be Nice," "God Only Knows," "Caroline
    No," and "Sloop John B" (the last of which wasn't originally intended to go on
    the album) are the well-known hits, but equally worthy are "You Still Believe in Me,"
    "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."


    VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n'
    Roll History, as judged in a poll of musicians, executives and journalists. It's been
    ranked No. 1 in several music magazines' lists of the greatest albums of all time,
    including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling
    Stone's 500 Greatest Albums of All Time list.


    This title is not eligible for discount.

    LP 1
    1. Wouldn't It Be Nice
    2. You Still Believe Me
    3. That's Not Me
    4. Don't Talk (Put Your Head On My Shoulder)
    5. I'm Waiting For The Day
    6. Let's Go Away For Awhile
    7. Sloop John B


    LP 2
    1. God Only Knows
    2. I Know There's An Answer
    3. Here Today
    4. I Just Wasn't Made For These Times
    5. Pet Sounds
    6. Caroline No

    Beach Boys
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM Mono - 2 LPs Sealed Buy Now
  • No Pier Pressure No Pier Pressure Quick View

    $35.99
    Buy Now
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    No Pier Pressure

    New Album Features Collaborations with Beach Boys Bandmates, Kacey Musgraves, fun.'s Nate Ruess, She & Him's Zooey Deschanel and M. Ward, Peter Hollens, and Capital Cities' Sebu Simonian


    He is one of popular music's most deeply revered figures, a legendary writer, producer, arranger and performer of some of the most cherished music in pop music history. Indeed, it is no exaggeration to call Brian Wilson one of the most gifted and influential composers of the past 50 years. For the release of his 11th solo studio album, titled No Pier Pressure, Wilson has returned to Capitol Records, his original label home with The Beach Boys.


    For the No Pier Pressure sessions, Brian Wilson reunited with longtime collaborator Joe Thomas, with whom he co-produced The Beach Boys' No. 3 Billboard album That's Why God Made The Radio for the iconic band's 50th anniversary reunion in 2012. In addition, Wilson was joined at Hollywood's Ocean Way Studios by talented musicians he personally invited to record with him, including his former Beach Boys bandmates Al Jardine, David Marks and Blondie Chaplin, as well as Kacey Musgraves, fun.'s Nate Ruess, She & Him's Zooey Deschanel and M. Ward, Peter Hollens, Capital Cities' Sebu Simonian, and trumpet master Mark Isham. Wilson has also brought in session all-stars Don Was, Jim Keltner, Dean Parks, and Kenny Aronoff. Members of Wilson's longtime touring band, including Scott Bennett, Paul Mertens, Darian Sahanaja, and Probyn Gregory also participated in the sessions, along with Matt Jardine, son of Al Jardine, and former bandmate Jeffrey Foskett.


    Wilson and Thomas began collaborating on the new songs during The Beach Boys' whirlwind 50th anniversary activities throughout 2012, a banner year for the band which also included a GRAMMY® Award win for Brian for The Beach Boys' long-awaited SMiLE Sessions release. He told family, friends, and journalists around the world that he looked forward to returning to the studio when he got back home to California.


    Always most inspired when creativity is given time and space to freely flow, Wilson initially envisioned the sessions for his new album with The Beach Boys in mind, but that was not to be. Wanting to find the right voices to complete his vision, Wilson saw an opportunity to finally become hip with his kids and recruited some amazing young vocalists who have been inspired by his music to do the job.


    Throughout his iconic career, Wilson has brought ingenious vision to his own compositions, as well as to those for which he has collaborated, weaving a lush, vibrant tapestry of intricately nuanced vocal harmonies and instrumental arrangements for himself, his bandmates and others. For more than 50 years, fans have marveled at the sheer beauty of the music that springs forth from Wilson's imagination into glorious song.


    Camped out at Ocean Way, Wilson took a fluid, woodshedding approach to the recording process, deftly tailoring the vocal and instrumental parts and arrangements to each participant. Wilson worked to hone the arrangements, often assembling pieces from various takes, a signature style of recording he has enjoyed since his earliest sessions with The Beach Boys. In fact, several of the songs were written during the recording process.


    Brian Wilson began his career as a teenaged founding member of The Beach Boys, who signed with Capitol Records in July 1962 and released their first album, Surfin' Safari, that same year. The band's initial surf-rock focus was soon broadened to include other themes, and 1966's Pet Sounds is universally hailed as one of the greatest albums of all time. Wilson's innovative vocal and instrumental arrangements for major hits including "I Get Around," "California Girls," "Wouldn't It Be Nice," "God Only Knows," and the No. 1 smash "Good Vibrations" made The Beach Boys America's preeminent band of the 1960s.


    Brian Wilson has also achieved great solo success with 10 of his own albums released to date, including his acclaimed 2004 completion of an album he first began recording in the '60s, Brian Wilson Presents SMiLE, which reached Billboard's Top 20 and earned him his first GRAMMY® Award for a recording. Wilson won his second GRAMMY Award® for producing The Beach Boys' acclaimed 2011 release, The SMiLE Sessions. Wilson has also performed major, sold-out SMiLE and Pet Sounds tours in recent years with his own band. Wilson is a Kennedy Center Honors recipient, a Songwriters Hall of Fame inductee, and a UK Music Hall of Fame inductee. As a member of The Beach Boys, Wilson was inducted into the Rock and Roll Hall of Fame in 1988 and honored with The Recording Academy's Lifetime Achievement GRAMMY® Award in 2001.

    LP 1
    1. This Beautiful Day
    2. Runaway Dancer [featuring Sebu Simonian]
    3. What Ever Happened [featuring Al Jardine and David Marks]
    4. On The Island [featuring She & Him]
    5. Our Special Love [featuring Peter Hollens]
    6. The Right Time [featuring Al Jardine and David Marks]
    7. Guess You Had To Be There [featuring Kacey Musgraves]
    8. Tell Me Why [featuring Al Jardine]


    LP 2
    1. Sail Away [featuring Blondie Chaplin and Al Jardine]
    2. One Kind Of Love
    3. Saturday Night [featuring Nate Ruess]
    4. The Last Song
    5. Half Moon Bay
    6. Don't Worry
    7. I'm Feeling Sad
    8. Somewhere Quiet

    Brian Wilson
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Southern Roots Southern Roots Quick View

    $47.99
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    Southern Roots

    Import


    At long last here are the original session tapes that produced Jerry Lee Lewis' 1974 Southern Roots LP. Produced by Huey Meaux, a fellow Louisiana wildman, the final results reveal what happens when two fiery, free-spirited forces lock horns in the studio.
    Meaux had just gotten out of prison and had a reputation you wouldn't want in your family tree. Separately, Meaux and Lewis each spelled trouble in a big way and could be impossible to work with. Together? God knows what would happen. The results could be an utter disaster or a stroke of genius. As Meaux later observed, ''I knew Jerry and I would fight, but in the end we'd come out with the record. We fought, but we delivered.''


    For three days in September, 1973 Jerry Lee Lewis and Huey Meaux went at it, and each other. Listen as Jerry Lee is turned loose in the studio by a producer who didn't try to rein in Jerry's ego. In fact, Meaux did everything he could to feed it. That ego is nowhere more evident than on Jerry's version of the Percy Sledge 1966 hit, When A Man Loves A Woman, which Jerry turns into a sermon on war between the sexes.

    Jerry and Huey cut mostly southern music - soul, country, R&B and a touch of swamp pop. They even included a surprisingly impassioned version of Johnny Ray's 1952 hit record, Cry.

    Little did we know that there was supposed to be a second Southern Roots album. Only ten tracks ever appeared on the LP - a scant 34 minutes of music - but we've got it all here, including the music that was scheduled to appear on the second 'lost album,' all neatly overdubbed and ready for release. We've also got the stuff you were never meant to hear, and there's plenty of it.

    LP 1
    1. Meat Man
    2. When A Man Loves A Woman
    3. Hold On I'm Coming
    4. Just A Little Bit
    5. Born To Be A Loser
    6. Haunted House
    7. Blueberry Hill
    8. The Revolutionary Man
    9. Big Blue Diamonds
    10. That Old Bourbon Street Church


    LP 2
    1. Silver Threads Among The Gold
    2. Hold On I'm Coming (fast version)
    3. Take Your Time
    4. All Over Hell And Half Of Georgia
    5. I Sure Miss Those Good Old Times
    6. Raining In My Heart
    7 Honey Hush
    8. Cry
    9. Margie
    10. Studio Chatter #8 - Polk Salad Annie

    Jerry Lee Lewis
    $47.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Future Future Quick View

    $19.99
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    Future

    It's something we all want the answers for. It's something we fear. It's something we want to have a grip on.


    The future.


    So we ask for clearcut forecasts, desperately seeking security in precise, defined direction. Tossing and turning, we think if we could just glimpse the end of the book, we'd rest easy. We make plans and maps, charting out our lives and where we want them to go. We find ourselves filled with anxieties, pressure, worries


    Jordan Feliz knows the feeling.


    But he didn't write his newest album, Future, because he figured out all the answers to his path. Quite the opposite. This record was born out of Feliz making peace with the fact that he doesn't, none of us can, know what his future holds. Cling to your best-laid plans until your knuckles turn white, mark your calendar up and down, worry yourself dizzy But the real answer is accepting that we do not hold the future in our own two hands. And thank goodness, because the One who does has already written better stories for us than we ever could.


    The past:


    Following widespread acclaim for his first album, The River, Jordan Feliz began the journey of recording a new one. But the process didn't start how he expected or hoped.


    "I started going through anxiety and honestly didn't know how to begin, because I felt like 'Everything I create isn't going to be good enough.'" Jordan remembers.


    He was on tour, trying to write for the album, but experiencing panic attacks. He found himself unable to connect with the songs he'd been working on.


    "My head wasn't in the right spot. My heart wasn't either. it was more focused on appeasing people. It was listening to myself and not to God."


    Then back home with friends and co-writers Paul Duncan and Colby Wedgeworth, he marched not around the fear, but through it. And on the other side was solid ground.


    "I said 'What if I just can't do it?' but then Paul says to me 'Look man, there's no pressure. Everything in your future has already been plotted by Jesus. He has paved every step of the way for you, in a way to have favor on your life. Our future is not wound up in our success, but in the inheritance of God.'"


    With those words, something clicked for Jordan. He took a breath. He let go. He remembered that his future is held by the strong, kind hands of the Father.


    "Sometimes it's really hard to silence out the world and just listen to the small, still voice. But once I refocused and listened to Him, He had a message for me," Feliz shares. "A fire was set in me to write a song about freedom. A song we can sing to be stoked that every single day there's a God that loves us, never ceases, and never fails."


    That day they wrote "Witness," which would go on to be Feliz's first single for Future, in only 45 minutes.


    "And that's when the record started."


    It's certainly not the first time Jordan's had to rely on faith. Six years ago, following much prayer, he and his wife ventured to Nashville after feeling called to make the move; the only catch: they didn't even have enough money to make it all the way from California to Music City. They were depending on a few performance gigs Jordan had along the route.


    "But all the shows I was scheduled to play got cancelled. At first we were stressed and asking 'What do we do?'. We just felt like the Lord was saying 'You need to go.You just need to trust me.' We had to decide to think about what the Lord has for us, instead of what we have for ourselves. Watch and prepare for what He can do, not what we think we can do."


    He ended up with a spontaneous opportunity to perform for less than 30 people, who bought more than enough merchandise to get the Felizes to Nashville.


    "We sobbed in the car," he reflects. "For God to show us that He gives us more than we even need "


    Jordan tells that story in the album's track "All Along," his most personal song to date. With the first lyric describing his literal first moment of breath, Feliz goes on to tell some of his life's highlights, revealing God's presence through each moment of every season.


    And that's what marks this album as a mature step forward for the singer-songwriter. The vibrant pop melodies are not only infectious, but deep-rooted in the vulnerable walks of faith he's ventured through in the past year.


    "This record is just chock-full of story. Every single song," Jordan says. "It's kind of me taking a piece of my life, my heart, my beliefs, and my trust in God and just giving them to people. And hopefully they'll hold onto the message and learn to trust God even more through it."


    He wrote most of the album on the road with a hectic tour schedule and only eight other writers. Feliz was surprised to find that he loved this unorthodox writing process, saying it allowed for him and cowriters to spend more time simply experiencing life together, then reflect on it through creating music. Gone was the pressure to sit in a room and crank out a hit song. The result: more authentic songs that come from inspiration found in everyday life. Songs the musicians poured themselves into- including one of Jordan's favorites, "Faith," which came about from a middle-of-the-night writing session.


    "That never would've happened back home," Jordan laughs.


    And as Feliz and his team were wrapping up, something incredible happened for an album that began from a place of insecurity. When it came time to make the final song decisions, typically a stressful and challenging process, Jordan felt an unexpected peace.


    "Not even kidding, the day we left that meeting, we all just kind of knew those were the songs. With The River, we thought through every little thing, but this time it feels like the Lord just gave us these songs and was like 'This is it. You don't need anything other than these.' And we still wrote over 40 songs, but it was so clear that these were the ones that were going to be recorded. We hadn't even heard them produced yet, so we were just hoping it was all going to turn out right and it did. These songs were gifted to me by the Lord."


    The present:


    Jordan Feliz belts out "Witness" to a roaring crowd.


    "Your love is moving mountains every day of my life. Can I get a witness?"


    Hands shoot up, voices join in, souls worship. Jordan beams. It's the smile of a heart that knows it's landed in the hands of its Protector. The smile of a heart, fearlessly honest, that is connecting with others. A heart that's traveled through uncertainty, and probably will again, but will always find home in the story already written for it.


    Jordan listens to the new record, the latest season of his life in musical form. Those early doubts have transformed into peace. The shame into compassion. The worry into joy, and the fear into excitement.


    "Probably craziest of all is that I didn't see any of it coming together at beginning. I thought 'There's no way this is going to get done and I'm going to be able to handle it,' and it just happened. This entire project comes down to the fact that every day I'm learning how to trust God more and more and more."


    He doesn't know how the next chapter reads. But he knows something more important: the Author.


    "Every time I think about the concept of this record, it feels like it's purposeful for people to grab onto the idea of a song and hold onto it for a very long time. That's what it stands for. It stands for what's coming. It stands for what God has for our life."


    The future:


    Written. Held.

    1. Witness
    2. Count That High
    3. Faith
    4. Streets Of Gold
    5. Pages
    6. Lay It Down
    7. Future
    8. All Along
    9. Changed
    10. 180
    11. That's The Life
    12. My Shelter
    13. Blank Canvas
    Jordan Feliz
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Argument The Argument Quick View

    $22.99
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    The Argument

    As founder and half of the songwriting engine that drove the mighty HÜsker DÜ to his maverick solo work (has there ever been a portrait of a breakup as evocative yet anthemic as "2541"?), Grant Hart has cut a singular path across the last three decades of music. It is with great confidence that we say he has made an album to rival his greatest achievements. A double album based on John Milton's epic Paradise Lost, Hart distills its essence into pop and rock concoctions that nimbly flit through the history of 20th century music from Irving Berlin and David Bowie to... HÜsker DÜ, even. Ambition is the topic and Hell is the location for this project that is ambitious as Hell. Does he pull it off? We say yes!


    Although lines from the poem are rarely quoted directly, all of the menace, pain and devotion of Milton's best loved work are here found. But where
    Milton's poem was unadorned by rhyme, The Argument contain many complex couplets, especially the title track, in which not only the ends of lines rhyme, but the word that ends a phrase is the same as the first line of the phrase after it, all while conforming to the original ten syllable structure devised by Milton. Anyone who has ever had a conversation with Grant knows how patiently he chooses the words he uses.


    While visiting James Grauerholz, former friend and secretary for William S. Burroughs, James showed Grant an unpublished manuscript for Lost Paradise,
    William's science fiction story which portrays the fallen angels as men from distant planets and God as none other than fellow Missourian Harry S. Truman.
    James and Grant discussed adding music to William's story much in the same way that Tom Waits and William conspired to turn the German folk tale Die
    Freishutz into The Black Rider as staged by Robert Wilson.


    From that point the seed had been planted, and the seed grew into the most beautiful tree in the garden of Grant's career!


    Domino invite you to taste the fruit of this tree, go ahead, taste it.

    1. Out Of Chaos
    2. Morningstar
    3. Awake, Arise!
    4. If We Have The Will
    5. I Will Never See My Home
    6. I Am Death
    7. Sin
    8. Letting Me Out
    9. Is The Sky The Limit?
    10. Golden Chain
    11. So Far From Heaven
    12. Shine, Shine, Shine
    13. It Isn't Love
    14. War In Heaven
    15. Glorious
    16. (It Was A) Most Disturbing Dream
    17. Underneath The Apple Tree
    18. The Argument
    19. Run For The Wilderness
    20. For Those Too High Aspiring
    Grant Hart
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Bo Diddley's Beach Party Bo Diddley's Beach Party Quick View

    $24.99
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    Bo Diddley's Beach Party

    From The Original Chess/Checker Masters In Glorious Mono


    Faithful Reproduction Of The Original Artwork


    It's the beach party of your dreams. Not one of those with the squeaky-clean suburban kids doing the frug at Malibu like in the movies, oh no. This is Myrtle Beach, filled with dangerous bikers and gang members and hot mamas and escaped convicts and god knows who else (best not to ask), all cruising for kicks. It's after midnight but the heat still lingers from a blistering day. Except for a small bonfire, the dark is all-enveloping; couples vanish into it and you'd best be looking elsewhere. At the fire, some guy's carving his initials into his hand with a pen knife, and two babes are noodle-dancing to the waves, or maybe just the voices in their heads. They need music, dammit. Just then, a cloud of dust materializes at the far end of the boardwalk, heading your way, getting closer by the minute. As it approaches, you can just make out the silhouette of a rather large man atop a little motor scooter, some crazy looking guitar slung over his shoulder. Who IS this guy? The scooter chugs to a stop at your feet, and off steps the only musician in the known world who could play this party without having the shit kicked out of him. Bo Diddley.


    He plugs in, kicks off a scorching guitar riff. The band falls in. And the place goes totally batshit. Miraculously, someone thought to bring along a tape recorder. The result: Bo Diddley's Beach Party, the absolute pinnacle of vicarious musical thrills. Presented in its original, glorious, Distort-O-Phonic mono, this sweaty grungefest kicks ass from start to finish.


    Lots of albums claim to be essential, groundbreaking, and all that crap, and pointyheaded rock crits fawn over cosmic lyrical brainfarts and diminished ninths and such. Bo Ddiddley's Beach Party just kicks sand in their faces and dares you not to dance.


    Sundazed earnestly believes that you have no business calling yourself a rock 'n roll fan, an r&b maven, or even a sentient human being unless this album is in your collection, that's how crucial it is. In fact, don't even talk to us until it's in your hands. We mean it.

    1. Memphis
    2. Gunslinger
    3. Hey! Bo Diddley
    4. Old Smokey
    5. Bo Diddley's Dog
    6. I'm All Right
    7. Mr. Custer
    8. Bo's Waltz
    9. What's Buggin' You
    10. Road Runner
    Bo Diddley
    $24.99
    180 Gram Audiophile Vinyl LP Mono - Sealed Buy Now
  • Hail Mega Boys Hail Mega Boys Quick View

    $18.99
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    Hail Mega Boys

    First Time On Vinyl


    Available for the first time on vinyl as the band approaches the historic milestone of performing live on stage together for the thousandth time is the classic debut from J. Roddy Walston and the Business, the band many have come to hail as the Megaboys of Rock'n'Roll. This release has been re-mastered from the original source by the audio wizards at Lord Baltimore Recording Studio.


    Born and raised near Chattanooga, TN, J. Roddy Walston is the only limb left on the once-proud family tree of the Roddy clan. It was in the Smoky Mountain hollers of Tennessee that he was raised on the Music of God and taught to play rock and roll by the hand of the Devil. As a child, his grandmother turned down the Grand Ole Opry to sing only for God and family, while his uncle chose to drink himself to death in the real honky-tonks rather than heed the calls of the Nashville hit-makers that constantly beckoned. After young Roddy watched both punctuate their refusals with the business end of a shotgun, he decided not to let the family die nameless. In as much an attempt to bring due credit to his kin as a desire to rebel against what they stood for, he moved from the shadows and secrets of the South into the spotlight and temptations of the North. Whether by divine appointment or a cocktail devised by the Devil, no one knows, but by the time he reached Baltimore, a vicious band of players had gathered around him. Together, they've been begging rock n' roll to respect its past and teaching old music new tricks. It's as though every time they strike a note goat piss is turning into gasoline...nothing less than a modern rock n' roll miracle.

    I'll Tell You What
    Nineteen Ought Four
    Rock and Roll the Second
    Used to Did
    The Times Are a Staying
    Generic In Love
    Go For It
    Picnics and Kisses
    Sally Bangs
    Mommie Bomb
    Stop Rip and Roll
    Go Malachi
    J Roddy Walston And The Business
    $18.99
    Vinyl LP - Sealed Buy Now
  • Thunderpussy Thunderpussy Quick View

    $34.99
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    Thunderpussy

    What if Thor's Hammer of the Gods from "Immigrant Song" landed in the hands of four wise, willful, and wild women? Well, it would sound something like Thunderpussy.


    The quartet-Molly Sides [vocals], Whitney Petty [guitar], Leah Julius [bass], and Ruby Dunphy [drums]-do the most rock 'n' roll thing possible and quite literally fuck up every rock 'n' roll stereotype you know to be true, piercing the halls of Valhalla in the process. Think of it like an inverse Frank Frazetta painting where it's the Amazonian siren wielding all of the world's power instead of Conan (he's on the sidelines in awe). More simply, instead of Page and Plant, Perry and Tyler, and Jagger and Richards, you get Molly and Whitney. Known for earth shattering pipes, heart-stopping performance art, and a propensity to literally writhe through a crowd, Molly is the consummate ideal front-person-bold, brilliant, brazen, and beautiful. At her righthand, you've got Whitney as the ultimate 21st century axe-slinger-cool, collected, and crazy on that fretboard. Rounding out the fray, Leah and Ruby cook up the tightest rhythm section this side of Cream (no kidding).


    So, what is it that turned the Seattle-based group into a quiet phenomenon with the endorsement of Rolling Stone and Pearl Jam guitarist Mike McCready as well as a string of already legendary performances under their high-waisted belts (we're looking at you, Sasquatch)? It'd be too easy to say it's the power of the P----


    Whitney steps in, "People talk about that magic. There's some voodoo happening between Molly and I, which is like a cosmic connection. She has this power. Somehow, I'm under her spell when we're performing-we all are."


    "The truth is, I feel the same way about Whitney, Leah, and Ruby," smiles Molly. "We're all in this together."


    That unity drives the band's forthcoming full-length debut Thunderpussy [Stardog Records/Republic Records] produced by Sylvia Massy. The lead single Speed Queen begins with a revving engine and arena-size percussion before snapping into a muscular and majestic riff and vocal proclamation, "Long live the Speed Queen."


    "The 'Speed Queen' is this mythic and magical woman who rides a motorcycle and travels around the country," explains Whitney. "Nobody knows too much about where she came from or where she's going, but she changes everyone she meets because she's that powerful. I was thinking of Molly when I wrote it."


    Its companion track "Badlands" evokes bluesy Zeppelin-style mysticism with a fury that certainly wouldn't be out of place on Aerosmith's Rocks-but is completely at home on Speed Queen.


    "It nods to that classic Terrence Malick movie Badlands with Martin Sheen and Sissy Spacek," adds Molly. "It's an on-the-run love song between two outlaws."


    Among its arsenal, Thunderpussy also boasts a song produced by McCready "Velvet Noose." Everything comes together into one cohesive and classic vision of rock music recharged, reinvigorated, and resurrected in what can only be described as a diamond in the muff: Thunderpussy.


    "Being a lover of rock 'n' roll music for my whole life, you either have it, or you don't," Whitney leaves off. "If you find it, cultivate it, treat it like a wild animal, and tame that raw energy, but not too much. That's what this is."

    1. Speed Queen
    2. Badlands
    3. Fever
    4. Torpedo Love
    5. Velvet Noose
    6. Gentle Frame
    7. All In
    8. The Cloud
    9. Pick It Up
    10. Utero Tango
    11. Thunderpussy
    12. Young & Pure
    Thunderpussy
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Black Moon Spell Black Moon Spell Quick View

    $18.99
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    Black Moon Spell

    King Tuff's new record is called Black Moon Spell.


    It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California,
    in the hot winter of 2014.


    No one involved was prepared to make a record, but an invisible hand pushed them
    to do it. Perhaps it was God or that special someone we all know and love called The
    Devil.


    God and The Devil actually have very similar interests. They both love electric guitars
    and they both want you to listen to Black Moon Spell and freak the fuck out.


    There were many strange occurrences during the recording session- Dracula landlords,
    flashes of mysterious light, haunted microphones, songs that mixed themselves,
    demonic vortexes swirling in coffee cups, etc.


    Under the Black Moon Spell you may experience euphoria, demented visions, wet
    dreams, bouts of backwards laughter, and dazed confusion resulting in primordial
    dancing.


    Fire played a very important role in the making of this album. King Tuff loves fire.
    For some reason, no one can really explain how the Black Moon Spell came to be.
    It just appeared one day and demanded heavy rock music and meatball subs.
    Backwards messages may be found on this record.


    Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered
    its sexy, twisted, hairy, polluted spirit all over Black Moon Spell. The Sunset Strip
    shat itself when it heard all these guitar solos.


    Can you feel the Black Moon Spell creeping up the back of yr neck yet?


    King Tuff would prefer not to tell you the full story of making this record because
    its long and crazy and you wouldn't believe him anyway. Also, I am King Tuff.


    Magic Jake, who played bass and is beautiful like sunshine, would like to take this
    moment to give you a hug and invite you to a tanning party on a beach of your choice.


    Old Gary, who plays drums and has the most glorious cackle, would like to take this
    moment to crack a cold one with you and invite you to watch the old ballgame with
    him.


    Old Gary was out watching the old ballgame, so a wild critter named Ty Segall played
    drums on the song "Black Moon Spell". Ty enjoys speaking in a goblin voice in his
    spare time.


    Night fell on Studio B. A Tarot card leapt from the deck and said, "No human
    judgement is of any value here." King Tuff agreed.


    Sub Pop first discovered King Tuff curled up in his palace in Vermont. It was basically
    a shit hut made of moss, mud, and glimmering stones hidden near the graveyard,
    and it was guarded by beautiful wild bullfrogs with silver fangs and baseball bats.


    Punx, Squares, Skaters, Farmers, Bartenders, Grandparents, Stoners, Carpenters,
    Hobos, Heshers, Babes, Babies, Plumbers, Strippers, Art Teachers, Teenagers, Townies,
    Moms, Dads, Truck Drivers, and Witches will all love this record.


    Every song on Black Moon Spell was written without giving a shining fuck about
    nothing.


    Listen to Black Moon Spell, turn yr volume knob up to 666, put yr lover in a 69,
    and let yr inner grinagog rear it's wicked, unwashed, smiling snake head.


    Listen to Black Moon Spell and give yr ears what they've been begging for all year;
    a heavily weird, heavenly dark, hysterically magical Rock & Roll Sexperience.


    ps. the only part of this story that isn't true is the part about the shit hut. I actually
    was living at my parents' house when I was discovered. Love, KT

    1. Black Moon Spell
    2. Sick Mind
    3. Rainbow's Run
    4. Headbanger
    5. Beautiful Thing
    6. I Love You Ugly
    7. Magic Mirror
    8. Madness
    9. Demon From Hell
    10. Black Holes in Stereo
    11. Radiation
    12. Eyes of the Muse
    13. Staircase of Diamonds
    14. Eddie's Song
    King Tuff
    $18.99
    Vinyl LP - Sealed Buy Now
  • What's Going On (Pure Pleasure) What's Going On (Pure Pleasure) Quick View

    $34.99
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    What's Going On (Pure Pleasure)

    In 2006, exactly a year after Katrina, in the aftermath of a vicious natural disaster that displayed the incompetence of the Crescent City's infrastructure, the Army Corps of Engineers, and the Federal Government, they addressed the tragedy in the only way they know how, by re-creating the same kind of bewilderment and anger that Marvin Gaye felt and witnessed in 1971 by issuing their own take on Gaye's classic album What's Goin' On. This is a question that is proved all the more poignant given the efforts of an entire region trying not only to rebuild homes and businesses, but trying to preserve a culture as this recording was released. The Dirty Dozen recruit a number of vocalists to help out on the hinge tunes. The samples of New Orleans Mayor Ray Nagin's voice in the aftermath of the hurricane usher in the brass slip-sliding along the dark funky overtones of Gaye's signature tune. Guitarists Doug Bossi and Ben Keeler dig into the groove, as does drummer Terence Higgins and keyboardist/producer Anthony Marinelli, as Chuck D raps the refrain in the context of modern history, the disaster, and the ineptitude and even hostility of a government who wages war and ignores domestic problems. It's a news report from the front lines as the horns cut the melody, the harmony, and the deep, steamy funk groove. What's Happening Brother, closes the funk from the inside, turning the groove back in on itself not only playing the rage, but echoing it in the grain of Bettye LaVette's vocal, which dares to spit out the truth with questions and observations in the pain of a first person narrative. The airy arrangement of Flyin' High (In the Friendly Sky) is nearly mournful, nostalgic for a more innocent time, but is all the more poignant for that longing. The deep tribal drums Mardi Gras Indian-style, with the skronky saxophones, tight guitar groove, and screaming narrative in Save The Children give way to the smoothness of Gaye's melody. It's a bewildered tune, sad with undercurrents of rage. Ivan Neville's arrangement for God Is Love is a stunner, full of deeply imaginative hues and colors and gospel grooves. G. Love helps out on Mercy Mercy Me (The Ecology), where the musicality in Gaye's vocal disappears but is supercharged in the horn charts, and Love's vocal sounds confused, displaced, out of time against the instruments. Right On is both militant and celebratory. It's got the funk, but it's also got gospel, rock, and deep soul blaring from the trombones and the repetitive riff in the rest of the brass section. Guru from Gang Starr cuts out from the moody, spectral introduction of Inner City Blues, when Higgins drums play counter to Kirk Joseph's deep blues sousaphone on the bassline. Frustration is everywhere and the horns point fingers to this truth which Guru lays out: that today is the same and perhaps even more so than it was in Gaye's time. The desolation in Gaye's lyric isn't lost but it is fleshed out over the chart so that they are merely the ghosts from the past preaching and exhorting in this new generation. Never has party music sounded so poignant, so utterly damning and hopeful and unbowed. This is the next step in the Homecoming that was a funeral for a friend; this is the aftermath, the sound of angry resurrection coming out with the sun, one where the revolution may be televised but bursts out of the edges in the screen and makes itself known by the medium understood by the people who have to live its realization. With killer grooves that take no prisoners, What's Goin' On is the most fitting tribute yet to Gaye, because not only does it prove the timelessness of the music itself, it echoes that what is indeed goin' on (Gaye's dedication to Detroit as its decline became a reality with no onlookers interested in doing anything) is even more true today than it was in 1971.



    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. What's Going On feat. Chuck D
    2. What's Happening Brother feat. Bettye Lavette
    3. Flying High (In the Friendly Skies)
    4. Save the Children
    5. God is Love feat. Ivan Neville
    6. Mercy Mercy Me (The Ecology)
    7. Right On
    8. Wholy Holy
    9. Inner City Blues (Make Me Wanna Holler)
    The Dirty Dozen Brass Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • American V: A Hundred Highways American V: A Hundred Highways Quick View

    $24.99
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    American V: A Hundred Highways

    The ethical questions surrounding this final album in the American Recordings series are as unavoidable as they are, ultimately, peripheral. While the
    vocal tracks were recorded in the months just prior to Johnny Cash's passing in September 2003, the arrangements weren't undertaken until two years
    later. And though producer Rick Rubin had become a trusted friend, the Man in Black wasn't around to approve or disapprove, let alone guide, the final
    sessions. However, if the pure power of these recordings doesn't quiet the skeptics, nothing will. With Heartbreakers Mike Campbell and Benmont Tench
    and slide guitar session pro Smokey Hormel on board (all three of whom appear on earlier Cash albums), along with guitarists Matt Sweeney and Johnny
    Polansky, the sound is stately and acoustic, but rarely staid, even as the dynamics of earlier recordings in the series are absent. Instead, the songs have
    a measured, elegiac intensity, the sound of musicians choosing their notes carefully and making just the right choices.


    The songs Cash sings are, unsurprisingly, confessional and reflective: his mortality and his mistakes, his maker and his salvation, and the loss of his wife
    June and the end of his career may have weighed on his mind, but in these songs he both embodies and transcends his personal history. On God's
    Gonna Cut You Down, as the musicians clap and stomp behind him, his voice cuts through the air like that same avenging hand. On the new original
    Like the 309--the last song Cash ever wrote--he cops to being short of breath, and that voice becomes a metaphor for what each of us will one day face.
    On Gordon Lightfoot's If You Read My Mind, Rubin flirts with overwhelming the damp bittersweetness of Cash's phrasing in tasteful atmospherics, but
    the voice is implacable, hitting and finding notes one never expected he'd have the will to find. Likewise, it's hard to believe this is his first recording of Ian
    Tyson's Four Strong Winds; the elemental narrative seems to have been written for him. Two songs, however, Cash has recorded before: the bornagain
    hymn I Came to Believe and the final spiritual, I'm Free from the Chain Gang Now. The latter especially is a definitive testament, as is his version
    of Bruce Springsteen's Further On (Up the Road). One sunny morning we'll rise, I know / And I'll meet you further on up the road, he sings. If only,
    John, if only. --Roy Kasten

    1. Help Me (Album Version)
    2. God's Gonna Cut You Down (Album Version)
    3. Like The 309 (Album Version)
    4. If You Could Read My Mind (Album Version)
    5. Further On Up The Road (Album Version)
    6. On The Evening Train (Album Version)
    7. I Came To Believe (Album Version)
    8. Love's Been Good To Me (Album Version)
    9. A Legend In My Time (Album Version)
    10. Rose Of My Heart (Album Version)
    11. Four Strong Winds (Album Version)
    12. I'm Free From The Chain Gang Now (Album Version)
    Johnny Cash
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ted Nugent (45 RPM) Ted Nugent (45 RPM) Quick View

    $54.99
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    Ted Nugent (45 RPM)

    The Best-Sounding Track - Stranglehold - Has Side 1 All To Itself! Cut At 45 RPM, Spread Over One Whole Side - Unbelievable Sound! Stranglehold Indeed!


    Gatefold Jacket!


    Mastered By Ryan Smith At Sterling Sound Using Legendary Mastering Engineer George Marino's Notes From His Original Mastering Sessions With The Original Analog Tapes!


    Remastered By Smith In George's Mixing Room Using Marino's VMS 80 Lathe


    200-Gram Vinyl Plated By Gary Salstrom And Pressed At Quality Record Pressings, The World's Finest Lp Maker!


    Self-Titled Album Made Nugent And His Gonzo Guitar A Rock Icon!


    There was a moment, in 1975 to be exact, when Ted Nugent was taken very seriously. As a musician. Before he decided to become whatever it is that he is now. ... Let's think back to 1975 when Ted was just a sex-crazed rock star who made a killer self-titled debut solo record that has now been remastered and reissued as a gatefold, by Chad Kassem's Analogue Productions and Quality Record Pressings. While his songwriting interests have never really changed, these were the best takes on all those ideas that Nugent would from this point on build his career on. ... on Ted Nugent his guitar riffs were never sharper, his playing never less indulgent. This is a record where even the inner cuts like 'Just What the Doctor Ordered' and 'Queen of the Forest' were good to great. - Robert Baird, Stereophile, May 2014


    We were fortunate with this one. Fortunate you say? How so? Well for starters, the late and lauded mastering engineer George Marino at Sterling Sound mastered and cut the original 1975 release of Ted Nugent. Almost 40 years later, after some digging by George's protege, Ryan Smith, on behalf of this Analogue Productions reissue - lo and behold - George's mastering notes resurfaced as well as the original analog tape masters.


    With the release of Ted Nugent, the self-proclaimed Motor City Madman and god of gonzo guitar became not just a star, but one of rock 'n' roll's icons. The songs Motor City Madhouse and Just What The Doctor Ordered would become two of many of Ted's road anthems. These and the other 10 monster tracks on Ted Nugent were clear evidence that Ted was an artist to be reckoned with.


    Ted Nugent still likes to reflect back on what his critics were saying as he put his band, the Amboy Dukes, to rest and started the next phase of his career-one that would be under his own vision, his own direction and most importantly, his own name.


    I remember some of the more creative writers of the ilk claimed it would be 'the final nail in my coffin' - quote, unquote, Nugent says with a redemptive laugh. I knew better.


    The mention of Ted's name elicits different reactions from rock fans today in different parts of the country. Nods of familiarity on both coasts, and clenched fists and knowing grins in the vast Midwest and South. He's sold millions of albums. Rock radio couldn't play enough of him - and neither could promoters, who made him the hardest-working and top-grossing gunslinger of the mid- and late-'70s. While most other rockers posed with their sleek Stratocasters and Les Pauls, there was Nugent, whipping his mane of hair around his head as he cranked out sound on his big Gibson Birdland, a hog of a guitar with rich, thick and creamy tones - clearly not something to be trusted to amateurs. But in Nugent's hands it screamed, squealed and cried, providing a vivid 3-D voice for the monster crunch of Stranglehold, the menacing stomp of Stormtroopin and the fiery boogie of Hey Baby, Motor City Madhouse and Snakeskin Cowboys.


    We feel this is Ted's finest recording by far. And here, you'll hear this classic more clearly and vividly than ever before. This reissue was remastered by Smith in the late George Marino's mixing room at Sterling Sound using Marino's VMS 80 lathe and an ATR 102 tape machine modified by Mike Spitz-the only one of its kind in the world.. Then this 200-gram vinyl beauty was pressed by Quality Record Pressings, makers of the world's finest LPs, where it was plated for vinyl by Gary Salstrom, QRP's master plating technician and general manager. The power burned into these grooves is difficult to find anywhere else this side of the Atlantic, and indeed it remains a rare commodity anywhere in the world.


    As Ted himself proclaims: If anyone wanted to know what rock 'n' roll was all about, this is the only album they'll need.


    This title is not eligible for discount.

    LP 1
    1. Stranglehold
    2. Stormtroopin'
    3. Hey Baby
    4. Just What the Doctor Ordered


    LP 2
    1. Snakeskin Cowboys
    2. Motor City Madhouse
    3. Where Have You Been All My Life
    4. You Make Me Feel Right at Home
    5. Queen of the Forest

    Ted Nugent
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • If The Roses Don't Kill Us If The Roses Don't Kill Us Quick View

    $16.99
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    If The Roses Don't Kill Us

    If The Roses Don't Kill Us was made with Grammy-winning producer Dave Sanger (Asleep at the Wheel) and his partners PJ Herrington and Jay Reynolds. They created a relaxed atmosphere in the studio that gaveDenny's vocals a sharp, visceral presence. The album opener, "Happy Sad" sets the stage for all that follows. When Denny strums a minor chord and sings the word "sad," you're pulled into his world of intense melancholy.


    The descending melody line and bluesy guitar lines of "God's Height" gives the tune a sense of anguished longing, mitigated by Denny's playful vocal. "I was laughing about the thoughts you get at the end of a relationship when you think you're not good enough, but you know you're going to survive." The churchy B3 organ on "Our Kind of Love" suggests Memphis in the early 60s, a feeling echoed in Denny's crooning. "No matter how bad it seems, we only have this moment. When I wrote, 'It's our love, darlin', and we beat ourselves black and blue,' I was realizing how much I love my dark feelings."


    Denny's jubilant vocal dominates "Watch Me Shine" with chiming acoustic guitar and sustained bell-like synthesizer notes adding to the track's righteous mood. "If the Roses Don't Kill Us" is pure country funk with a New Orleans brass band supporting Denny's lively vocal. "Sometimes you have to go crazy to figure out what's important to you," Denny explains. "This is about leaving a relationship when you know the situation isn't really resolved." That ambivalence is the thread that holds the songs on If The Roses Don't Kill Us together. Denny's barely restrained vocals have the ability to describe contradictory feelings with an intensity that gives every word he sings the ring of painful truth. His shimmering, one-of-a-kind voice reaches you on a deep emotional level, touching your heart and soul to deliver his hard won insights with an honesty that makes his singing and songwriting something unique and rare.

    1 Happy Sad

    2 God's Height

    3 Our Kind Of Love

    4 Wings

    5 Million Little Thoughts

    6 Watch Me Shine

    7 If The Roses Don't Kill Us

    8 Love Is A Code Word

    9 Man A Fool

    10 Ride On

    11 Radio

    12 Some Things

    Christopher Denny
    $16.99
    Vinyl LP - Sealed Buy Now
  • Arisen New Era (Awaiting Repress) Arisen New Era (Awaiting Repress) Quick View

    $19.99
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    Arisen New Era (Awaiting Repress)

    Blue And White Colored Vinyl


    Unique Leader Records confirms that French death metal legion, KRONOS, will drop their Arisen New Era long player upon the masses. Recorded, mixed and mastered by David Potvin at Dome Studios (Lyzanxia, Arcania, Under The Abyss etc.) in Angers, France, the band's latest slab of audio menace features nine scalding tracks of unrelenting barbarity adorned in the distinctive cover art of Pierre Alain (Withering Soul, Silentlie, Cyrax etc.).


    A name derived from the Greek god of time, Kronos (or Cronus), father of Zeus, KRONOSwas forged over fifteen years ago and quickly established a name for themselves based solely on their musical unity of harmony and violence. Featuring a continuous textual reference to the gods of ancient civilizations, KRONOS punctures ears with a heightened level of dynamics accomplished by only by a select number of bands. It all began in a small town in the Northeastern province of Alsace-Lorraine. Following various lineup shifts and musical experimentation, the pandemonium squad recorded their first demo in 2000. One year later, KRONOS would unleash their Titan's Awakening debut. Produced entirely by the band, the lethal creation lead to a union with French imprint Warpath Records. By the end of 2001, Titan's Awakening was expelled once again into the world, this time with a brand new cover designed by Deather (Gurkkhas, Vital Remains, Angel Corpse) as well as a visually disquieting booklet.


    KRONOS later joined forces with Spanish label Xtreem Music run by Avulsed's Dave Rotten, for the unleashing of their next two full-lengths. Second offering, Colossal Titan Strife was discharged in 2004 to the applause of underground critics in the proverbial know. Metal Crypt commended the band's "diversified guitar work intricate drum patterns wicked guitar solos and.. good number of catchy yet non-compromising hooks," further insisting, "This French outfit is definitely worth checking out," while Sputnik Music championed, "an impressive album that shows off the capabilities of death metal done right. KRONOSmanaged to pack a metric ton of creativity into each song and you will barely hear the same riff twice." Added Last Rites simply, "worth your time if you need some solid, well-produced death metal." Third offspring, The Hellenic Terror, emerged in April 2007 and served as an attestation of the band's enormous capacity for skilled execution and originality. Said Metal Crypt in a near perfect review of the release, "The Hellenic Terrorcontains more melodic sections than Colossal Titan Strife, but still possesses almost as much brutality . KRONOS is one of the few death metal bands that manage to be melodic, brutal and still remain catchy as hell in their riffs and solos. This is definitely a must-have for fans of death metal."


    Now that this Gallic Titan has blossomed into a powerful entity, they're ready to vanquish and destroy the world with musical bloodlust and the diabolic wares of Arisen New Era.

    1. Infernal Abyss Sovereignty
    2. Zeus Dethroned
    3. Soul-Voracious Vultures
    4. Rapture In Misery
    5. Klymenos Underwrath
    6. Aeons Titan Crown
    7. Brotherlords
    8. Purity Slaughtered
    9. Hellysium
    Kronos
    $19.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
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    The Grinding Wheel

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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