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  • Head Games Head Games Quick View

    $19.99
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    Head Games

    Head Games on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Foreigner's 1979 Effort Its Edgiest, Heaviest, Hardest-Hitting Album


    Band Pairs Synthesizers With Guitars on Record to Mesmerizing Effect


    Head Games, Dirty White Boy Continue Group's Hit Streak


    Half-Speed Mastered from the Original Master Tapes: Roy Thomas Baker's Original Production Shines Like Never Before


    The moment Head Games begins, a nastier, grittier tone is established, and it becomes apparent that Foreigner is bringing something new to the table. Namely, an edgier, leaner sound built around stronger guitars and harder rhythms. The heaviest record of the bands career, the 1979 effort functions as irrefutable proof that the quintet rocked as hard as anybody in the mainstream and did so without losing sight of the melodies that put it at the top of the charts. And with Head Games, there Foreigner would stay.



    Half-speed mastered from the original master tapes, Mobile Fidelitys collectible audiophile edition of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, punchy dynamics, and newfound instrumental separation. With more emphasis placed on Mick Jones guitar riffs and meatier grooves, you may just find yourself investing in a new power amp to get every last degree of detail thats been uncovered! Longtime fans will be thrilled to hear the subtle nuances now fully discernible amidst a gargantuan soundstage.



    Joined by new bassist Rick Wills, and guided by Queen producer Roy Thomas Baker, Foreigner goes for broke, ratcheting up the muscularity on hard-hitting fare such as the hit single Dirty White Boy, Seventeen, and the aptly titled Rev on the Red Line. However, the group maintains its trademark equilibrium, pushing the limits on toughness yet retaining a diamond-in-the-rough smoothness that allows the bands hummable choruses and winding hooks to take hold.



    Moreover, the band expands its use of synthesizers to wonderful effect. The smash title track, through which mesmerizing keyboard passages coarse, is a prime example of Foreigners slight albeit thrilling sonic evolution, the net result upping the drama, fanfare, and color. At the time, the combination was a breakthrough idea. Is it any wonder Head Games sold more than 5 million copies?



    None, however, sound anywhere near as lifelike, involving, and rich as Mobile Fidelitys remaster. Part of the reason why late 70s arena rock remains beloved, and why its so fun, owes to the go-for-broke nature of the arrangements, decibel-clearing volume levels, and free license to just let loose. By digging in and revealing all the musical information the master tapes provide, Mobile Fidelitys analog 180g LP amplifies the pleasure principle by tenfold!


    This title is not eligible for discount.

    1. Dirty White Boy
    2. Love on the Telephone
    3. Women
    4. I'll Get Even with You
    5. Seventeen
    6. Head Games
    7. The Modern Day
    8. Blinded by Science
    9. Do What You Like
    10. Rev on the Red Line
    Foreigner
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Mediator Between Head And Hands Must Be The Heart The Mediator Between Head And Hands Must Be The Heart Quick View

    $24.99
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    The Mediator Between Head And Hands Must Be The Heart

    It was the city of Belo Horizonte, Brazil that launched the ascent of their native sons in SEPULTURA (Portuguese for "grave") in 1983 with a trajectory unsuspectingly aimed at the worldwide metal music scene. A band with humble economic beginnings whose musical identity was forged in the context of living through Brazil's authoritarian military dictatorship, SEPULTURA would go on to become Brazilian ambassadors to the metal world, revered master architects of the death/thrash genre, and the most successful heavy metal band from the Federal Republic of Brazil.


    When SEPULTURA experienced a line-up change in the mid-1990s that was widely covered by the metal press around the world, remaining members recruited American Derrick Green in 1997 to front the band, a position the Cleveland, Ohio native has held for the past fifteen years and counting. This past June, long-time guitarist Andreas Kisser (who joined in1987), original bassist Paulo Jr., and drum prodigy Eloy Casagrande, SEPULTURA entered the studio in Venice, California with renowned producer Ross Robinson (KORN, MACHINE HEAD, FEAR FACTORY) - who also worked on the band's landmark 1996 release, »Roots« - and co-producer Steve Evetts (THE DILLINGER ESCAPE PLAN, SYMPHONY X, INCANTATION) - who previously worked on SEPULTURA's »Roorback« (2003), the »Revolusongs« EP (2002), and »Nation« (2001) - to record the band's seventh studio album with Green (and their second album for Nuclear Blast): »The Mediator Between The Head And Hands Must Be The Heart«, scheduled for release this October.


    Inspired by Austrian filmmaker Fritz Lang's classic 1927 movie "Metropolis," SEPULTURA leans heavily on the strength of their thrash metal influences to make a statement against the dehumanizing effects of technology. Guitarist Andreas Kisser delves a little deeper:


    "In the movie, a crazy millionaire wants to transform a robot into a real person. That's kind of the opposite of what we live today. More than ever, we are robotized through the worldwide web, Google glasses, chips under our skins and globalized slavery our society suffers nowadays. Being that the novel was written in the early 1920s, it's almost prophetical. The phrase that inspired me - the main message of the story - points to the heart as being the human factor that keeps a man a man - not a robot. The heart beats with freedom of choice. We have to think for ourselves to create a real world, not a matrix."


    Exploring the miseries and privileges associated with technological power, »The Mediator Between The Head And Hands Must Be The Heart« - SEPULTURA's angry dystopian documentary in sonic form - also addresses the chaotic aftermath of natural disasters, the unfulfilled promises of religion, and the still-widening divide & unbridgeable gap between pampered citizens who live in decadent luxury and the working poor who withstand unbearable living & working conditions to simply survive.


    The album's opening track, 'Trauma Of War', begins as a cacophony of noise that gives rise to an urgent panic that spins into a paranoiac distress about others making decisions that will lead to our demise in war. In 'The Vatican', we listen as yearning souls pray to their god to alleviate their suffering as the furious vocals, guitars, and drums document the moment when the faithful come face-to-face with the reality of their absent god too self-absorbed with being adored to notice humanity's cries for help. 'The Bliss Of Ignorants' is an indictment by those who intimately know the depths of human suffering against those who don't wish to know. 'Grief' weeps with its gnosis of such a feared emotion. With so many recent natural disasters throughout the world, who could deny the truth behind human greed & corruption sung about in 'Manipulation Of Tragedy'?


    With both the 2014 FIFA World Cup championship and the 2016 Olympic Games headed to Rio de Janeiro, Brazil, a worldwide audience will surely be mesmerized by the glamour surrounding these world-broadcasted events. But there are those who bear witness to what won't be televised; there are those who have seen the decades of daily strife of Brazilian citizens with wide-open eyes.


    »The Mediator Between Head And Hands Must Be The Heart« never lacks confidence in what SEPULTURA knows: "I live in São Paulo, one of the big metropolises in the world with more than 20 million people living and working in it," asserts Kisser. "I know how it is to live in daily chaos. Our music reflects a lot of that feeling."


    Featuring a guest appearance by former SLAYER drummer Dave Lombardo, »The Mediator Between Head And Hands Must Be The Heart« does what many great albums do: it captures a moment in time and carves out a place to have a dialogue with listeners with an honesty that rings so true, it becomes a part of our arsenal with which to defend ourselves against the wrongdoings of the world.

    1. Trauma Of War
    2. The Vatican
    3. Impending Doom

    4. Manipulation of Tragedy
    5. Tsunami
    6. The Bliss Of Ignorants
    7. Grief
    8. The Age Of The Atheist
    9. Obsessed
    10. Da Lama Ao Caos (Chico Science & Nação Zumbi cover)
    Sepultura
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Records: Greatest Hits Records: Greatest Hits Quick View

    $31.99
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    Records: Greatest Hits

    Very First Time on 180 Gram Audiophile Vinyl


    Mastered Impeccably from the Original Atlantic Records Tapes by Joe Reagoso at Friday Music Studios and Capitol Records in Hollywood


    The legendary rockers Foreigner set the music world on fire back in 1977 with their superstar brand of rock and roll. Augmented with the brilliant musicianship of founding members Mick Jones and Lou Gramm, their initial offerings would prove to become the huge catalyst for things to come. For their next four smash albums, Foreigner, Double Vision, Head Games and Foreigner 4, the singles and hit album tracks would take the band to the top of all the popular music charts as these masterpiece albums would become classic rock manna for the ages. Their performances were of legendary proportion, which still makes them one of the most successful live acts of the classic rock era. With massive radio airplay and of course an amazing string of top chart singles and number one albums, Foreigner to this day are still revered and loved by their continual growing legion of fans worldwide.


    After delivering a plethora of hits in rapid succession for Atlantic Records, the label honored this hugely popular band with their incredible greatest hits album simply titled Records. Filled with a treasure trove of chart topping singles and hit album tracks from their first four smash albums, this incredible 1982 effort awarded these rock legends with one of the biggest greatest hits albums ever released, with over seven million units sold!


    No stone is left unturned, as this 10 track masterpiece is loaded with hit after hit with smashes like Cold As Ice, Double Vision, Urgent, Long, Long Way From Home, and Head Games. As one of the most enduring albums in their massive career catalog, Records includes even more significant hit tracks like the beautiful Lou Gramm/Mick Jones masterpiece Waiting For A Girl Like You and more hard rock classic hits like Hot Blooded, Juke Box Hero and the one that started it all Feels Like The First Time. All in all, a collection of songs which took the fans by storm, forever associating the title superstars to the Foreigner franchise.

    1. Cold As Ice
    2. Double Vision
    3. Head Games
    4. Waiting For A Girl Like You
    5. Feels Like The First Time
    6. Urgent
    7. Dirty White Boy
    8. Juke Box Hero
    9. Long, Long Way From Home
    10. Hot Blooded
    Foreigner
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • 40 40 Quick View

    $31.99
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    40

    Foreigner will celebrate 40 years as one of rock's most popular and enduring acts with a new career-spanning compilation titled 40 that features 23 hits from 40 years recorded between 1977 and 2017.


    Following its self-titled debut in 1977, Foreigner went on to record some of rock's most enduring anthems - "Juke Box Hero" and "Hot Blooded" - as well as the #1 smash "I Want To Know What Love Is." The group has 10 multi-platinum albums to its credit and is one of the best-selling bands of all time, with worldwide sales in excess of 75 million.


    40 brings together the best songs from Foreigner's nine studio albums, including all 16 of its Top 30 hits: "Feels Like The First Time," "Cold As Ice," "Waiting For A Girl Like You" and more. The collection features "Too Late" from the group's 2008 retrospective No End In Sight and "The Flame Still Burns," the title track from a vinyl EP released just last year. All prior recordings have been remastered.


    The first LP covers Foreigner's first five albums: Foreigner (1977), Double Vision (1978), Head Games (1979), 4 (1981) and Agent Provocateur (1984). The 21 tracks include some the group's biggest hits ("Urgent" and "Feels Like The First Time") as well as deeper cuts like "Luanne." The second LP features songs from Inside Information (1987), Unusual Heat (1991), Mr. Moonlight (1994) and Can't Slow Down (2009), and features "Rain," "When It Comes to Love" and "Heart Turns To Stone."

    LP 1
    1. Feels Like The First Time
    2. Cold As Ice
    3. Hot Blooded
    4. Double Vision
    5. Dirty White Boy
    6. Head Games
    7. Urgent
    8. Juke Box Hero
    9. Luanne
    10. Waiting For A Girl Like You
    11. I Want To Know What Love Is
    12. That Was Yesterday


    LP 2
    1. Heart Turns To Stone
    2. Can't Wait
    3. Soul Doctor
    4. Rain
    5. Starrider
    6. When It Comes To Love
    7. Can't Slow Down
    8. Too Late
    9. Say You Will
    10. I Don't Want To Live Without You
    11. The Flame Still Burns

    Foreigner
    $31.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Once Upon A Time At King Tubby's (Awaiting Repress) Once Upon A Time At King Tubby's (Awaiting Repress) Quick View

    $19.99
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    Once Upon A Time At King Tubby's (Awaiting Repress)

    Never Before Released On Vinyl

    All of those things happened up at Tubby's - Bunny Lee

    'Once Upon A Time At King Tubby's' captures from start to finish the full story of the most well-known, and certainly the wittiest, of all the wars of words that the highly competitive Kingston recording scene ever produced. I Roy and Prince Jazzbo were the principal players aided and abetted along the way by an assorted bunch of onlookers and minor characters who all helped the drama to unfold. Bunny 'Striker' Lee was the catalyst that started this particular schism and the producer of all but one of the tracks.

    Ever the entrepreneur 'Striker' hit the musical jackpot once again as he goaded both artists into making records that went 'straight to the head'. What had begun as a joke grew into an entire series of seven-inch singles that set the Jamaican recording scene alight in the mid-seventies. All but one of the tracks on this set were voiced and mixed at King Tubby's Waterhouse studio; I Roy voiced 'Padlock' at Channel One because the competition a get so crabbit and this gave veteran vocalist Derrick Morgan an opportunity to enter the fray. Johnny Clarke, Dirty Harry and Prince Far I also make cameo appearances.

    Insults and 'head' games are nothing new in Jamaican music but this album is the first to ever compile all the tracks from one of the best examples ever of these feuds here remastered and complete with full sleeve notes featuring interviews with the main protagonists.

    1. Do You Love Me? - Johnny Clarke
    2. Straight To Jazzbo's Head - I Roy
    3. Straight To Jazzbo's Head (Version) - King Tubby & The Aggrovators
    4. Straight To I Roy's Head - Prince Jazzbo
    5. Straight To I Roy's Head (Version) - King Tubby & The Aggrovators
    6. Padlock - I Roy
    7. Padlock Version - The Revolutionaries
    8. Gal Boy I Roy - Prince Jazzbo
    9. The Roots of Dub - King Tubby & The Aggrovators
    10. Jazzbo Have Fe Run - I Roy
    11. Jazzbo Have Fe Run (Version) - King Tubby & The Aggrovators
    12. I Roy The Chiney Commer Around - Derrick Morgan
    13. Straight To I Roy's Big Mouth - King Tubby & The Aggrovators
    14. Straight To Derrick Morgan's Head - I Roy
    15. Straight To Trico Lee's Head - King Tubby & The Aggrovators
    Various Artists
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Documentary 2.0 (Limited Edition) The Documentary 2.0 (Limited Edition) Quick View

    $29.99
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    The Documentary 2.0 (Limited Edition)

    180 Gram Limited Edition Red Colored Vinyl


    Features Kanye West, Drake, Lil Wayne and Kendrick Lamar!


    The Documentary 2 sounds effortless and winds up awesome because of it, with singles like 100 featuring Drake and Summertime with its Mike WiLL Made It beat both coming off as cool-headed classics. Dre and Ice Cube show up for the key cut Don't Trip, while appearances from Ab-Soul, Future, and DeJ Loaf prove the Game is up on current events. Somewhere in between are appearances from Kanye West, Kendrick Lamar, and Q-Tip, all assisting the MC on this worthy and downright exciting sequel.


    Ten years after what's widely considered to be GAME'S best album, the Compton rapper is now on his 6th album, and he thinks the DOCUMENTATRY 2 will be his best yet, saying, "The Old Me Was Wack! I'm better than that now." - HOTNEWHIPHOP

    1. Intro
    2. On Me Featuring Kendrick Lamar
    3. Step Up Featuring Dej Loaf & Sha Sha
    4. Don't Trip Featuring Ice Cube, Dr. Dre & will.i.am
    5. Standing on Ferraris Featuring Diddy
    6. Dollar and a Dream Featuring Ab-Soul
    7. Made in America Featuring Mvrcus Blvck
    8. Hashtag Featuring Jelly Roll
    9. Circles Featuring Q-Tip, Eric Bellinger & Sha Sha
    10. Uncle Skit
    11. Dedicated Featuring Future & Sonyae
    12. Bitch You Ain't S-
    13. Summertime Featuring Jelly Roll
    14. Mula Featuring Kanye West
    15. The Documentary 2
    16. New York, New York
    17. 100 Featuring Drake
    18. Just Another Day
    19. LA Featuring Snoop Dogg, will.i.am & Fergie
    The Game
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • AudioQuest NightHawk Carbon Headphones AudioQuest NightHawk Carbon Headphones Quick View

    $699.95
    Buy Now
    x

    AudioQuest NightHawk Carbon Headphones


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


    Offering a unique combination of unsurpassed comfort,
    state-of-the-art design, and naturally beautiful sound,
    AudioQuest's first headphone, NightHawk, has been
    lovingly featured in the pages of magazines and websites
    as far-reaching as Stereophile, Rolling Stone, CNET, Wired,
    Head-Fi, Digital Trends, The Verge, and many more. This
    is evidence of the intensifying convergence between the
    high-fidelity and high-technology worlds, and testament
    to NightHawk's uncanny ability to captivate and inspire a
    diverse audience of thinkers, builders, engineers, and, of
    course, music lovers.


    While NightHawk's many innovative design elements-
    Liquid Wood earcups, biomimetic sound-diffusing grilles,
    and high-performance solid-conductor cable, to name just
    a few-have impressed listeners worldwide, many have
    expressed interest in different paint finishes, more versatile
    cables, and closed-back designs.


    AudioQuest takes the first of many steps toward satisfying
    those interests with two new around-the-ear models:
    NightHawk Carbon and NightOwl Carbon.


    NightHawk Carbon is a more sophisticated,
    more mature version of the original. It boasts all of the
    same exciting refinements found in NightOwl-improved
    performance, greater comfort, two pairs of earpads, a far
    more durable cable with mic and smartphone controls,
    enhanced look and feel -all while
    retaining its predecessor's remarkably low distortion and
    fatigue-free sound.


    Acoustic Refinements


    • Modified internal parts: Tighter tolerances reduce air
      leakage for improved airflow and lower distortion
    • Two sets of earpads: Protein Leather Boost Pads seal
      tighter for better isolation and slightly enhanced treble
      clarity; Microsuede Pads breathe freer for greater comfort
      and slightly reduced bass impact
    • Improved plugs: High-purity Tellurium Copper (TeCu)
      base metal for smoother surface, higher plating quality,
      better mating contact, and, consequently, less noise


    Ergonomic Refinements


    • Improved headpad: Genuine leather headpad with
      stitched detailing for enhanced comfort, more luxurious
      look and feel
    • Improved cable: Shorter (4.25ft) length for easier use
      at the desktop or with mobile devices; flexible, nonbraided
      jacket increases durability, eliminates kinking,
      minimizes microphonics; robustly engineered and
      rigorously tested strain relief further increases durability;
      discrete microphone and smartphone controls enable
      phone calls and playback functions (Play, Pause, Skip)
      without compromising sound quality


    Cosmetic Refinements


    • Luxurious finish: Porsche Carbon Grey Metallic highgloss
      paint meticulously applied via multistage process
    • Improved inner presentation: Includes microfiber
      pouches for headphones and accessories for safer,
      simpler travel


    Of course, all of the advanced design elements that
    made the original NightHawk such a success are carried
    over into the improved models. NightHawk Carbon and
    NightOwl Carbon share their predecessor's pistonic
    drivers with biocellulose diaphragms, compliant rubber
    surrounds, and true voice-coil formers. The patented splitgap
    motor remains unsurpassed in its ability to reduce
    intermodulation distortion. The earcups are fabricated
    from the same revolutionary Liquid Wood material, which
    affords acoustically optimized support beams and carefully
    applied damping. The patent-pending suspension system
    allows the earcups to move freely, accommodating heads
    of almost any shape or size, while effectively decoupling
    the earcups to counteract resonances.


    Thus, NightHawk's exceedingly low distortion, unrivaled
    comfort, and naturally detailed sound have been
    enhanced in every meaningful way. With the new semiopen
    NightHawk Carbon and closed-back NightOwl
    Carbon headphones, you can listen longer, later, and with
    greater pleasure, enjoying even deeper immersion in your
    favorite music, movies, videos, and games.


    AudioQuest
    $699.95
    Around-The-Ear Semi-Open Headphones Buy Now
  • AudioQuest NightOwl Carbon Headphones AudioQuest NightOwl Carbon Headphones Quick View

    $699.95
    Buy Now
    x

    AudioQuest NightOwl Carbon Headphones


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


    Offering a unique combination of unsurpassed comfort,
    state-of-the-art design, and naturally beautiful sound,
    AudioQuest's first headphone, NightHawk, has been
    lovingly featured in the pages of magazines and websites
    as far-reaching as Stereophile, Rolling Stone, CNET, Wired,
    Head-Fi, Digital Trends, The Verge, and many more. This
    is evidence of the intensifying convergence between the
    high-fidelity and high-technology worlds, and testament
    to NightHawk's uncanny ability to captivate and inspire a
    diverse audience of thinkers, builders, engineers, and, of
    course, music lovers.


    While NightHawk's many innovative design elements-
    Liquid Wood earcups, biomimetic sound-diffusing grilles,
    and high-performance solid-conductor cable, to name just
    a few-have impressed listeners worldwide, many have
    expressed interest in different paint finishes, more versatile
    cables, and closed-back designs.


    AudioQuest takes the first of many steps toward satisfying
    those interests with two new around-the-ear models:
    NightHawk Carbon and NightOwl Carbon.


    The closed-back NightOwl Carbon further advances
    the state of the headphone art, replacing NightHawk's
    sound-diffusing grille with an intelligently designed
    aperiodic damping system for excellent isolation of both
    external noise, and ensuring privacy for the listener and
    those nearby.


    Hidden beneath the central circular portion of NightOwl's
    earcups, a vent runs along the perimeter of each dome
    and exits through a hidden airflow-resistive port. Thus,
    unlike other headphones that use a sealed enclosure,
    NightOwl is designed to effectively relieve the buildup of
    pressure, allowing the drivers to breathe freely, ensuring
    that any impulses quickly return to an innocuous resting
    state-with no ringing, oscillation, or resonance.
    Further, we've implemented several closely related
    acoustic, ergonomic, and cosmetic refinements, each of
    which seamlessly complements the whole, delivering
    improved performance while elevating the overall user
    experience.


    Acoustic Refinements


    • Modified internal parts: Tighter tolerances reduce air
      leakage for improved airflow and lower distortion
    • Two sets of earpads: Protein Leather Boost Pads seal
      tighter for better isolation and slightly enhanced treble
      clarity; Microsuede Pads breathe freer for greater comfort
      and slightly reduced bass impact
    • Improved plugs: High-purity Tellurium Copper (TeCu)
      base metal for smoother surface, higher plating quality,
      better mating contact, and, consequently, less noise


    Ergonomic Refinements


    • Improved headpad: Genuine leather headpad with
      stitched detailing for enhanced comfort, more luxurious
      look and feel
    • Improved cable: Shorter (4.25ft) length for easier use
      at the desktop or with mobile devices; flexible, nonbraided
      jacket increases durability, eliminates kinking,
      minimizes microphonics; robustly engineered and
      rigorously tested strain relief further increases durability;
      discrete microphone and smartphone controls enable
      phone calls and playback functions (Play, Pause, Skip)
      without compromising sound quality


    Cosmetic Refinements


    • Luxurious finish: Porsche Carbon Grey Metallic highgloss
      paint meticulously applied via multistage process
    • Improved inner presentation: Includes microfiber
      pouches for headphones and accessories for safer,
      simpler travel


    With the new semiopen
    NightHawk Carbon and closed-back NightOwl
    Carbon headphones, you can listen longer, later, and with
    greater pleasure, enjoying even deeper immersion in your
    favorite music, movies, videos, and games.


    AudioQuest
    $699.95
    Around-The-Ear Closed-Back Headphones Buy Now
  • Ratworld Ratworld Quick View

    $17.99
    Buy Now
    x

    Ratworld

    Back in the good old of days of 1990, Color Dream games released Menace Beach for the then popular NES games console from Nintendo. Imagine skateboarding through a side-scrolling 8-bit world filled with balloons, clowns and disgruntled dockworkers in search of your cute pixilated girlfriend Bunny. It's from this slightly surreal, esoteric world that this Leeds indie rock revolving cast of local luminaries, headed by Ryan Needham and Liza Violet, draw their name. It's reference acts as the perfect backdrop to their 90s American underground and pre-Brit Pop indie; colourful, energetic, pop and always surprising. After the success of their EP 'Lowtalker' in early 2014, British indie label favourites Memphis Industries snapped MB up again, but this time with the band's debut album in mind. It comes in the shape of 'Ratworld', a thirteen song assault and journey through a psyche tinged wonderland, documenting moving away and waving goodbye to the fractured rubble of an unhappy lifestyle. On the title, Ryan says "We''ve created our own grubby little Ratworld to inhabit. Everything is better when it's a bit grubby and broken". It''s that dreamy sensation of taking comfort in chaos, looking around at the perfect mess you've created and feeling deeply content as it''s yours and no one else's.
    1. Come On Give Up
    2. Elastic
    3. Drop Outs
    4. Lowtalkin
    5. Blue Eye
    6. Dig It Up
    7. Tennis Court
    8. Ratworld
    9. Tastes Like Medicine
    10. Pick Out The Pieces
    11. Infinite Donut
    12. Fortune Teller
    Menace Beach
    $17.99
    Vinyl LP - Sealed Buy Now
  • Justus Justus Quick View

    $29.99
    Buy Now
    x

    Justus

    First time 180 Gram Audiophile Vinyl Release... Their final work together... captured in the audiophile domain... only from your friends at Friday Music... It Looks Like We've Made It Once Again!


    The Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories ever in the music business.


    In 1996, after a thirty year hiatus as a quartet, the original Monkees Davy Jones, Michael Nesmith, Micky Dolenz and Peter Tork went back to the studio and recorded what would ultimately be their final studio project, the Justus album. Noted for their return to the studio and touring around the legendary release, this final work also found The Monkees as the sole musicians, vocalists, writers and production team for all of the tracks assembled for the recording. The results truly showed one of the more organically produced albums ever from their superstar catalog of fine recordings.Originally an idea spearheaded by Michael Nesmith, the Justus album was conceptual in nature almost mirroring the original idea behind their classic Headquarters album, which like Justus, showcased these four musical talents as a team and offered no single track to radio but instead a full musical album listening experience.


    Opening up with a new take on Circle Sky, Michael Nesmith is on top of his game with this metal-like rocker originally from Head. Featuring a wall of loud guitars, retro lyrics and chorus, this classic track was performed at the reunion concerts around this album, and once again reemphasized the importance of the original quartet setting, making this a great intro track.


    Davy Jones belts out one of his finest compositions with the uptempo groove of Oh, What A Night. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites.
    Micky Dolenz and Davy Jones repeat the magic with their revisit of You And I from their Dolenz, Jones, Boyce & Hart era. Featuring a strong vocal performance by the duo and the stunning guitar work of both Monkees' Peter Tork and Michael Nesmith, this track truly captures the innocence and the feel of their sixties sound, as it became a time tested track well into their final tour of 2011.


    Much like their Instant Replay (FRM 113) album, Micky Dolenz contributes a good helping of original compositions to the Justus project. Either rockers like Dyin' Of A Broken Heart, the blues balladry of It's My Life, or the Rolling Stones vibe of Regional Girl, the Justus album was a watershed for Dolenz's writings and vocal prowess which truly makes this 1996 session a true winner.


    Peter Tork was always one of the more intriguing writers and musicians of the band, and it is fitting that the more progressive sounds would derive from his pen with the classic I Believe You as well as his fine prog-rock track Run Away From Life featuring the powerful vocals of Davy Jones.
    The late great Davy Jones gets the honor of closing out this wonderful album with his classic ballad It's Not Too Late. With his stunning vocal and heartfelt lyrics, and the brilliant chorus from the his Monkees brethren, the song in itself is a fitting tribute to these four geniuses, as the legacy of this superstar band will forever stand the test of time.


    Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the first time vinyl album release of their 1996 masterwork Justus. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Rhino Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition clear vinyl as well as a first time gatefold cover presentation.

    1.Circle Sky
    2.Never Enough
    3.Oh, What A Night
    4.You And I
    5.Unlucky Stars
    6.Admiral Mike
    7.Dyin' Of A Broken Heart
    8.Regional Girl
    9.Run Away From Life
    10.I Believe You
    11.It's My Life
    12.It's Not Too Late
    The Monkees
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Everybody's Gone To The Rapture Everybody's Gone To The Rapture Quick View

    $36.99
    Buy Now
    x

    Everybody's Gone To The Rapture

    Limited Edition Of 500 Numbered Copies On 180 Gram Transparent Blue Vinyl


    Gatefold Sleeve


    4-Page Booklet


    The groundbreaking 2015 PlayStation® 4 game Everybody's Gone to the Rapture tells the story of the inhabitants of a remote English valley who are caught up in world-shattering events beyond their control or understanding. Made by The Chinese Room - the studio responsible for the hauntingly beautiful Dear Esther - this tale of how people respond in the face of grave adversity is a non-linear, open-world experience that pushes innovative interactive storytelling to the next level. This story begins with the end of the world. The game has already won GameSpot's Best of E3 and was nominated for Best in Show and Best PS4 game by IGN.com.


    The soundtrack features the music of BAFTA-nominated composer Jessica Curry, who is also joint Studio Head of the developer The Chinese Room. The music was recorded at the famed AIR Studios in London and features solo vocal performances by renowned Welsh soprano Elin Manahan Thomas, ethereal choir, and a tragically beautiful orchestral accompaniment.

    LP 1
    1. All the Earth
    2. Finding the Pattern
    3. Liquid Light
    4. The Sleep of Death
    5. For Ever
    6. The Mourning Tree
    7. Disappearing
    8. All of My Birds
    9. A Choice
    10. The Seventh Whistler
    11. An Early Harvest
    12. The Fragmenting
    13. A Beautiful Morning
    14. Carry Me Back to Her Arms


    LP 2
    1. A Storm Over Yaughton
    2. Little White Lie
    3. Aurora
    4. Clouds and Starlight
    5. The Pattern Calls Out
    6. The Manifestation
    7. These Silent Numbers
    8. Primary Conduit
    9. I Hope You Find Peace
    10. Slipping Away
    11. Infinite Zero
    12. The End of All Things
    13. I am not Afraid
    14. The Light We Cast

    Jessica Curry
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Just Movement (Awaiting Repress) Just Movement (Awaiting Repress) Quick View

    $19.99
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    Just Movement (Awaiting Repress)

    Album from the Electronic/Dance artist with a Rock 'n' Roll flair. Delong, raised in the suburbs of Seattle, headed south to Los Angeles with a toolbox of Wii-motes, keyboards, and drums to develop a live rock show that CMJ Magazine claims worthy of an 8-bit warrior, seamlessly creating danceable electro beats with his Wii Remote and Sega Genesis controller on par with the Chemical Brothers. Having performed his genre-bending songs since 2010, Delong uses MIDI interfaces, a full drum set, drum pads, keyboards, laptops and game controllers, looping his music live to fuse electronic dance beats with striking melodies and lyrics with emotional heart.
    1. Just Movement
    2. Global Concepts
    3. Happy
    4. Change (How You Feel)
    5. Here
    6. Few Years Make
    7. Religious Views
    8. Complex By Degree
    9. ________
    10. Perfect
    11. Survival of the Fittest
    Robert Delong
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • No Love Deep Web No Love Deep Web Quick View

    $25.99
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    No Love Deep Web

    Death Grips shocked the world and their record label when they released their second release of the year No Love Deep Web, but upon listening it's pretty clear that this is a mixtape that the label had no intention of releasing. No Love Deep Web was probably just an elaborate way to hype up the band, and it's safe to say it worked. No Love Deep Web had over 34.2 million downloads on BitTorrent thanks to the help of Twitter, and I think its safe to say their plan worked. Speaking of the album itself, it employs very minimalistic stripped down beats and has a much chiller vibe overall compared to the previous two records. That doesn't mean the beats are soft though, because they are harder than the phallus on the album cover. No Love Deep Web is one big grimy middle finger to the music industry and one of the most sordid albums ever released by a group on a major label.


    This isn't your father's hip hop, but that should be common knowledge by now. If you go into this expecting insightful lyrics and smooth flow over catchy beats you're going to have a bad time, hell even if you expect to understand the lyrics most of the time you're going to get very little out of No Love Deep Web. MC Ride is his schizophrenic self on tracks like No Love and World Of Dogs, but he also comes down to earth and actually calms down a bit on tracks like Artificial Death In The West adding a lot more depth to their sound. The whole album feels like the fever dreams of a severely withdrawn drug addict, tracks like World Of Dogs, No Love and Hunger Games sound like a sick drug addicts crash back down to earth and their gritty existence. The line I got some *** to say just for the *** of it perfectly encapsulates not only MC Ride's style, but No Love Deep Web, and Death Grips' whole career.


    The beats on this thing are raw and stripped down, some of the tracks don't even have a melody some of the time, just drums and vocals like in Lock Your Doors. The beats are fidgety electronic bells and whistles, lots of interesting sounds and synths creating a gritty atmosphere for MC Ride to spit his insane lyrics over. The rawness and harsh production of the beats help point to the fact that this is a mixtape and not a studio release, the minimalistic approach also creates a fresh sound compared to the over produced and at times gimmicky production on The Money Store, and this approach will likely convert a few people who were not fond of the over the top nature of The Money Store.


    No Love Deep Web inevitably sounds a tad rushed, no *** it was made in only a few months, but it definitely did its job as a hype generator. It doesn't do enough different to warrant its early release date and the band's sound is getting a bit tiring. The main problem though is the lack of standout tracks, with most of the hooks gone and with such stripped down beats a lot of the songs blend together in an unflattering way. Exhausting as it can be at times, No Love Deep Web turned out to be another great addition to Death Grips' ever expanding discography that is likely to turn a few heads just as all of their previous work has done.

    - Robert Lowe (Sputnik Music)

    1. Come Up And Get Me
    2. Lil Boy
    3. No Love
    4. Black Dice
    5. World Of Dogs
    6. Lock Your Doors
    7. Whammy
    8. Hunger Games
    9. Deep Web
    10. Stockton
    11. Pop
    12. Bass Rattle Stars Out The Sky
    Death Grips
    $25.99
    Vinyl LP - Sealed Buy Now
  • Atrocity Exhibition Atrocity Exhibition Quick View

    $21.99
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    Atrocity Exhibition

    He is unmatchable in flow, delivery, and voice. Danny Brown has all the tools to be the greatest working rapper. -PITCHFORK


    Atrocity Exhibition is one of the freshest and boldest-sounding rap albums in recent memory, a sonic swirl inspired by the work of Talking Heads and Joy Division that nonetheless sounds like nothing else from the past or present. Featuring contributions from producers like Evian Christ, Petite Noir (who also lends vocals to the world-weary clang of "Rolling Stone"), Black Milk, the Alchemist and frequent collaborator Paul White, the album is full of laser-beam guitars, gym-teacher whistles, creaking vocal samples, and air-raid drones. It is the most intriguing take on hallucinatory rap since the heady heights of Cold Vein or Madvillainy.


    Known for his wide range of collaborations, including everyone from Purity Ring, the Avalanches and Rustie to Schoolboy Q, E-40, and Ghostface Killah, Atrocity Exhibition sees a continuation of this carefully curated mix. Kelela lends her snaking vocals to the intriguingly murky "From the Ground," Cypress Hill's B-Real delivers "Get Hi"'s languid hook, and Earl Sweatshirt, Kendrick Lamar, and Ab-Soul all convene for the twinkling ominousness of album standout "Really Doe." "When XXX came out, all of us were peers, and those were the three rappers who were the best," Brown explains on having the star-packed trio appear on the track. "I felt like we were competitors, they made me want to step my game up. I wanted to put the hottest rappers in the game on there."


    This album is a highly personal take on Brown's ruminations on life and the changes that have occurred -and those that didn't - following the ups and downs of career success. Atrocity Exhibition makes for a thrilling third installment in the Danny Brown biopic, one not to be missed.

    1. Downward Spiral
    2. Tell Me What I Don't Know
    3. Rolling Stone (featuring Petite Noir)
    4. Really Doe (featuring Kendrick Lamar, Ab-Soul & Earl Sweatshirt)
    5. Lost
    6. Ain't It Funny
    7. Goldust
    8. White Lines
    9. Pneumonia
    10. Dance In The Water
    11. From The Ground (featuring Kelela)
    12. When It Rain
    13. Today
    14. Get Hi (featuring B-Real)
    15. Hell For It
    Danny Brown
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I Remember (Pure Pleasure) I Remember (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    I Remember (Pure Pleasure)

    Jazz singer Dianne Reeves was born into a family rich in musical background. Her uncle, Charles Burrell, a bass player with the Denver Symphony Orchestra, introduced her to the music of jazz singers such as Ella Fitzgerald, Billie Holiday, and, especially impressive to Reeves, Sarah Vaughan.



    Her musical career includes a tour with Eduardo del Barrio's group Caldera; singing with Billy Childs' jazz band Night Flight; touring with Sergio Mendes; from 1983-86 touring with Harry Belafonte as a lead singer. She also sang at the closing ceremony of the 2002 Winter Olympic Games in Salt Lake City.



    Reeves has been awarded four Grammys for Best Jazz Vocal Performances for the albums In the Moment - Live In Concert (2001), The Calling: Celebrating Sarah Vaughan (2002), A Little Moonlight (2003), and Good Night and Good Luck (soundtrack) (2006).


    Recorded at Madhatter Studios, Los Angeles, California on September 10-11, 1990 and The Van Gelder Studio, Englewood Cliffs, New Jersey on April 27-28 and May 9, 1988.


    Features:



    • 180g Vinyl

    • Re-mastered by Ron McMaster at Capitol Studios


    Musicians:



    • Dianne Reeves, vocals

    • Kevin Eubanks, acoustic guitar

    • Bobby Hutcherson, vibraphone

    • Greg Osby, alto saxophone

    • Justo Almario, saxophone

    • Charles Mims, piano

    • Billy Childs, piano

    • Donald Brown, piano

    • Mulgrew Miller, piano

    • Chris Severin, bass

    • Charnett Moffett, bass

    • Billy Kilson, drums

    • Marvin Smitty Smith, drums

    • Terri Lyne Carrington, drums

    • Ron Powell, percussion, wind chimes

    • Bill Summers, percussion

    • Luis Conte, percussion


    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. Afro Blue
    2. The Nearness Of You / Misty
    3. I Remember Sky
    4. Love For Sale
    5. Softly As In The Morning Sunrise
    6. Like A Lover
    7. How High The Moon
    8. You Taught My Heart To Sing
    9. For All We Know
    Dianne Reeves
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Adult Film Adult Film Quick View

    $16.99
    Buy Now
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    Adult Film

    Tim Kasher seems to never rest. Since 1997, he has written and released 12 full-length albums both as a solo artist and with his bands Cursive and The Good Life, and has crisscrossed North America and Europe countless times on tour. His newest album, sophomore solo effort Adult Film, began coming together in late 2011, just shortly after Cursive finished recording their seventh LP I Am Gemini (Saddle Creek, 2012). Kasher continued to work on it over the next year before heading to Electrical Audio studio in his adopted hometown of Chicago, IL in spring 2013.


    Adult Film is more thematically elastic than any other of his recent albums, and spans songs that reflect on matters such as aging and mortality, growing up and growing older, and how these things impact our relationships-including the way we interact with and view the life around us. Kasher is as lyrically incisive as ever: the album is packed
    with thoughtful apprehensions, cleverly turned phrases, and reflections on himself and the world at large, all run through his distinctive filter of dry wit and frequent self-deprecation.


    Musically, the new album plays down the orchestral element of his lush debut solo album The Game Of Monogamy (Saddle Creek, 2010) and offers a more direct, yet no less affecting, blend of rock and pop. Kasher is aided throughout by Sara Bertuldo (bass, vocals), Patrick Newbery (organ, keys, synths, horns), and Dylan Ryan (drums) - who backed him while touring around Monogamy-as well as Nate Kinsella (drums; of Make Believe and Birthmark); Laura Stevenson (vocals; of Laura Stevenson and the Cans); Matt Focht (drums; of Head Of Femur); Jenna Morrison (vocals; of Conduits); Laura Carrozza (flute; of Aficionado); and Sarah Holtschlag (saw). Adult Film was mixed by John Congleton (St. Vincent, Wye Oak, Explosions In The Sky) at Elmwood Recording in Dallas, TX.


    Kasher has become known throughout his career for insightful, literate, and candid songwriting, and his solo work and albums with Cursive and The Good Life have been praised by Rolling Stone, Esquire, The New York Times, Alternative Press, SPIN, Entertainment Weekly, Billboard, The A.V. Club, and Vice, among many others.

    1. American Lit
    2. Truly Freaking Out
    3. Where's Your Heart Lie
    4. The Willing Cuckold
    5. Life and Limbo
    6. Lay Down Your Weapons
    7. You Scare Me to Death
    8. A Raincloud is a Raincloud
    9. A Looping Distress Signal
    10. A Lullaby, sort of
    Tim Kasher
    $16.99
    Vinyl LP - Sealed Buy Now
  • Pure McCartney (Box Set) Pure McCartney (Box Set) Quick View

    $69.99
    Buy Now
    x

    Pure McCartney (Box Set)

    Pure McCartney, a new compilation of his solo, Wings and Fireman work, celebrates that fact, showcasing 67 highlights from one of the most-revered catalogues in music - from 'McCartney' in 1970, his debut solo album, right through to 'Hope For The Future', his 2014 track taken from 'Destiny', the most-anticipated video game of the last decade. Not only is 'Pure McCartney' a monumental mix tape of some of popular music's most memorable moments from 1970 to the present day, it also features curios for the super fans and some of Paul's personal favourites-all handpicked by the man himself.


    Me and my team came up with the idea of putting together a collection of my recordings with nothing else in mind other than having something fun to listen to, Paul says of this project.


    Maybe it's to be enjoyed on a long car journey or an evening at home or at a party with friends? So we got our heads together and came up with these diverse playlists from various periods of my long and winding career."


    As a songwriter Paul has never stood still, dipping his toe in countless genres and styles. 'Pure McCartney' is testament to that fact. From the song writing master class of 'Maybe I'm Amazed' and adventurous, three-songs-in-one of 'Band On The Run' to the irresistible groove of 'Say Say Say' and ahead-of-its-time electronica of 'Temporary Secretary', described by NME when compiling a list of the greatest ever songs as not so much ahead of its time, but out of it altogether", 'Pure McCartney' charts the unstoppable adventures of McCartney's unique and eclectic song writing talents and shines a light on his post-Beatles artistic achievements.


    The word 'career' is a bit misleading because to me it has been more like a musical adventure than a proper job, says Paul, reflecting on the 'Pure McCartney' tracklisting. It pleases me, and often amazes me, that I've been involved in the writing and recording of so many songs, each of them so different from the others.


    Paul's unparalleled career has seen his music break global chart records, win countless awards, fill stadiums around the world and become the soundtrack to millions of people's lives across generations.

    LP 1
    1. Maybe I'm Amazed
    2. Heart Of The Country
    3. Jet
    4. Warm And Beautiful
    5. Listen To What The Man Said
    6. Dear Boy
    7. Silly Love Songs
    8. The Song We Were Singing
    9. Uncle Albert / Admiral Halsey
    10. Another Day
    11. New


    LP 2
    1. Mull of Kintyre
    2. Sing The Changes
    3. Jenny Wren
    4. Mrs Vandebilt
    5. Save Us
    6. Let 'Em In
    7. Let Me Roll It
    8. Ebony and Ivory
    9. Nineteen Hundred and Eighty Five


    LP 3
    1. Band on the Run
    2. Arrow Through Me
    3. My Love
    4. Live and Let Die
    5. Too Much Rain
    6. Say Say Say [2015 Remix]
    7. My Valentine
    8. Goodnight Tonight
    9. The World Tonight
    10. Pipes of Peace


    LP 4
    1. Dance Tonight
    2. Here Today
    3. Wanderlust
    4. Great Day
    5. Coming Up
    6. No More Lonvely Nights
    7. Too Many People
    8. Only Mama Knows
    9. With a Little Luck
    10. Hope For The Future
    11. Junk

    Paul McCartney
    $69.99
    Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • Freedom & Surrender Freedom & Surrender Quick View

    $24.99
    Buy Now
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    Freedom & Surrender

    Freedom and Surrender

    The circuitous dance between the beginning and the end.


    Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.


    The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.


    When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.


    It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.


    I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.


    My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.


    In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.


    I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.


    Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.


    The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?

    -Lizz Wright

    1. Freedom
    2. The Game
    3. The New Game
    4. Lean In
    5. Right Where You Are
    6. River Man
    7. Somewhere Down The Mystic
    8. Real Life Painting
    9. To Love Somebody
    10. Here And Now
    11. You
    12. Blessed The Brave
    13. Surrender
    Lizz Wright
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Prestige Series SR80e Headphones Prestige Series SR80e Headphones Quick View

    $99.00
    Buy Now
    x

    Prestige Series SR80e Headphones


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


    The Action Thriller


    Whether you're into gaming or jamming, our perfectly proportioned soundstage delivers the midrange you love and the details you crave. The 4-conductor cable and gold-plated mini-plug bring the sparkle back to your audio or gaming system, tablet or phone. Play keyboard or guitar in your own head-space with the comfortable S-Cushions and durable embossed vinyl strap. The only distortion you'll hear will be from your stomp box.


    Grado has taken one of the world's most legendary headphones and made it even better. The SR80e has a new driver design, a new polymer to damp resonant distortion in the plastic housing, and a new cable from plug to driver connection. The way the SR80e's new driver and plastic housing move air and react to sound vibrations virtually eliminate transient distortions. This allows the signal flow over the new cable to reproduce sound that has improved tight control of the upper and lower range of the frequency spectrum, while supporting Grado's world renowned midrange. The SR80e will produce a sound that is pure Grado, with warm harmonic colors, rich full bodied vocals, excellent dynamics, and an ultra-smooth top end.


    ...these are truly wonderful headphones, they've got the bass energy... ripping into heavy tracks with a gusto that eludes lesser rivals. With vocals they intoxicate with a natural feel and beautifully proportioned soundstage: few headphones can transport you as convincingly... The Grado SR80's are special. Buy'em, and Love'em.

    - What HiFi


    This product is not eligible for discount.


    Grado Headphones
    $99.00
    Headphones Buy Now
  • Earl Meets Harry (Pure Pleasure) Earl Meets Harry (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Earl Meets Harry (Pure Pleasure)

    Leave it to European labels like Black & Blue to come up with inspired pairings of musicians who American labels never seem to get around to considering. This 1978 meeting between pianist Earl Hines and trumpeter Harry 'Sweets' Edison is a match of masters, covering tunes they had likely performed hundreds of times in their respective careers. Everything seems to gel in the opening track, a strident take of I Cover the Waterfront, with plenty of trills by Hines in support of Edison's brilliant open horn. Edison adds a mute for an exquisite, deliberate take of Just Squeeze Me and a sauntering But Not for Me. Hines' dancing tenths come to the forefront in their romp through Just You, Just Me".
    There is nothing like two veterans at the top of their game joining forces for a record date.



    Musicians:



    • Harry "Sweets" Edison (trumpet)

    • Earl Hines (piano)



    Recording: April 1978 at Studio Sinus , Berne (Switzerland), by Peter J. Mac Taggart

    Production: Johnnie's/Alberto Tognetti




    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. I Cover the waterfront

    2. Just squeeze me
    3. But not for me
    4. Just you just me
    5. Mean to me
    6. I surrender dear
    7. The one I love belongs to somebody else
    Harry Sweets Edison & Earl Hines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Amigos (Speakers Corner) Amigos (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Amigos (Speakers Corner)

    Santana's music is like the game of Mikado - a tight bundle of pieces in various styles that is difficult to handle, even for experienced musicians. No whether the sticks are labelled funk, jazz, rock, R & B, or folk: when you try to pick out just one of these, the whole lot vibrates alongside.



    It seems relatively simple (and is often attempted) to try and sort out track lists according to more or less commercially oriented compilations. And having fastidiously set up the ranking and astutely discussed it in your circle of friends, you can sit back and enjoy the brilliant guitar sound of such blockbusters as Caravanserai or Welcome - quality rules the day!



    In his seventh album the guitar guru is once again surrounded by numerous freshly recruited supporting musicians and the star producer David Rubinson. The latter watches carefully over the development of this project, which is highly reminiscent of the early Santana sound. A perceptible infatuation with the vocals, or the wealth of buzzing, pulsating, clattering, clicking rhythms, or yet again the inimitable bubbling, frothy guitar solos: a Santana LP is simply unthinkable without all this. Why then should one try to pick out the various styles, genres or consumer groups when this record belongs to his best and most important six, seven - or maybe even eight? At the end of the day, we all remain amigos with Santana.



    Musicians:



    • Devadip Carlos Santana (guitar, vocals, percussion, conga)

    • Tom Coster (keyboards)

    • Ndugu Leon Chandler (drums, percussion, conga)

    • Armanda Peraza (conga, percussion, vocals)

    • David Brown (bass)

    • Greg Walker (vocals)




    Recording: 1976 at Wally Heider Recording Studios, San Francisco, by Fred Catero and David Rubinson

    Production: David Rubinson & Friends, Inc.




    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.

    1. Dance Sister Dance (Baila Mi Hermana)
    2. Take Me with You
    3. Let Me
    4. Gitano
    5. Tell Me Are You Tired
    6. Europa (Earth's Cry Heaven's Smile)
    7. Let It Shine
    Santana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Inviting Light Inviting Light Quick View

    $18.99
    Buy Now
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    Inviting Light

    Pressed On Colored Vinyl


    Every now and then a band comes along and speaks to the hearts of adolescents everywhere, as the true voice of their community. In the punk rock community, The Flatliners are that band right now. Their anthemic punk rock classics quickly catapulted them to the top of the scene, and the bands who inspired them quickly became their peers. In an age when overnight internet sensations are an everyday occurrence, it's hard to find a band that's grown organically, using word of mouth and non-stop touring to win fans over one show at a time.


    Since 2002, The Flatliners have been busy touring the world over with the likes of NOFX, Bad Religion, Pennywise and Hot Water Music, as well as multiple stints on the Vans Warped Tour. "Inviting Light" is the band's 5th full-length album and is easily the band's strongest material to date. "Inviting Light" includes 12 melodic, catchy songs that will stay stuck in your head for months to come. It's the band's most mature effort, as it leans more rock than punk, but it doesn't alienate the band's core audience. It showcases them at the top of their game, as true masters of their craft.

    1. Mammals
    2. Hang My Head
    3. Nicotine Lips
    4. Indoors
    5. Human Party Trick
    6. Unconditional Love
    7. Burn Out Again
    8. Infinite Wisdom
    9. Sympathy Vote
    10. Wedding Speech
    11. Chameleon Skin
    12. No Roads
    Flatliners
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • Soul To Soul (Pure Pleasure) Soul To Soul (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Soul To Soul (Pure Pleasure)

    The acclaimed composer, jazz vocalist, producer, arranger and educator Carmen Lundy believes in honesty and sincerity in music. Her artistic passion has guided her around the world, working with numerous musicians such as Geri Allen, Patrice Rushen, Teri Lynne Carrington and many others. So it should come as no surprise that her fervent new song cycle, titled Soul To Soul, features an array of award-winning musicians that help her realize the next chapter in her critically acclaimed career.


    Soul To Soul is Carmen Lundy's 14th album and features 13 songs, 11 of which Carmen composed and arranged. She plays guitar on all tracks, piano on "Kindred Spirits", the electric Rhodes on "Don't You Know How I Feel", and the drums/percussion on "Sardegna" and also provides backing vocals on "Grace". The Los Angeles-based vocalist opens the program with "Kindred Spirits", a song that explores the concept of 'you reap what you sow' and the way you play the game of life. Next is "Life Is A Song In Me", during which Lundy's lyrics benefit from the synergy of her multi-octave range and vocalese, Rushen's Rhodes solo, Jamison Ross' exemplary drumming and the balanced backing vocals.


    Carmen Lundy continues to find new connections between the jazz elements used by vocalists and instrumentalists on the title track, "Soul To Soul". She adds the stellar accompaniment of trumpeter Randy Brecker, tenor saxophonist Ada Rovatti and piano chops of Patrice Rushen to underline her musical persona and vocal technique. The sound motion inherent in that song has great tone that many people will feel instantly and submit it to their memory and recall abilities. That is what makes a song a hit with people - its sound motion.


    Her great ballad, "When Will They Learn", is absolutely beautiful with its string arrangements for harpist Carol Robbins and the serene brushwork of Jamison Ross. Here Carmen delivers the song in her vocals lower octaves which make this moving song one of the best on the recording. You can hear that she has internalized the music, allowing it to flow in her veins and transferring it directly to the listener.
    Overall, Soul To Soul is among Carmen Lundy's best recordings. She understands that those notes she puts down on paper are important and have their place. But when it comes to delivering those notes, her vocal acumen and virtuosity proves that she has the right balance, the right accompaniments, the right musical formats and the right synergy, artistry and jazz sensibilities to make those inspired notes accessible to her worldwide fans. Check it out.


    Musicians:



    • Carmen Lundy (vocal, keyboard, guitar, drums, percussion)

    • Bennie Maupin (tenor saxophone, soprano saxophone)

    • Randy Brecker (trumpet, fluegel horn)

    • Patrice Rushen (keyboard)

    • Carol Robbins (harp)

    • Simphiwe Dana (vocals)

    • Darryl Hall (bass)

    • Mayra Casales (conga, percussion)

    • Jamison Ross (drums, percussion)



    Recording: 2014 at Firehouse Recording Studios, Pasadena (CA), by Don Murray
    Production: Elisabeth Oei & Carmen Lundy


    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. Kindred Spirits
    2. Life Is a Song in Me
    3. Soul to Soul
    4. When Will They Learn
    5. Daybreak
    6. Between Darkness and Dawn
    7. Grace
    8. Grateful, Pt. 1
    9. Grateful, Pt. 2
    10. Everything I Need
    11. Don't You Know How I Feel
    12. Sardegna
    13. What's Your Story, Morning Glory
    Carmen Lundy
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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