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  • Killing Machine Killing Machine Quick View

    $24.99
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    Killing Machine

    Killing Machine on Numbered Limited Edition LP from Mobile Fidelity Silver Label


    Smoking-Hot 1978 Set Released as Hell Bent For Leather in the United States


    Produced by Pink Floyd The Wall Engineer James Guthrie: Uncompromising Album and Exacting Performances Remain Hard Rock and Metal Bedrocks


    Marries Streetwise Aggression to Commercial Accessibility, Overflows With Confidence, Boldness, and Diversity


    Includes Metal Standards Hell Bent for Leather, Evening Star, and Delivering the Goods


    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    Released the same year as the equally pivotal Stained Class, Killing Machine cemented Judas Priest's standing and reputation as the world's foremost metal band of the late 1970s. Further diversifying its music and sporting increased confidence, boldness, and full-bodied songwriting, the album managed a then-unprecedented task of appealing to mainstream tastes via its impeccably solid production, creative prowess, and staggering melodies. Known in the United States as Hell Bent for Leather, Killing Machine remains a titanic release no matter the name.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP broadens the scope of the original production, helmed by none other than Pink Floyd The Wall producer James Guthrie. Besting those on all previous editions, the low-end thrust, high-frequency dynamics, and all-important midrange now come alive with unsurpassed detail and accuracy. Soundstaging and imaging positively explode before your eyes and ears, and instrumental separation allows insight into band's tight-fisted interplay.


    Recognizing the era's potential and pushing to expand metal's horizons, Priest created music that at the time hadn't any peer. With proto-metal luminaries Black Sabbath, Deep Purple, and Led Zeppelin experiencing career low points, and campy hard rockers following a softer path, the English quintet married street-bruising intensity to commercial accessibility without compromising any aggression, volatility, rawness, or ruggedness. Part of the success owes to Guthrie's expert hand. A majority, however, lies with the group's unrelenting ambition and variety-not to mention masterful performances.


    Exemplified in the breakthrough "Hell Bent for Leather," as tough-as-nails resilient as any metal song and delivered by vocalist Rob Halford with a pronounced ruffian attitude as guitars blaze behind him, Killing Machine sparks with high-powered muscle and concise, exact rhythmic structures. Halford comes into his own throughout, sending his falsetto into another universe on the wide-open highway-driving anthem "Evening Star," evoking deep loss on the ballad "Before the Dawn," and attacking "Delivering the Goods" as if he's a mercenary. There's not a wasted note or moment of doubt on the album.


    To author and metal expert Martin Popoff, music doesn't get any better. "To my mind, Killing Machine was the apex, the hallowed halls of heavy metal which Priest summarily occupied alone at this particular juncture in time," writes Popoff in his The Top 500 Heavy Metal Albums of All Time. "The songs on this record sweat the corners and creases of all of metal's characteristics, Priest firing on and off all speeds, from quick and note-dense to positively glacial."


    This title is not eligible for discount.

    1. Delivering the Goods
    2. Rock Forever
    3. Evening Star
    4. Hell Bent for Leather
    5. Take on the World
    6. Burnin' Up
    7. Killing Machine
    8. Running Wild
    9. Before the Dawn
    10. Evil Fantasies
    Judas Priest
    $24.99
    Vinyl LP - Sealed Buy Now
  • Killing Machine Killing Machine Quick View

    $19.99
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    Killing Machine

    Killing Machine is the fifth studio album by British heavy metal band Judas Priest. With its release in October 1978, the album pushed the band towards a more commercial style; however, it still contained the dark lyrical themes of their previous albums. At about the same time, the band members adopted their now-famous leather-and-studs fashion image. It is the band's last studio album to feature drummer Les Binks.
    1. Delivering the Goods
    2. Rock Forever
    3. Evening Star
    4. Hell Bent for Leather
    5. Take on the World
    6. Burnin' Up
    7. The Green Manalishi (With the Two Pronged Crown)
    8. Killing Machine
    9. Running Wild
    10. Before the Dawn
    11. Evil Fantasies
    Judas Priest
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • This Machine Kills Fascists This Machine Kills Fascists Quick View

    $22.99
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    This Machine Kills Fascists

    Special vinyl pressing of 14 classic Guthrie songs including John Henry, Worried Man Blues, Buffalo Skinners, and many more!
    1. John Henry

    2. Hard, Ain't It Hard

    3. Worried Man Blues
    4. Blowing Down That Old Dusty Road

    5. Lonesome Day
    6. Rangers Command
    7. Columbus Stockade Blues
    8. More Pretty Girls Than One
    9. Danville Girl
    10. Buffalo Skinners
    11. Pretty Boy Floyd
    12. Gypsy Davy
    13. Bury Me Beneath the Willows
    14. Worried Man Blues [Buffalo Version]
    Woody Guthrie
    $22.99
    Vinyl LP - Sealed Buy Now
  • Killing Time (Expanded Edition) Killing Time (Expanded Edition) Quick View

    $20.99
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    Killing Time (Expanded Edition)

    Pressed On Red Colored Vinyl


    Moon Duo is the solo alter-ego of Wooden Shjips guitarist and singer Ripley Johnson. Under the Moon Duo moniker, Johnson creates expansive Krautrock-influenced tapestries of warm cascading fuzz and controlled feedback, organ, and accenting keyboard.


    The Killing Time 12-inch was their second release, incorporating a much more concise, composed and driving sound than before. Johnson expanded on ideas only hinted at on the Sick Thirst 12-inch, adding a driving drum machine beat behind the thick walls of layered sound.


    This expanded edition of Killing Time features the original four songs plus three bonus tracks: "Bopper's Hat" - originally released on a split-7 with Bitchin Bajas on Permanent Records,"Run Around" - originally released on Menagerie #2 on Blackest Rainbow Records, and "Dead West Pt. II" - originally released on Raven Sings the Blues Vol. 2.

    1. Killing Time
    2. Speed
    3. Dead West
    4. Ripples
    5. Bopper's Hat
    6. Run Around
    7. Dead West Pt. II
    Moon Duo
    $20.99
    Colored Vinyl LP - Sealed Buy Now
  • The Killing Gods (Clear Vinyl) The Killing Gods (Clear Vinyl) Quick View

    $24.99
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    The Killing Gods (Clear Vinyl)

    Pressed On Limited Edition Clear Vinyl


    MISERY INDEX returns with a fury worthy of the title of their new album, The Killing Gods. With their fifth full-length, the American icons of hard hitting brutality display the strength of maturity grown out of the experience gained as a relentless touring machine. The general trend of their continuous evolution to incorporate fewer core elements and move towards classic death metal finds a new high water mark with "The Killing Gods". Now brace, hold tight and duck for cover, for the wrath of the gods is upon us!

    LP 1
    1. Urfaust
    2. The Calling
    3. The Oath
    4. Conjuring The Cull
    5. The Harrowing
    6. The Killing Gods
    7. Cross To Bear


    LP 2
    1. Gallows Humor
    2. The Weakener
    3. Sentinels
    4. Colony Collapse
    5. Heretics

    Misery Index
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Rage Against The Machine Rage Against The Machine Quick View

    $24.99
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    Rage Against The Machine

    Ranked 368/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    180 Gram Pressing!


    The pairing of guitar hero Tom Morello, who played his instrument like a DJ, and political activist Zack de la Rocha who spit out his lyrics with a vengeance, may have seemed unlikely but the results were explosive to say the least. With their 1992 self-titled debut they created a fierce mix of hip-hop, punk and heavy rock that was as progressive as it was political. Features the aggressive hit singles Killing in the Name Of and Bullet in the Head.

    1. Bombtrack
    2. Killing In The Name
    3. Take The Power Back
    4. Bullet In The Head
    5. Settle For Nothing
    6. Know Your Enemy
    7. Wake Up
    8. Fistful Of Steel
    9. Township Rebellion
    10. Freedom
    Rage Against The Machine
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rage Against The Machine (Picture Disc) Rage Against The Machine (Picture Disc) Quick View

    $24.99
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    Rage Against The Machine (Picture Disc)

    Pissed off and angry is the best way to describe Rage Against the Machine's first album. A fierce mix of hip-hop, punk & heavy rock exploded all over the music scene in 1992.


    At first sight an unlikely band; Tom Morello, a nerdy guitarhero who played his guitar like a DJ, political activist Zack de la Rocha who spitted out his lyrics with a vengeance. Together with Brad Wilk on drums and Tim C. on bass they produced one of the most angry records of 90's.


    The album even contained, dare we say it, hit singles like Killing in the name of and Bullet in the head. Put the needle on the record and get blown away (again)!

    1. Bombtrack
    2. Killing In The Name
    3. Take The Power Back
    4. Settle For Nothing
    5. Bullet In The Head
    6. Know Your Enemy
    7. Wake Up
    8. Fistful Of Steel
    9. Township Rebellion
    10. Freedom
    Rage Against The Machine
    $24.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • Quazarz vs. The Jealous Machines Quazarz vs. The Jealous Machines Quick View

    $19.99
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    Quazarz vs. The Jealous Machines

    Quazarz vs. the Jealous Machines is one of two new albums by interstellar hip-hop enigma Shabazz Palaces, aka Ishmael Butler (who, in another galaxy, performs in Digable Planets) and Tendai Maraire. Quazarz vs. the Jealous Machines, and its companion, Quazarz: Born On a Gangster Star, were both produced by Knife Knights (i.b e.b.) and mixed by Blood.

    Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow, through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his prism that we hear the story.

    The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K. Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.

    On Quazarz when they look at this place they see the inhabitants, the humans, but they don't assess as we do. And so Quazarz was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about.

    Coming from a simpler, more essential, innocent place, the hero could not make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly vibrations were on very small squares and it became his belief that this world was very disposable and the spans short. His opinion was not of anything good nor bad but simply the truth. The machines-he noted-though at the behest of their master's voice, are scorned, and jealous as all hell.

    And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy base angled for takeoff on a new trajectory. There is new blood and space and room to be different and have different assets and different art and different ways to talk and also open up some space inside to do something new. There are pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph. There are scales and there is melody and there are Sunny days and there is Darkness, but that-it should be noted-to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism and joy, a bright darkness and a full, hopeful one as well.

    1. Welcome to Quazarz
    2. Gorgeous Sleeper Cell
    3. Self-Made Follownaire
    4. Atlaantis
    5. Effeminence
    6. Julian's Dream (ode to a bad)
    7. 30 Clip Extension
    8. Love in the time of Kanye
    9. Sabonim in the Saab on 'em
    10. The SS Quintessence
    11. Late night phone calls
    12. Quazarz on 23rd
    Shabazz Palaces
    $19.99
    Vinyl LP - Sealed Buy Now
  • DIM MAK 20th Anniversary DIM MAK 20th Anniversary Quick View

    $19.99
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    DIM MAK 20th Anniversary

    Limited Edition (2000 Unit Run) Deluxe Package


    12 Inch 180 Gram Marbled Vinyl in Printed Sleeve


    Gatefold Jacket with Pocket for Booklet & Custom XX Die Cut


    20-Page Commemorative Booklet


    Steve Aoki's Dim Mak Records celebrates its 20th anniversary! To commemorate the milestone, Dim Mak has combined a large format 20-page booklet and 4 of the most seminal records in its catalog, hand-picked by Aoki himself, into a deluxe collectors package. This limited edition 2000 unit pressing features one 12-inch 180 gram marbled vinyl in printed sleeve, a gatefold jacket with a pocket for the booklet and a custom XX die cut. The large format 20-page commemorative booklet features hand-written commentary from Steve Aoki and rare photos from The Cobrasnake. The record features Take Back the Night from This Machine Kills (Aoki's first hardcore band), available on vinyl for the first time in over a decade.

    1. Take Back The Night (This Machine Kills)
    2. Banquet (Bloc Party)
    3. Warp 1.9 (The Bloody Beetroots feat. Steve Aoki)
    4. Dum Dee Dum (Keys N Krates)
    Various Artists
    $19.99
    12 180 Gram Audiophile Virgin Vinyl EP - Sealed Buy Now
  • Live At The Grand Olympic Auditorium Live At The Grand Olympic Auditorium Quick View

    $44.99
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    Live At The Grand Olympic Auditorium

    Zack de la Rocha, Tim Commerford, Tom Morello and Brad Wilk formed Rage Against The Machine in 1991 and released their highly successful self-titled debut album in 1992. Their fiercely polemical music against cultural imperialism and government oppression, mixed into a Molotov cocktail of punk, hip hop and thrash was a groundbreaking style.


    Live At The Grand Olympic Auditorium is a double LP and contains material of Rage Against The Machine's last two shows recorded in September 2000.
    Hits such as Killing In The Name, Bulls On Parade, and Bullet In The Head are even more intense than on the studio albums and the two covers (MC5's Kick Out The Jams and EPMD's I'm Housin') complete this true collector's item that's fetching high prices on Ebay, Discogs etc.


    A must-have for all record collectors and RATM-fans alike!


    LP1
    1. Bulls On Parade
    2. Bullet In The Head
    3. Born Of A Broken Man
    4. Killing In The Name
    5. Calm Like A Bomb
    6. Testify
    7. Bomb track
    8. War Within A Breath


    LP2
    1. I'm Housin'
    2. Sleep Now In The Fire
    3. People Of The Sun
    4. Guerrilla Radio
    5. Kick Out The Jams
    6. Know Your Enemy
    7. No Shelter
    8. Freedom

    Rage Against The Machine
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Drink The Sea Drink The Sea Quick View

    $19.99
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    Drink The Sea

    The Glitch Mob is a collaboration of three Dj's (edit, Ooah and Boreta) that play the genre of dance music known as glitch hop. Glitch hop is characterized by the use of sound effects made to resemble a computer or machine encountering some sort of technical problem (aka glitching). This might be hard to imagine for some so here is an example [url]http://www.youtube.com/watch?v=Gwcdc5zUuGM&feature=related[/url]. The Glitch Mob never used the glitch aesthetic quite that often but rather only in parts to help transitions or add variety. On Drink The Sea however, the glitch sound is gone and the band seems to have opted for a more heavy house sound with some trancy influences.

    - Simon Harris (Sputnik Music)
    1. Animus Vox
    2. Bad Wings
    3. How to Be Eaten by a Woman
    4. A Dream Within a Dream
    5. Fistful of Silence
    6. Between Two Points (feat. Swan)
    7. We Swarm
    8. Drive It Like You Stole It
    9. Fortune Days
    10. Starve the Ego, Feed the Soul
    The Glitch Mob
    $19.99
    Vinyl LP - Sealed Buy Now
  • Phantom Radio Phantom Radio Quick View

    $19.99
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    Phantom Radio

    Mark Lanegan returns with a full-length album in which he takes a slightly different direction, incorporating drum machines and electronics. Produced and co-written by Alain Johannes (Queens of the Stone Age). British guitarist Duke Garwood assisted with I Am The Wolf, violinist Sietse van Gorkom co-wrote The Killing Season, and Lanegan's girlfriend. Shelley Brien added vocals to the set's Floor of the Ocean.
    1. Harvest Home
    2. Judgement Time
    3. Floor Of The Ocean
    4. The Killing Season
    5. Seventh Day
    6. I Am The Wolf
    7. Torn Red Heart
    8. Waltzing In Blue
    9. The Wild People
    10. Death Trip To Tulsa
    Mark Lanegan Band
    $19.99
    Vinyl LP - Sealed Buy Now
  • Set For Extinction Set For Extinction Quick View

    $18.99
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    Set For Extinction

    Limited Edition



    Kill The Client embodies the essence of nihilistic grindcore on their Relapse debut Set for Extinction. Nineteen tracks explode like IEDs and spread with the subtlety of sonic napalm, driven froth by punishing low-end distortion and the machine-gun drumming of Bryan Fajardo. The band has reached a new apex with Set for Extinction, and in the process created a post-millennial classic.

    Kill The Client
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • Ride Or Die Ride Or Die Quick View

    $19.99
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    Ride Or Die

    Debut full-length album from New York duo on Skrillex's OWSLA label.


    While HEARTSREVOLUTION have worked with the likes of Just Blaze and released a string of Eps, singles, and mixtapes, they return to thrill us with their first LP of classic Rock & Rock dance gems. The 13 tracks that make up Ride or Die are a blend of bubble-gum pop sensibilities with Riot Grrrl ferocity that explores childlike innocence along with a visceral revolutionary spirit. Up-tempo tracks such as Ride or Die, Kill Your Radio and Vertigo show-off their punk spirit and sound as though they came out of a basement in Olympia as much as the streets on New York. Bedroom dance parties are bound to break out with Kishi Kaisei and KISS. Digital Suicide and Heart vs the Machine make light of their versatility and electro prowess while Final Destination features New York hip-hop mainstay Esso. And just when you think it's all fun and games, you'll find an unexpected masterpiece like Gen wh(Y). This song explores a level of intimacy and vulnerability that is rare, and is a call to arms as the band wears their heart on their sleeve and questions just about everything.

    1. Iscream Bombs
    2. Ride Or Die
    3. Kishi Kaisei
    4. KISS
    5. Battleships
    6. Digital Suicide
    7. Kill Your Radio
    8. Vertigo
    9. Brillianteen
    10. Heart vs. the Machine
    11. Gen Wh(Y)
    12. Heaven's Gate
    13. Final Destination Feat. Esso
    14. We Out
    Heartsrevolution
    $19.99
    Vinyl LP - Sealed Buy Now
  • Slow Dazzle Slow Dazzle Quick View

    $21.99
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    Slow Dazzle

    In 1975, mad scientist and Velvet Underground alum John Cale returned to the lab to record another experiment. Slow Dazzle, his fifth solo album and second collaboration with Roxy Music's Brian Eno and Phil Manzanera, dissects rock and avant-garde, hacks the limbs off of pop and jazz, and fuses the styles together into a limber, impassioned creation.


    Back on domestic vinyl for the first time in decades, this RTI-pressed edition of Slow Dazzle is cut at Mobile Fidelity by in-house engineer Krieg Wunderlich and features stunning sonics. Quiet surfaces, faithful artwork, and the opportunity to hear Cale's incisive fare unfold amidst wide soundstages and black backgrounds-not to mention the emotionally unsettling content within-make this Wax Cathedral LP a must for music aficionados.


    Sometimes jaunty and beer-soaked, sometimes maniacally spitting into the microphone about killing his wife's lover, sometimes despairing, sometimes sweet, Cale holds forth with schizophrenic authority. Manzanera's sordid guitar dirges ambidextrously switch to cheerful riffs as Eno's synthesizer rubber-bands its way through sunshine and smoke-machine fog. Chris Thomas, who recorded with the Beatles and engineered albums for Pink Floyd and the Sex Pistols, throws haunted violin and dissonant electric piano into the formula.


    Whether he's heaping neon sleaze atop earnest surf harmonies in an ode to the Beach Boys' Brian Wilson (Mr. Wilson), lulling you into a blurred, easy-listening trance (Ski Patrol, I'm Not the Loving Kind), or growling a pre-goth era cover of Elvis' Heartbreak Hotel" with mascara-running intensity, Cale delivers an elastic range of artistry. Ditties like "Dirty Ass Rock 'N' Roll" and "Guts" place psychopath tendencies into the body of a catchy pop song, turn up the electricity, twitch, and grab.


    By all means, Cale's experiment was a success. Slow Dazzle is alive.

    1. Mr. Wilson
    2. Taking It All Away
    3. Dirty-Ass Rock 'N' Roll
    4. Darling I Need You
    5. Rollaroll
    6. Heartbreak Hotel
    7. Ski Patrol
    8. I'm Not The Loving Kind
    9. Guts
    10. The Jeweller
    John Cale
    $21.99
    Vinyl LP - Sealed Buy Now
  • Days Are Gone Days Are Gone Quick View

    $23.99
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    Days Are Gone

    Days Are Gone is the debut album from indie-rock outfit/sisters Haim.


    Produced by Ariel Rechtshaid (Usher, Vampire Weekend) and James Ford (Florence and the Machine, Arctic Monkeys), Days Are Gone is an album years in the making. Since their first show as a group, which took place on July 7th, 2007, Haim have been gigging extensively. The first five years we just played every show we could play in L.A., Alana recalls. All we wanted to do was play. Then finally we realized we were playing too much. The sisters credit Casablancas specifcially for advising them that playing too many live shows is not the answer. To that end, the girls have now been more selective when lining up future tours. Still, as Alana explains, it was hard to turn down opening-slot offers from groups they love, specifically Florence and the Machine and Mumford & Sons. They take care of me like I'm their little sister, Alana says of the Mumfords, with whom Haim again will be playing support for later this year.


    Ask the girls to describe specific tracks on Days Are Gone and they quickly fire back: If I told you I'd have to kill you, Este deadpans. Wait, really? No clues at all? The thing is, she explains, you can ask me anything about anything and I'll tell you except for our music. The record is something we're tight-lipped about. Haim do reveal that the album contains a healthy dose of the songs they've been playing in their live sets - "Falling," "Forever," "Don't Save Me" - in addition to, as Alana says, a lot of new jams. What little they'll reveal about the new material is that the album's title track was co-written with Jessie Ware and Kid Harpoon.


    Rolling Stone had a chance to take the new album for a spin, however. And it's every bit worth the wait. There's palpable maturity in the lyrics: On If I Could Change Your Mind, Danielle is a self-admitted newbie at the whole love thing (I've never done this before/drove a million miles/back when you were mine/I was too young to know you were the one to find); later she's brushing off a former lover on Honey & I, then flat-out giving dude the cold shoulder (Honey, I'm not your honey-pie,) over a ripping electric guitar lick and a bass wobble generally reserved for sweaty dance clubs on the pop-friendly My Song 5. Sonically, the LP is a highly textural affair, from the 8-bit keyboard clatter on the title track to the lush, Eighties-style synths that sizzle throughout Running If You Call My Name.


    - Dan Hyman (Rolling Stone)

    1. Falling
    2. Forever
    3. The Wire
    4. If I Could Change Your Mind
    5. Honey & I
    6. Don't Save Me
    7. Days Are Gone
    8. My Song 5
    9. Go Slow
    10. Let Me Go
    11. Running If You Call My Name
    Haim
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Get Back Home In The USA (Pure Pleasure) Get Back Home In The USA (Pure Pleasure) Quick View

    $49.99
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    Get Back Home In The USA (Pure Pleasure)

    Recorded when Hooker was well into his '60s 'comeback', Get Back Home features the bluesman in a solo performance (a mode that best reveals the subtleties of his work). The session was recorded in France, and Hooker must have been feeling a bit homesick, as the first song is Get Back Home In The USA, where he describes in detail, over his trademark boogie rhythm, his return to his homeland and the joy he knows he will feel. After this momentary ray of sunshine, though, things soon return to more familiar climes, with the bleakness of the slow blues T.B. Is Killing Me and the unbridled despair of When My First Wife Left Me. Hooker recorded this tune many times over the years, but this is one of the finest versions, plumbing the depths of shame and regret. Hooker's raw, biting guitar work is at its best here. Even the umpteenth recording of the Hooker chestnut Boogie Chillen is invested with uncommon verve. With the addition of six powerful bonus cuts, Get Back Home is both an excellent introduction into the sultry, menacing world of Hooker and a vital addition to the collections of his hardcore fans.



    Musicians:



    • John Lee Hooker (vocal, guitar)



    Format: 2LPs 33rpm



    Recording: November 1969 at Monestier-Lemay Studio, Pau, France

    Production: Jacques Morgantini




    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.



    This title is not eligible for discount.

    1. Get Back Home In The USA
    2. TB Is Killing Me
    3. Cold Chills
    4. I Had A Dream Last Night

    5. Love Affair
    6. Little Rain
    7. When My First Wife Left Me
    8. Big Boss Lady
    9. Back To Your Mother
    10. Boogie Chillen
    11. Sitting Here Thinking
    12. I Wanna Ramble
    13. Hi-Heel Sneakers
    14. Im So Worried Baby
    15. Im Going Upstairs
    16. Crazy Bout You
    John Lee Hooker
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Brotherhood Of The Snake Brotherhood Of The Snake Quick View

    $28.99
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    Brotherhood Of The Snake

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


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


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


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


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


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


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


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


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

    1. Brotherhood Of The Snake
    2. The Pale King
    3. Stronghold
    4. Seven Seals
    5. Born In A Rut
    6. Centuries Of Suffering
    7. Neptune's Spear
    8. Black Jack
    9. Canna-Business
    10. The Number Game
    Testament
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Quick View

    $469.99
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    Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)


    Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.


    800 Newly-remastered Digital Tracks, Representing 175 Artists


    90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender


    6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image


    250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale


    400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography


    Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism


    First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive


    Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.


    Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).


    As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.


    But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.


    Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.

    6 LPs feature tracks from the collection.


    USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
  • Poets Were My Heroes Poets Were My Heroes Quick View

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    Poets Were My Heroes

    Morning Glory is made up of the stuff that the gritty, punk-crust motherland of New York's infamous Lower East Side has been known to spawn. This group of punkers and squatters had very humble beginnings indeed. Already in various other New York punk bands, Morning Glory first became the spark of an idea when Ezra Kire (Leftöver Crack, Choking Victim, INDK) took time off from touring and started to write some tunes in his NYC apartment.



    In 2001, with nothing but a drum machine and an 8-track reel-to-reel, Ezra wrote and recorded the songs that would become Morning Glory's first LP, This Is No Time ta Sleep. Though it was self-recorded, home-released and had no touring support, it still managed to create a small but ubiquitous underground buzz. With a virtuosic range of musical elements such as ska, punk, metal, and even some rhyming, its catchy, anthemic sing-alongs showcased Ezra's flourishing writing talents. And while his lyrics stayed true to the caustic political edge of his other bands, the overall message remained more optimistic and leaned towards the humanistic, personal side of life.



    In 2002, Ezra finally assembled a live band, handpicking musicians from the local NYC punk scene, including members of Nausea, World/Inferno Friendship Society and Stockyard Stoics. This lineup recorded the EP, The Whole World is Watching, released on Blacknoise Records in 2003. While the years that followed were spent recording and touring with Leftöver Crack, Morning Glory took a back seat.



    But after these long years of touring, Ezra finally decided to give Morning Glory the attention it deserved in 2010 and began writing songs for what was to become the epic new album, Poets Were My Heroes. In the summer of 2011, Ezra and the band (with longtime members Early Gates, "Metal" Chris and Lucky Strano alongside new guitarist Adam Schrager) hit the studio with a barrage of new material. Picture the sonic kaleidoscope of punk noise meeting strings, horns, choirs, pianos and organs over a web of distorted guitars and marching, single kick pedal drums.



    These are the sounds that make up Poets Were My Heroes, Morning Glory's Fat Wreck Chords debut and first full-length album recorded with a live band. Re-enlisting producer Jesse Cannon (The Menzingers, Saves the Day), a wealth of material was recorded, with only the very strongest songs being chosen to make up the album. It is both grand and elaborate, with each song evoking a different mood and style, challenging the musicianship of even the most dexterous players, while still maintaining its punk-inspired simplicity.



    While the band itself has described themselves as "somewhere between Oasis and The Clash," they continue to break rules and write music that is true only to themselves, adhering to no genres, creeds or political factions. The sing-along choruses give the band a broader appeal than the standard politi-kill punk acts, but the key message is more subversive: "Think for yourself, decide for yourself, make up your own mind and love your friends. Only you know what is right for you. Together we are what we can't be alone." It's this unity in diversity that makes the band special and not just another punk outfit. Double vinyl includes digital download of full album.

    1. Everything's A Song (To Me)

    2. Shelter From The Spoon

    3. Poets Were My Heroes

    4. March Of The Asylum

    5. Quemar Las Fronteras

    6. Divide By

    7. Orphan's Holiday

    8. Touch

    9. Patiently

    10. Life's A Long Revenge

    11. Another Way (Outside The Walls Of Eden)

    12. Born To December
    Morning Glory
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Woodstock Woodstock Quick View

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    Woodstock

    Well, we're two full months into 2017 and the world continues to burn like an avalanche of flaming biohazard material sliding down a mountain of used needles into a canyon full of rat feces. But hey, it's not all bad: Portugal. The Man has a new album coming out called Woodstock.

    PTM's last album came out over three years ago-a long gap for a band who've dropped roughly an album a year since 2006. And in true, prolific band fashion, they've spent almost every minute since 2013 working on an album called Gloomin + Doomin. They created a shit-ton of individual songs, but as a whole, none of them hung together in a way that felt right. Then John Gourley, PTM's lead singer, made a trip home to Wasilla, Alaska, (Home of Portugal. The Man's biggest fan, Sarah Palin) and two things happened that completely changed the album's trajectory.

    First, John got some parental tough love from his old man, who called John on the proverbial carpet or dogsled or whatever you put people on when you want to yell at them in Alaska. What's taking so long to finish the album? John's dad said. Isn't that what bands do? Write songs and then put them out? Like fathers and unlicensed therapists tend to do, John's dad cut him deep. The whole thing started John thinking about why the band seemed to be stuck on a musical elliptical machine from hell and, more importantly, about how to get off of it.

    Second, fate stuck its wiener in John's ear again when he found his dad's ticket stub from the original 1969 Woodstock music festival. It seems like a small thing, but talking to his dad about Woodstock '69 knocked something loose in John's head. He realized that, in the same tradition of bands from that era, Portugal. The Man needed to speak out about the world crumbling around them. With these two ideas converging, the band made a seemingly bat-shit-crazy decision: they took all of the work they had done for the three years prior and they threw it out.

    It wasn't easy and there was the constant threat that the band's record label might have them killed, but the totally insane decision paid off. With new, full-on, musical boners, the band went back to the studio-working with John Hill (In The Mountain In The Cloud), Danger Mouse (Evil Friends), Mike D (Everything Cool), and longtime collaborator Casey Bates (The one consistent producer since the first record). In this new-found creative territory, the album that became Woodstock rolled out naturally from there

    Remember that mountain of burning needles we were talking about? Good. Because Woodstock is an album (Including the new single Feel It Still) that-with optimism and heart-points at the giant pile and says, Hey, this pile is fucked up! And if you think that pile is fucked up too, you owe it to yourself-hell, to all of us-to get out there and do something about it.

    1. Number One
    2. Easy Tiger
    3. Live In The Moment
    4. Feel It Still
    5. Rich Friends
    6. Keep On
    7. So Young (feat. Fat Lip)
    8. Mr. Lonely
    9. Tidal Wave
    10. Noise Pollution (feat. Mary Elizabeth Winstead & Zoe Mannville)
    Portugal The Man
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • AudioQuest Fire Interconnect Cable MULTIPLE LENGTHS AVAILABLE AudioQuest Fire Interconnect Cable Quick View

    $2,145.00
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    AudioQuest Fire Interconnect Cable


    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.



    RCA to RCA


    XLR & Custom Lengths Available Upon Request


    Technically speaking, fire is not an object, but an event: the rapid oxidation of a material in the chemical process of combustion by which heat and light are released into the surrounding environment. What we typically think of as "fire"-the often mysteriously beautiful and strangely hypnotic fireplace flicker of white, yellow, or red-orange glow-is actually just the visible part of the fire's flame, containing the superheated byproducts of the fire's incomplete exothermic reaction giving off visible light as excess energy is released. Interestingly, the cherry-red flame of a smoldering campfire measures somewhere around 700 Celsius; the deep orange flame of a candle, lit at a bedside or suffusing a living room with gentle aroma, typically burns at around 1000 Celsius; and the dazzling white flame created by a meteor as it enters Earth's atmosphere can often exceed 1500 Celsius! While fire is commonly considered to be a destructive event, it can also be a very effective tool for managing and enhancing fields, forests, and wetlands: Native Americans discovered that while fire killed woody plants, it encouraged the growth of fruit-bearing shrubs and forage-producing grasslands. Of course, fire's unique potential has been known for some time: It's likely that humans began using fire to heat food approximately 1 million years ago.


    Among the classical elements, fire is commonly associated with energy, assertiveness, and passion. In Greek Mythology, the cult hero Prometheus defied the gods by providing humanity the gift of fire, thereby enabling progress and civilization. People born under the astrological signs of Aries, Leo, and Sagittarius are thought to have fire personalities: They are enthusiastic, extroverted, and, like our good friend Prometheus, they are rebellious, passionate, brave, and valiant. It's no wonder that we have for so long been drawn to fire. A thing to be feared, respected, and loved, fire is that which drives us into the unknown, lights our way through darkness, and signals our way back home.


    SOLID PERFECT-SURFACE SILVER (PSS) CONDUCTORS: Solid conductors prevent both strand-to-strand contacts and magnetic interaction, major sources of distortion. Surface quality is critical because a conductor can be considered as a rail-guide for both the electric fields within a conductor, and for the magnetic fields outside the conductor. While less perfectly processed silver can have the same irritating tweeter-in-your-face sound as silver-plated strands, PSS Silver's smooth surface, extraordinarily careful processing, and high purity, deliver sound as smooth and beautiful as our PSC+ Copper, but with significantly higher resolution.


    DIELECTRIC-BIAS SYSTEM (DBS, US Pat #S 7,126,055 & 7,872,195 B1): Creates a strong, stable electrostatic field which saturates and polarizes (organizes) the molecules of the insulation. This dramatically reduces dielectric induced smearing of the signal, letting sound emerge from a "black" background.


    CARBON-BASED 8-LAYER NOISE-DISSIPATION (NDS): Shields-the-shield, reducing RFI contamination of the equipment ground plane.


    FEP AIR-TUBES (FEP IS A FLUORO-POLYMER): Almost no contact between conductors and insulation reduces smearing and preserves dynamics.


    TRIPLE-BALANCED GEOMETRY: Proper ground-reference conductor prevents using the shield as an inferior ground-reference conductor.


    DOUBLE-CONTACT COLD-WELDED REUSABLE PLUGS, HANGING-SILVER PLATING DIRECTLY OVER MACHINED SOLID EXTREME-PURITY RED COPPER.



    AudioQuest
    $2,145.00
    Analog-Audio Interconnect Cable (Pair) - Multiple Lengths Available
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  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
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    The Grinding Wheel

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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

    $31.99
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    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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