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  • Tribute To Lemmy Tribute To Lemmy Quick View

    $19.99
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    Tribute To Lemmy

    This Limited, Colored Vinyl Edition Contains Rare Songs From Girlschool (Feat. Lemmy), Hawkwind, Fast Eddie Clarke, And More

    Motorhead, the English rock band formed in 1975 by bassist, singer, and songwriter Ian Fraser Lemmy Kilmister. Though Motorhead are often considered a precursor to the New Wave of British Heavy Metal, Lemmy has always dubbed their music as simply rock and roll.

    1. Hawkwind (feat Lemmy) - Motorhead
    2. Motorhead - I´m Your Man
    3. Motorhead & Girlschool - Please Don´t Touch
    4. Fast Eddie Clarke - Nothing Left
    5. Motorhead - Interview with Lemmy
    6. Saxon (feat. Lemmy) - I`ve Got To Rock
    7. Motorhead - Ace Of Spades
    Various Artists
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • In Memory Of LEMMY - Tribute To Motorhead In Memory Of LEMMY - Tribute To Motorhead Quick View

    $16.99
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    In Memory Of LEMMY - Tribute To Motorhead

    In memory of Lemmy! This is the ultimate Tribute collection, featuring: Lemmy w/Girlschool, Hawkwind, Larry Wallis, members of Motorhead and many more. Special collector's edition. Limited vinyl version!

    1. Ace Of Spades - Various, Motörhead
    2. Please Don't Touch - Motörhead & Girlschool
    3. I've Got To Rock - Saxon Feat Lemmy
    4. Motörhead - Hawkwind Feat Lemmy
    5. Heavy Load - Fast Eddie Clarke
    6. Diamonds And Dirt - Brian Robertson
    7. Police Car - Larry Wallis
    8. Nothing Left - Fast Eddie Clarke
    9. I'm Your Man - Motörhead
    10. Tight Black Pants - Plasmatics
    11. Masters Of The Universe - Hawkwind Feat Lemmy
    12. Summertime Blues - Eddie Cochran
    13. Slow Down - Larry Williams
    14. Red House - Jimi Hendrix Experience
    Various Artists
    $16.99
    Vinyl LP - Sealed Buy Now
  • Fool's Paradise Fool's Paradise Quick View

    $25.99
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    Fool's Paradise

    Limited edition colored vinyl pressing of the famed rockabilly side project featuring the late great Lemmy of Motörhead plus Stray Cat drummer Slim Jim Phantom, and guitar slinger Danny B. Harvey!
    1. Fools Paradise
    2. Tell Me How
    3. You Got Me Dizzy
    4. Not Fade Away
    5. Cut Across Shorty
    6. Lawdy Miss Clawdy
    7. Take Your Time
    8. Well...All Right
    9. Trying To Get To You
    10. Learning The Game
    11. Peggy Sue Got Married
    12. Crying, Waiting, Hoping
    13. Loves Made A Fool Of You
    14. Big River
    15. Matchbox
    The Head Cat
    $25.99
    Colored Vinyl LP - Sealed Buy Now
  • Motorhead (Colored Vinyl) Motorhead (Colored Vinyl) Quick View

    $33.99
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    Motorhead (Colored Vinyl)

    Limited Edition Of 1,500 Clear/Black Swirl Vinyl


    Mastered For Vinyl By Masterdisk


    Faithful, Updated Rendering Of Original Jacket And Inner Sleeve


    Pressed At Quality Record Pressings


    One of the greatest heavy metal records of all time by a band that has come to epitomize the genre, Motörhead sounds as relevant today as it seemed abrasive and genre-bending in its year of release. With this record, Lemmy and company reinvigorated a style of music that was quickly losing its bite as it was making its way into the pop charts.

    1. Motörhead
    2. Vibrator
    3. Lost Johnny
    4. Iron Horse/Born To Lose
    5. White Line Fever
    6. Keepers on the Road
    7. The Watcher
    8. Train Kept A Rollin'
    Motorhead
    $33.99
    Colored Vinyl LP - Sealed Buy Now
  • Orgasmatron Orgasmatron Quick View

    $18.99
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    Orgasmatron

    180 gram vinyl reissue - originally released in 1986, it reached #21 on UK Album Charts / this was their 1st album to chart in the US, peaking @ #157; Band line-up: Lemmy, Phil Campbell, Wurzel, & Pete Gill (only studio album to feature Pete Gill on drums); Features "Deaf Forever", "The Claw", "Orgasmatron" & more.
    1. Deaf Forever
    2. Nothing Up My Sleeve
    3. Ain't My Crime
    4. Claw
    5. Mean Machine
    6. Built for Speed
    7. Ridin' with the Driver
    8. Doctor Rock
    9. Orgasmatron
    Motorhead
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • No Remorse No Remorse Quick View

    $24.99
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    No Remorse

    Originally released in 1984, was compiled by Lemmy and covers their Bronze Records years, 1978 - 1984; Includes hits, b-sides, & alternate versions; 1st album to feature the line-up of Lemmy, Phil Campbell; Features the classics "Ace of Spades", "Killed By Death", "Bomber", "Iron Fist", "Overkill" & more.
    LP1
    1. Ace of Spades
    2. Motorhead (Live)
    3. Jailbait
    4. Stay Clean
    5. Too Late, Too Late
    6. Killed by Death
    7. Bomber
    8. Iron Fist
    9. Shine
    10. Dancing on Your Grave
    11. Metropolis
    12. Snaggletooth


    LP2
    1. Overkill
    2. Please Don't Touch
    3. Stone Dead Forever
    4. Like a Nightmare
    5. Emergency
    6. Steal Your Face
    7. Louie, Louie
    8. No Class
    9. Iron Horse/Born to Lose (Live)
    10. (We Are) The Road Crew
    11. Leaving Here (Live)
    12. Locomotive

    Motorhead
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Bastards Bastards Quick View

    $54.99
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    Bastards


    Specially Mastered For This Release And Pressed On 180 Gram Vinyl


    This Strictly Limited Edition Package Is Sequentially Numbered

    ALL HAIL THE BASTARDS! A special deluxe velvet jacket edition of this seminal 1993 studio album that has long lived as one of Lemmy & Co.'s best efforts - intensely fast and brutally loud!

    1. On Your Feet or on Your Knees

    2. Burner

    3. Death or Glory

    4. I Am the Sword

    5. Born to Raise Hell

    6. Don't Let Daddy Kiss Me

    7. Bad Woman

    8. Liar

    9. Lost in the Ozone

    10. I'm the Man

    11. We Bring the Shake

    12. Devils

    Motorhead
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Clean Your Clock Clean Your Clock Quick View

    $34.99
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    Clean Your Clock


    Colored 180 Gram Double Vinyl with Pop-Up Art


    Motörhead, Kings of the Road for over förty years, are immortalized one more
    time in Clean Your Clock, the superb live album recorded at The Zenith in
    Munich, Germany during the Winter 2015 Bad Magic tour.


    The indomitable cocktail of power, purpose and head-crunching volume that Lemmy Kilmister,
    Phil Campbell and Mikkey Dee always succeeded in producing is captured
    superbly by long-time producer Cameron Webb's mix, giving this landmark
    Motörhead release the warmth, curve and punch which helped the band
    achieve international acclaim during a career which saw the Grammy-winning
    icons sell over 15 million albums and play to millions worldwide.


    Clean Your Clock is also a fitting salute to the power of Ian 'Lemmy' Kilmister,
    who founded Motörhead back in 1975 and so sadly passed away on Dec 28th
    2015. Recorded only weeks before, Lemmy snarls, roars and bangs that bass
    with the magisterial air of a man who knows he's a leader.


    Perhaps more than with any other Motörhead album, you need to TURN-THISUP
    because as Lemmy himself said, the only way to feel the noise is when it's
    good and loud...

    1. Bomber
    2. Stay Clean
    3. Metropolis
    4. When The Sky Comes Looking For You
    5. Over The Top
    6. Guitar Solo
    7. The Chase Is Better Than The Catch
    8. Lost Woman Blues
    9. Rock It
    10. Orgasmatron
    11. Doctor Rock
    12. Just 'Cos You Got The Power
    13. No Class
    14. Ace Of Spades
    15. Whorehouse Blues
    16. Overkill
    Motorhead
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Motorhead (200 Gram) Motorhead (200 Gram) Quick View

    $33.99
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    Motorhead (200 Gram)

    Limited Edition Of 1,500 200 Gram Vinyl


    Mastered For Vinyl By Masterdisk


    Faithful, Updated Rendering Of Original Jacket And Inner Sleeve


    Pressed At Quality Record Pressings


    One of the greatest heavy metal records of all time by a band that has come to epitomize the genre, Motörhead sounds as relevant today as it seemed abrasive and genre-bending in its year of release. With this record, Lemmy and company reinvigorated a style of music that was quickly losing its bite as it was making its way into the pop charts.

    1. Motörhead
    2. Vibrator
    3. Lost Johnny
    4. Iron Horse/Born To Lose
    5. White Line Fever
    6. Keepers on the Road
    7. The Watcher
    8. Train Kept A Rollin'
    Motorhead
    $33.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rub My Mind Rub My Mind Quick View

    $23.99
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    Rub My Mind

    Barb Wire Dolls are the most explosive and exciting new punk band I've seen in decades! They are gonna change the face of music and save rock and roll as we know it! - Mickey Leigh/brother of Joey Ramone

    When Motörhead's legendary frontman Lemmy saw BARB WIRE DOLLS live at Whisky A Go-Go back in 2015, he immediately took them under his wing and signed them personally to the Motörhead Music record label.

    BARB WIRE DOLLS is: Isis Queen (vocals) Pyn Doll (lead guitar) Krash Doll (drums) Iriel Blaque (bass) Remmington (rhythm guitar)

    1. Back In The U.S.S.A.
    2. If I Fall
    3. Desert Song
    4. Hole Of Isolation
    5. Gold
    6. Call Me
    7. We Are Champions
    8. Edge Of Innocence
    9. Fade Away
    10. Contract
    11. Where Mountains Drink The Wine
    12. Fire To Burn
    Barb Wire Dolls
    $23.99
    Vinyl LP - Sealed Buy Now
  • Tab Tab Quick View

    $19.99
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    Tab

    The epic starting point of one of the greatest pioneers in modern Psychedelic Rock! In the psychedelic rock scene Tab is the hardest to find out of print EP by Monster Magnet. Over the course of their career, the band has never again explored their experimental boundaries as much as on these four songs.

    With the mighty opener Tab, the journey begins for a epic 56 minute-long Space Rock ride, which even Lemmy Kilmister during his Hawkwind times would have been proud of. This EP marks the starting point of a band, which in the following years became one of the greatest pioneers of their genre.

    1. Tab
    2. 25
    3. Longhair
    4. Lord 13
    Monster Magnet
    $19.99
    Vinyl LP - Sealed Buy Now
  • Pounding The Pavement Pounding The Pavement Quick View

    $24.99
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    Pounding The Pavement

    Legendary Canadian Metal Trio Anvil celebrate their 40th anniversary with the release of their 17th studio album, Pounding The Pavement. Subject of an acclaimed documentary film, This Is Anvil (2008) and book of the same title (2009) the band is the epitome of passionate heavy metal. Recorded by Jorg Uken at his Soundlodge Studios in Germany, Pounding The PAvement features soon to be fan favorites Smash Your Face, Rock That Sh*t and Ego Over the decades singer/guitarist Steve Lips Kudlow, drummer Robb Reiner and bassist Chris Robertson have gained admirers within the Metal community including Metallica and the late Lemmy of Motorhead.
    LP 1
    1. Bitch In The Box
    2. Ego
    3. Doing What I Want
    4. Smash Your Face
    5. Pounding The Pavement
    6. Rock That Shit


    LP 2
    1. Let It Go
    2. Nanook Of The North
    3. Black Smoke
    4. World Of Tomorrow
    5. Warming Up
    6. Don't Tell Me (Bonus Track)

    Anvil
    $24.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Bad Magic (Picture Disc) Bad Magic (Picture Disc) Quick View

    $32.99
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    Bad Magic (Picture Disc)

    Limited Edition Picture Disc


    Bristling with thunderous attitude, and some of the fiercest rhythms and riffs that'll assault your ears this year, Bad Magic demands that you fall to your knees and pray heartily that your senses don't get completely pulverized, because big-rig head crushers like the totemic and Motöranthemic "Thunder And Lightning" show that Motörhead is as strong, mean, loud, relentless, uncompromising and goddam heavy as ever. Drawing on their own vast catalog of road-warrior freewheeling rock'n'roll spirit, Bad Magic also strides confidently into some of the earlier attitudes of Motörmusic. There is the driving malevolence of "Choking On Your Screams" underscoring Lemmy in magnificently omnipotent vocal mood, "Electricity" carries a hefty chunk of punk attitude married with some of Phil Campbell's best lead work yet, and "Shoot Out All of Your Lights" screams devilish, greasy, biker-born-screw-you-and-yours attitude, Mikkey Dee's tribal drums pounding out a great path for more Kilmister proclamations. In this, their historic 40th year anniversary, Motörhead will also continue to gleefully deafen fans with a world tour, including a European Summer tour where they will debut brand new Motörclassic "Thunder & Lightning". The world might be in a state of turmoil and uncertainty, but Bad Magic is solid gold proof that you can always bet on Motörhead to deliver the greatest, leanest and meanest of goods through thick and thin.

    1. Victory Or Die
    2. Thunder & Lightning
    3. Fire Storm Hotel
    4. Shoot Out all of Your Lights
    5. The Devil
    6. Electricity
    7. Evil Eye
    8. Teach Them How To Bleed
    9. Till The End
    10. Tell Me Who To Kill
    11. Choking On Your Screams
    12. When The Sky Comes Looking For You
    13. Sympathy For The Devil
    Motorhead
    $32.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • Back To The Front Back To The Front Quick View

    $19.99
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    Back To The Front

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


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


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


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


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


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


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


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


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

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

    $18.99
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    Iron Fist

    180 gram reissue to 1982's follow up to Ace Of Spades Iron Fist reached #6 on the UK Album Chart. Includes the single "Iron Fist". Last album to feature the line up of Lemmy, "Fast Eddie" Clarke, & Phil "Philthy Animal" Taylor.
    1. Iron Fist
    2. Heart of Stone
    3. I'm the Doctor
    4. Go to Hell
    5. Loser
    6. Sex & Outrage
    7. America
    8. Shut It Down
    9. Speedfreak
    10. (Don't Let Em) Grind Ya Down
    11. (Don't Need) Religion
    12. Bang to Rights
    Motorhead
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Another Perfect Day Another Perfect Day Quick View

    $18.99
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    Another Perfect Day

    180 gram black vinyl reissue of the 6th studio album from Motorhead, originally released in 1983 it peaked at #20 on the UK Album Charts; Band line up: Lemmy, Brian "Robbo" Robertson, & Phil "Philty Animal" Taylor; Features "Dancing On Your Grave", "Die you Bastard!", "Another Perfect Day", & more.
    1. Back at the Funny Farm
    2. Shine
    3. Dancing on Your Grave
    4. Rock It
    5. One Track Mind
    6. Another Perfect Day
    7. Marching Off to War
    8. I Got Mine
    9. Tales of Glory
    10. Die You Bastard!
    Motorhead
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rock 'n' Roll Rock 'n' Roll Quick View

    $18.99
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    Rock 'n' Roll

    180 gram reissue - originally released in 1987, reached #34 on UK Album Charts / this was their 2nd album to chart in the US, hitting #150; Band Line-Up: Lemmy, Phil Campbell, Wurzel, & Phil "Philthy Animal" Taylor; Includes the classic track "Eat The Rich".
    1. Rock 'n' Roll
    2. Eat the Rich
    3. Blackheart
    4. Stone Deaf in the U.S.A.
    5. The Wolf
    6. Traitor
    7. Dogs
    8. All for You
    9. Boogeyman
    Motorhead
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tyranny And Mutation (Speakers Corner) Tyranny And Mutation (Speakers Corner) Quick View

    $34.99
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    Tyranny And Mutation (Speakers Corner)

    Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.


    After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?

    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal, keyboards)

    • Albert Bouchard (drums, vocal)



    Recording: 1972 at Columbia Studios, New York City, by Tim Geelan

    Production: Murray Krugman and Sandy Pearlman




    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.


    This title is not eligible for discount.

    1. The Red & The Black
    2. O.D.'d On Life Itself
    3. Hot Rails To Hell
    4. 7 Screaming Diz-Busters
    5. Baby Ice Dog
    6. Wings Wetted Down
    7. Teen Archer
    8. Mistress Of The Salmon Salt (Quicklime Girl)
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Metal Xmas Metal Xmas Quick View

    $29.99
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    Metal Xmas

    Revised and updated for 2010 with 4 new tracks, "We Wish You A Metal Xmas & A Headbanging New Year" is the all hard rock and metal compilation of everyone's favorite holiday songs which features the likes of Dave Grohl (Them Crooked Vultures), Geoff Tate (Queensryche), Ronnie James Dio, Lemmy, Alice Cooper, Billy F. Gibbons (ZZ Top), George Lynch (Dokken) and more! The 2010 edition features 4 new recordings featuring Dez Fafara (DevilDriver), Doro Pesch, Steve "Lips" Kudlow (Anvil) & other metal greats!
    1. We Wish You A Merry Christmas
    2. Run Rudolph Run
    3. Santa Claws Is Coming To Town
    4. God Rest Ye Merry Gentlemen
    5. Silver Bells
    6. Little Drummer Boy
    7. Santa Claus Is Back In Town
    8. Silent Night
    9. Deck The Halls
    10. Grandma Got Ran Over By A Reindeer
    11. Rocking Round The Xmas Tree
    12. Happy Xmas (War Is Over)
    13. O Christmas Tree
    14. Auld Lang Syne
    15. Frosty The Snowman
    16. Rudolph The Red Nosed Reindeer
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
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    The Grinding Wheel

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    $12.99
    x

    The Final Sessions (Out Of Stock)

    Blue Colored Vinyl


    Limited edition 12" BLUE vinyl single featuring the final recorded studio performances punk legend Johnny
    Ramone cutting loose with Lemmy of Motörhead, Stray Cat Slim Jim Phantom and Rockat Danny B. Harvey!

    1. Good Rockin' Tonight
    2. Viva Las Vegas
    Johnny Ramone
    $12.99
    Colored 12 Vinyl LP - Sealed Temporarily out of stock
  • Manifest Decimation (Out Of Stock) Manifest Decimation (Out Of Stock) Quick View

    $13.99
    x

    Manifest Decimation (Out Of Stock)

    Dallas band Power Trip play frantic crossover thrash that makes for amazing live shows. (They've toured, and are pals with, Trash Talk, and more than hold their own.) At any given time, whirling dervish Frontman Riley Gale can sound like Lemmy fronting Cro-Mags, Discharge, Exodus, or Nuclear Assault; other times, he locates a grizzlier tone that evokes guys wearing corpsepaint.


    On the quintet's huge-sounding eight-song debut LP Manifest Decimation on Southern Lord, they match the live intensity: The collection, which follows demos, 7's, and compilation appearances, finds the band easily filling 35 minutes with great riffs, catchy shout-along choruses, legit mosh parts, and brief ambient excurisions that don't take away from the overall intensity. The cover art, by Italian artist Paolo Madman Girardi, gives you an idea of that atmosphere, which includes samples about both death and Texas.

    1. Manifest Decimation
    2. Heretic's Fork
    3. Conditioned To Death
    4. Murderer's Row
    5. Crossbreaker
    6. Drown
    7. Power Trip
    8. The Hammer Of Doubt
    Power Trip
    $13.99
    Vinyl LP - Sealed Temporarily out of stock
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