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  • Riot Act Riot Act Quick View

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    Riot Act

    Remastered Reissue - NOT REMIXED


    Riot Act is the seventh studio album by American rock band Pearl Jam, originally released on November 12, 2002, through Epic Records. Following a full-scale tour in support of its previous album, Binaural (2000), Pearl Jam took a year-long break. The band then reconvened in the beginning of 2002 and commenced work on a new album. The music on the record featured a diverse sound, including songs influenced by folk, art rock, and experimental rock. The lyrics deal with mortality and existentialism, with much influence from both the political climate after the September 11, 2001 terrorist attacks and the accidental death of nine fans during Pearl Jam's performance at the 2000 Roskilde Festival.

    LP 1
    1. Can't Keep
    2. Save You

    3. Love Boat Captain

    4. Cropduster

    5. Ghost

    6. I Am Mine

    7. Thumbing My Way


    LP 2
    1. You Are

    2. Get Right

    3. Green Disease

    4. Help Help

    5. Bu$hleaguer

    6. 1/2 Full

    7. Arc

    8. All Or None

    Pearl Jam
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pearl Jam Pearl Jam Quick View

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    Pearl Jam

    Remastered (Remixed By Brendan O'Brien) Reissue Of Pearl Jam Also Known As Avocado


    Pearl Jam (sometimes referred to as The Avocado Album or simply Avocado) is the eighth studio album by American alternative rock band Pearl Jam, originally released on May 2, 2006, on J Records. It was the first and only release for J Records, their last album issued by Sony Music. It was the band's first full-length studio release in almost four years, since Riot Act (2002). Following their performances at the Vote For Change tour in 2004, the band commenced work on Pearl Jam in November 2004 at Studio X in Seattle, Washington and finished in February 2006.


    The music on the record was proclaimed as a return to the band's roots, with an emphasis on up-tempo songs with an aggressive sound. The song lyrics are mostly told from the point of view of characters and deal with the socio-political issues in the United States at the period, such as the War on Terror.


    This item is not eligible for further discount.

    LP 1
    1. Life Wasted
    2. World Wide Suicide
    3. Comatose
    4. Severed Hand
    5. Marker In The Sand
    6. Parachutes
    7. Unemployable
    8. Big Wave


    LP 2
    1. Gone
    2. Wasted Reprise
    3. Army Reserve
    4. Come Back
    5. Inside Job

    Pearl Jam
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Save You / Other Side Save You / Other Side Quick View

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    Save You / Other Side


    Clear Vinyl


    Save You was originally released on February 11, 2003 as the second single from the band's seventh studio album, Riot Act (2002).

    1. Save You
    2. Other Side
    Pearl Jam
    $8.99
    Colored 7 Vinyl Single - Sealed Buy Now
  • I Am Mine / Down I Am Mine / Down Quick View

    $8.99
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    I Am Mine / Down


    Turquoise Colored Vinyl


    I Am Mine was written by vocalist Eddie Vedder and was originally released on October 8, 2002. It was the first single from the band's seventh studio album, Riot Act (2002).

    1. I Am Mine
    2. Down
    Pearl Jam
    $8.99
    Colored 7 Vinyl Single - Sealed Buy Now
  • Get Happy!! Get Happy!! Quick View

    $49.99
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    Get Happy!!

    Elvis Costello and the Attractions masterful Get Happy!! is largely believed born of national scandal. While in a Holiday Inn bar, the English singer attempted to end an annoying conversation by baiting Stephen Stills with outrageous, offensive racial remarks about Ray Charles and James Brown. With everyone involved inebriated, the details are unclear, but the falloutdeath threats, radio embargos, protestsis infamous. The upshot? Costello and company retreated, scrapped a planned record, and created the soulful genius that is Get Happy!!, the bands fourth consecutive five-star effort.



    Half-speed mastered from the original master tapes, and pressed on two 45RPM LPs to replicate the very first promotional pressing in the UK, the 1980 LP has never sounded better on any format. Rather than cram nearly 50 minutes of music and 20 songs onto a single record, Mobile Fidelity has gone the extra mile and back to the album's UK roots with two 45RPM discs. For the first time, listeners can home in on the records signature sound that relates to the decision to record the vocals in a studios glass strings room. In addition, the dimensions and images associated with Steve Nieves penetrating organ, Pete Thomas punchy drumming, and Costellos bounding vocals know no limits. The music simply leaps off the proverbial page, the uptempo rhythms jumping and nimble bass lines kicking.



    Clearly, the group is motivated, and the leader brings some of his very finest songs to the table, including High Fidelity, Riot Act, Motel Matches, and The Imposter. While some believe the drunken incident caused Costello to shelve a planned new-wave-leaning effort for the soul-stoked Get Happy!!, the vocalist claims that his ability to find so many great soul records in America from 1977 through 1979 inspired the group to change course. Whatever the cause, Get Happy!! is a start-to-finish wonder.



    Paying homage to Northern soul, Motown, Stax, and Southern soul strains, and infused with smooth and gritty arrangements, Get Happy!! runs on an efficient R&B motor. Subtle tributes abound. High Fidelity quotes a Supremes song; Love for Tender borrows a Supremes riff; Opportunity tips its hat to Al Green; Clowntime Is Over bows to Curtis Mayfield. And two covers, of Sam & Daves I Cant Stand Up for Falling Down and the Merseybeats I Stand Accused, are recast as quick, R&B rave-ups. Theres not a misplaced note or bad step on this record. And for history buffs, the closing, searing ballad Riot Act is Costellos response to his hypocritical critics and finger-pointers.



    As essential as anything in Costellos catalog, and one of the truly great records of the 1980s, you owe it to yourself to experience Get Happy!! in the supreme sonic fidelity that this numbered limited edition Mobile Fidelity double-LP pressing affords. For those intimately familiar with its contents, listening will be a revelation. And for fans that have never heard the record, prepare to be wowed.



    Part of Mobile Fidelitys Costello catalog restoration series, Get Happy!! will make you positively ecstatic.


    This title is not eligible for discount.

    1. Love for Tender
    2. Opportunity
    3. The Imposter
    4. Secondary Modern
    5. King Horse
    6. Possession
    7. Men Called Uncle
    8. Clowntime Is Over
    9. New Amsterdam
    10. High Fidelity
    11. I Can't Stand Up For Falling Down
    12. Black & White World
    13. 5ive Gears in Reverse
    14. B Movie
    15. Motel Matches
    16. Human Touch
    17. Beaten to the Punch
    18. Temptation
    19. I Stand Accused
    20. Riot Act
    Elvis Costello
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM - 2 LPs Sealed Buy Now
  • War On Women War On Women Quick View

    $14.99
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    War On Women

    Baltimore, MD co-ed feminist punk act War On Women have announced their debut full-length, War On Women. Featuring 11 tracks, this S/T record was recently recorded with J. Robbins at the Magpie Cage (Against Me!, Coliseum, Lemuria). These new tracks are a natural progression for the band and a little more polished than their previous efforts, while remaining as blistering as ever. Vocalist Shawna Potter has …plenty of material to pull from when it comes to writing lyrics, considering the pervasive sexism in modern America, she commented.


    War On Women formed in 2010 by several veterans of the Baltimore rock scene, including members of AVEC and Liars Academy. Describing their sound as thrash rock meets riot grrrl, War On Women write songs too inventive and too loud to be overshadowed by their equally powerful messages. The band's furious live sets capture all of the brevity and intensity of hardcore punk with another level of lyrical and musical sophistication. War On Women's songs attack sexist attitudes and institutionalized patriarchy women everywhere still face in the 21st century with humor, intelligence, righteous anger and monster riffs.

    1. Servilia
    2. Say It
    3. Meathead
    4. Second Wave Goodbye
    5. Swagger
    6. Roe V. World
    7. Glass Cit
    8. Jordan
    9. Pro-Life?
    10. YouTube Comments
    11. Diana La Cazadora
    War On Women
    $14.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Secret Cinematic Sounds of Jimmy Urine The Secret Cinematic Sounds of Jimmy Urine Quick View

    $27.99
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    The Secret Cinematic Sounds of Jimmy Urine

    For over a decade, Mindless Self Indulgence, a four-member outfit based out of New York City featuring frontman Jimmy Urine, have been whipping crowds of eager fans in to furious riots with their heart-pounding electro-punk and death-defying stage antics. Over the years, they developed a devoted following, spawned bidding wars between major labels, and earned a reputation as a tough live act to follow, from clubs to arenas.


    With MSI currently on hiatus, Jimmy Urine is extending his creative palette in movie soundtracks and video game music including 'Metronomicon', 'I Want To Be Human', 'The Hive' and more. He has now collected all those songs and is releasing them as one compilation album that will be out on vinyl via The End Records.


    In addition to this album, Jimmy Urine is also appearing in the upcoming Guardians Of The Galaxy Vol. II movie.

    LP 1
    1. Fighting With The Melody
    2. I Want To Be Human
    3. Phase
    4. Final Level
    5. End Boss
    6. All Together Friends Forever
    7. Patty Hearst
    8. Not For Me


    LP 2
    1. Aching Addicted Affection Again
    2. Salome
    3. Beethoven Symph 7 Alleg Mvt 2
    4. Available On Betamax
    5. Lento Romantico Erotic Incubo
    6. Based On A True Story

    Jimmy Urine
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Riot Act (Out of Stock) Riot Act (Out of Stock) Quick View

    $5.99
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    Riot Act (Out of Stock)

    Riot Act b/w Running Out of Tears. Riot Act is the first single from The Breakers, while Running Out of Tears is an song exclusive to this 7-inch! Both tracks are arranged and produced by Stevie Van Zandt.



    1. Riot Act

    2. Running Out Of Tears
    Breakers
    $5.99
    7 Vinyl LP Temporarily out of stock
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