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Take This To Your Grave

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  • From Under The Cork Tree (Black Clouds & Underdogs Edition) From Under The Cork Tree (Black Clouds & Underdogs Edition) Quick View

    $34.99
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    From Under The Cork Tree (Black Clouds & Underdogs Edition)

    From Under the Cork Tree is the second studio album by American rock band Fall Out Boy. It was originally released on May 3, 2005, through Island Records as the band's major label debut. The music was composed by lead vocalist and guitarist Patrick Stump, with all lyrics penned by bassist Pete Wentz, continuing the band's songwriting approach they took for some songs on their prior 2003 effort Take This to Your Grave. Neal Avron handled production duties. Commenting on the record's lyrical themes, Wentz said the lyrics were about the anxiety and depression that goes along with looking at your own life. In support of their release, the group headlined tours worldwide and played at various music festivals. For their Black Clouds and Underdogs tour, the album was re-released as From Under the Cork Tree (Limited Black Clouds and Underdogs Edition), featuring new songs and remixes.


    *Artwork is subject to change.

    LP 1
    1. Our Lawyer Made Us Change The Name Of This Song So We Wouldn't Get Sued
    2. Of All The Gin Joints In All The World
    3. Dance, Dance
    4. Sugar, We're Goin Down
    5. Nobody Puts Baby In The Corner
    6. I've Got A Dark Alley And A Bad Idea That Says You Should Shut Your Mouth (Summer Song)
    7. 7 Minutes In Heaven (Atavan Halen)
    8. Sophomore Slump Or Comeback Of The Year


    LP 2
    1. Champagne For My Real Friends, Real Pain For My Sham Friends
    2. I Slept With Someone In Fall Out Boy And All I Got Was This Stupid Song Written About Me
    3. A Little Less Sixteen Candles, A Little More Touch Me
    4. Get Busy Living Or Get Busy Dying (Do Your Part To Save The Scene And Stop Going To Shows)
    5. XO
    6. Snitches And Talkers Get Stitches And Walkers
    7. The Music Or The Misery
    8. My Heart Is The Worst Kind Of Weapon (Demo)
    9. Sugar, We're Goin Down (Patrick Stump Remix)
    10. Dance, Dance (Lindbergh Palace Remix)

    Fall Out Boy
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Death Revenge Death Revenge Quick View

    $19.99
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    Death Revenge

    Lock your doors and bolt your windows as longstanding Gore Metal maniacs, EXHUMED reemerge with their disgusting new album Death Revenge. The band's 6th full-length sees them tread into ambitious new territory with their first concept album; a musical melodrama in thirteen parts based on shocking true events. Death Revenge tells the macabre tale of a series of brutal murders committed in order to sell the victims' cadavers to anatomists, and the grisly underground trade of grave-robbery in the late 1820s in Edinburgh, Scotland. Recorded with producer Jarrett Pritchard (Goatwhore, Hate Eternal, Gruesome), Death Revenge takes the band's signature gore-drenched, death metal mayhem to theatrical and ghastly new heights.
    1. Introduction: Death Revenge Overture
    2. Defenders of the Grave
    3. Lifeless
    4. Dead End
    5. Night Work
    6. Unspeakable
    7. Interlude: Gravemakers of Edinburgh
    8. The Harrowing
    9. A Funeral Party
    10. The Anatomy Act of 1832
    11. Incarnadined Hands
    12. Death Revenge
    Exhumed
    $19.99
    Vinyl LP - Sealed Buy Now
  • See Mystery Lights See Mystery Lights Quick View

    $17.99
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    See Mystery Lights

    Limited Edition of 1000 Copies on White Vinyl


    Features Detailed Spot-Glass Artwork Exclusive to the Vinyl Version


    Brainy and block-rocking rarely coexist like this.
    -Entertainment Weekly


    Recorded in Marfa, Texas, YACHT's See Mystery Lights is an intimate party record that was captured in widescreen Technicolor. Singles include Summer Song and the sublimely catchy Psychic City, mixing electro and post punk rhythms seamlessly.


    Jona Bechtolt - founding member of YACHT, former member of the Blow - is a huge talent, something that may not have been readily apparent on any of his three previous LPs. Those albums, created largely as solo endeavors, will not have prepared listeners for See Mystery Lights. Now an official partnership between Bechtolt and Claire L. Evans, who performed on several songs on 2007's I Believe In You, Your Magic Is Real, YACHT finally feel like a full-fledged band with direction and vision, particularly given the added weight (or rather, levity) of Evans' influence.


    The songs on See Mystery Lights - from the bouncy, burbling you-can't-take-it-with-you screed The Afterlife (which plays like a less spastic companion piece to the Mae Shi's Run to Your Grave) to the roller rink-ready vocoder vocals of I'm In Love With a Ripper - represent YACHT at their most poppy. It's a collection of stone jams that finds the band finally as hellbent on experimenting and expanding the boundaries of its sonic scope as it is on having fun. Built on electronic foundations - laser effects, skittering computerized beats, and spacey synth lines (or guitar riffs that have been tuned or distorted to sound like synths) - these new songs are giddy with creative freedom while remaining tethered in service of their melodies. The vocal melodies are bright and buoyant, but delivered (by either band member, or in unison) in a chanted, oftentimes detached monotone that plays up the repetitive lyrics' mantra-like feel and adds a welcome undercurrent of slacker cool to their otherwise sugary optimism.

    1. Ring The Bell
    2. The Afterlife
    3. I'm In Love With A Ripper
    4. It's Boring / You Can Live Anywhere You Want
    5. Psychic City
    6. Summer Song
    7. We Have All We've Ever Wanted
    8. Don't Fight The Darkness
    9. I'm In Love With A Ripper (Party Mix)
    10. Psychic City (Version)
    YACHT
    $17.99
    Colored Vinyl LP - Sealed Buy Now
  • Are We Not Men? We Are Diva! (Awaiting Repress) Are We Not Men? We Are Diva! (Awaiting Repress) Quick View

    $15.99
    Buy Now
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    Are We Not Men? We Are Diva! (Awaiting Repress)

    In that mythical era known as the 90's, five brave young men emerged from the legendary halls of some of the mightiest bands on Fat Wreck Chords with a single mission: make all the rest of these dildo punk bands covering popular songs obsolete. They crowned themselves Me First and the Gimme Gimmes and the world rejoiced. Now, seven records, scores of singles and nearly a thousand years later, having tackled every genre under the sun, the bold young knaves known colloquially as the Gimmes have ridden their success hard, and decayed into desiccated, old divas. Yet, the diva, she is immortal. And thus, imbued with the old-world, Mystic Pizza-esque swagger of Cher, the modern pop-art sensibility of Lady Gaga and the enthusiasm-for-drug-consumption of Whitney Houston, Me First and the Gimme Gimmes have returned from their beauty rest, busting out of their sequined gowns, and throwing vases at their assistants in order to present you with their latest opus, entitled Are We Not Men? We Are Diva!, slated to be released on none other than Fat Wreck Chords. And you'd best believe, whether because of their tantrums or their virtuosity, once you hear these fat ladies sing, there's not gonna be a dry eye in the house.


    For the uninitiated, Me First and the Gimme Gimmes consist of Lagwagon frontman Joey Cape on the guitar, Shiflett brother (and Foo Fighter) Chris Shiflett on the other guitar, Lagwagon drummer and Fat Wreck utility superhero Dave Raun on the skins, and are rounded out by Fat Wreck-head-honcho/NOFX main-dude Fat Mike, and incomparable crooner Spike Slawson. Together, Me First and the Gimme Gimmes-an outfit that has always operated more like a beer-hall Pussycat Dolls than a regular mortal band-contain so much hot air, so much pomp, so much attitude, that it's a wonder that these guys can still manage to pull their five individual tour buses into the same parking lot, put their differences aside and belt out the ballads without clawing each other's eyes out. But they do, for the love of the fans, the music, and of course, the applause.


    In the past, The Gimmes have tackled such disparate genres as Motown, country, show tunes and even Japanese pop (sung in real live Japanese!) but none of that enabled them to truly soar as high above the eagles as they desired, feeling the wind of other, lesser bands beneath their wings. So this time, the Fat (Wreck) Five decided to take on the un-take-on-able and hit us with cuts from the likes of Celine (gasp!) Christina (Sigh!) and Paula Abdul (oh no you di'int!) among others. And as Spike's baritone somehow manages to make Whitney Houston's (Dolly Parton-penned) Theme Song To The Bodyguard EVEN MORE EPIC, you will be moved to tears. You will find joy. You will shake in your very skin as the music of these divas gently takes you by the hand and shows you how to love again. AND! You'll buy tickets to see 'em on tour.


    Because that's right folks! Nothing says 'diva' like coming to your town to bask in the torrential, gushing blasts of your love, and the Gimmes will be hitting the entire world in support of Are We Not Men? We Are Diva!, except maybe Mike, who's such a diva that he's got substitutes on hand! So grab those flowers off of your grandma's grave and head out now, to check out Me First and the Gimme Gimmes on wax and in your town, before these five outrageous harpies either kill each other or wind up as a Vegas destination act, bloated, high on pills and uh, nevermind that last part. Just go see em, eh? It's a helluva time.


    - Troy Michael (Innocent Words)

    1. I Will Survive

    2. Straight Up

    3. Believe

    4. Beautiful

    5. My Heart Will Go On

    6. I Will Always Love You

    7. Top of the World
    8. Speechless

    9. Karma Chameleon

    10. Crazy for You

    11. On the Radio

    12. The Way We Were

    Me First & The Gimme Gimmes
    $15.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Bob Dylan (Mono) Bob Dylan (Mono) Quick View

    $49.99
    Buy Now
    x

    Bob Dylan (Mono)

    Bob Dylan On Numbered Limited Edition 180 Gram Mono 45RPM 2LP From Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Mastered From The Original Master Tapes And Strictly Limited To 3,000 Copies


    Mobile Fidelity Mono 45RPM 2LP Features Unparalleled Directness And Sound Dylan, Producers Originally Intended


    Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness-the husk and bark to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.


    As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album-making the mono mix all the more historically valuable and truthful.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's See That My Grave Is Kept Clean, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin. It all starts here.


    This title is not eligible for discount.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
  • Bob Dylan Bob Dylan Quick View

    $49.99
    Buy Now
    x

    Bob Dylan

    Bob Dylan on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Transparent to the Source: Hyper-Detailed 45RPM Pressing Brings the Simple Sounds of Dylan's Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective


    Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 180 gram 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and dimensions-the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background noise. Wider grooves mean more information reaches your ears.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.


    This title is not eligible for discount.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Native The Native Quick View

    $20.99
    Buy Now
    x

    The Native

    An alt-country band with punk roots, Vandoliers formed in 2015, bringing together a group of Dallas-Fort Worth musicians who'd already logged more than a decade in their own punk and folk bands. Together, the guys make a different sound, mixing raw, rough-edged roots music with the focused, fiery storytelling of frontman Joshua Fleming.


    We wanted to approach country music from a rock perspective, says Fleming, who filled the band's 2016 debut, Ameri-Kinda, with anthems about hitting the highway, draining beer bottles, rallying against your opponents and, occasionally, dropping acid. Behind him, the guys kick up plenty of fast-moving dust, filling the songs with train beats, gang vocals, blasts of brass and bursts of guitar.


    The band takes things up a notch further on its sophomore record, The Native. Rounded out by bassist Mark Moncrieff, drummer Guyton Sanders, fiddler Travis Curry, electric guitarist Dustin Fleming and multi-instrumentalist Cory Graves, Vandoliers pay tribute to Texas by putting their own spin on the state's musical history. The Native is exactly what its title suggests: a tour of the many subgenres that originated in the Lone Star State, from outlaw country to Texas swing, electric blues, and even Tejano. At the same time, it's a twist on those familiar sounds, delivered with a wink of the eye and a bang of the head. It's twang and tattoos, grit and guitars, honky-tonk and horns, Tejano and Telecasters. It's Vandoliers.

    1. Bluebonnet Highway
    2. Rolling Out
    3. Endless Summer
    4. Quick To Fire
    5. Juke Joint Lover
    6. Pantego
    7. Rain Dance
    8. The Red Dress
    9. The Native
    10. Welcome Home
    Vandoliers
    $20.99
    Vinyl LP - Sealed Buy Now
  • Conversations Conversations Quick View

    $18.99
    Buy Now
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    Conversations

    Woman's Hour are not your average band. The first clue comes in the name of the London-based swoon-pop four-piece, taken from a beloved female-focussed news and culture show on BBC Radio 4. The second is in their graphic, striking monochrome visuals, meticulously curated in collaboration with TATE and MOMA certified fine artists Oliver Chanarin and Adam Broomberg. These play with shape and texture, much like their powerful, iridescent music. On their excellent debut album 'Conversations', this has the intricate construction and intimacy of The xx and the iridescent shimmer of summer-defining indie pop. Pay attention now, or regret it later.


    In a sense, we feel like the odd ones out, explains frontwoman Fiona Burgess of their nose-to-tail approach to their visuals, performance and songcraft. It's quite empowering that we're doing it as four people but we're not part of a bigger collective. Indeed, their 360º approach is closer to the art/music crossover of acts such as Throbbing Gristle, Yoko Ono or Factory Floor than most of this year's indie hopes. Their music - as poignantly personal as pop gets - has a rare singularity and purpose.


    Take single Her Ghost, which layers a breezy guitar hook with Fiona's beautiful, sighing lyric of inner turmoil. I'm interested in the idea of memory and how powerful memories can be, and how powerful some things can be to let go of, she says. A lot of my writing is me trying to understand an emotion or situation. The track's melody and a message lingers in the recesses of the mind like a box of treasured letters.


    Woman's Hour started to come together one summer, when Fiona started collaborating with her brother, guitarist William Burgess. I had been to a couple of rehearsals with other bands and it wasn't very much fun, says William. I mentioned to Fiona that I'd like her to sing and we decided to have a go. I went round to her place one day and it turned our that she had a pretty nice voice! The two recruited bassist Nicolas Graves, who was William's friend from back home (the pair had played in a couple of local guitar bands back in Kendal) and the three began creating their music. Nicolas explains: We just messed around in each other's houses for a bit and tried to get a few songs together.


    We played our first gig in 2011, Nicolas continues. It was at Fiona's house in Camden. It was a hat-themed party. I remember wearing a beret. Fiona was wearing a trilby, and Will had a sombrero on. It was incredibly nerve-racking for the trio despite the jolly occasion (I almost froze with fear at one point laughs Nicolas), but the gig was a runaway success, and it was there that they all met keyboardist Josh Hunnisett, who was already a friend of Fiona's and happened to be doing the sound at the event. Even in the shambolic situation, the band were meticulous perfectionists.


    The quartet had their first rehearsal in an old vicarage in Dalston. It just felt really honest, says Josh. There was no 'you can't do this, you can't do that, don't try that - the style of music felt pure and everyone was expressing themselves in the way they wanted. We've tried to think about this as a collaboration between four different creative people. Each band member brings a wholly distinct set of influences to the band - from German cold wave to pop rarities and uncompromising singer/songwriters. Their website even has a section dedicated to recommended reading.


    But it was their favourite radio show that was to be have most prominent effect on the band. When we were first doing demos we named them all after BBC Radio 4 programmes, explains Nick. The World at One, Afternoon Play, that kind of thing. I think Woman's Hour might have been one of them, and when it came to play our first gig (at The Queen's Head in London) one of our friends suggested using it and it stuck. Indeed, their jangle-pop first single Jenni, which is quite different to their current material, was named after Radio 4 stalwart Jenni Murray. The band's first 7, Jenni/ Human, was released through London label Dirty Bingo after the label head tracked them down on online and interviewed them for beloved London zine Loud And Quiet.


    Although the single made a splash, things were moving too fast for the band. Suddenly we thought, 'should we have had something to back this up?, says William. 'We didn't have any more songs, so we took a year and a half off to write and develop the sound. That's also when we met Tom Morris, our producer. The band hibernated, starting from the bottom up. Let's get everything fucking slick, how we want it, let's do everything exactly how we want it ourselves - don't compromise.


    It was worth the wait. When the band put their gorgeously lilting comeback single Our Love Has No Rhythm online in 2013, the blogs exploded, in part due to the glossy monochrome video depicting Fiona's face in close-up, and also the stunning single artwork - an uneasy found image of a suited gentleman falling over. We've been using images that are taken from manuals, explains Fiona. Lots of different 'How To' manuals from How to Train a Chihuahua to How to Fall Over Without Hurting Yourself. We like the idea of how to look after yourself physically paired with the music, which is a lot less direct.


    Perhaps Woman's Hour's music does not hammer its message home, but there's a nuance and craft that's scarcely found in today's industry. They followed Our Love Has No Rhythm, with the cooing, Beach House-esque Darkest Place in which Fiona implores I don't understand why you're not around over swooning keyboards, with a cooing ooooh-ooooh hook. For the track's striking video, she'd is depicted in close crop with her eyes closed as an unknown figure attempts to prise them open. I was finishing a degree in performance studies at the time, and I came across this particular piece by Vito Acconci, she says of the inspiration for the video. The original piece is about 20 minutes long, and it's absolutely gruelling, there's no soundtrack to it and it's a piece where you can hear the sound in the room of two people in a physical struggle. You can hear the heavy breathing, the feet, the occasional sounds of resistance. She endured a restaging of the piece, which she found very intense and intimate.


    Woman's Hour have an uncompromising commitment to the unconventional. For them, music does not exist as merely a hummable soundtrack but as a wider and more artistic proposition. As Fiona continues: A lot of music videos are not very challenging, and I like the idea of them being quite confronting. Our album artwork is inspired by a picture of a woman surrounded by pyramids that was part of a magazine article called The Start of an Era. It was a 1970s performance piece that was performed at the Whitney Museum in New York, and we've also designed nine of these pyramids with Oliver Chanarin that we'll incorporate into our live show when possible. The Start of an Era? We couldn't have said it better ourselves.

    1. Unbroken Sequence
    2. Conversations
    3. To The End
    4. Darkest Place
    5. In Stillness We Remain
    6. Our Love Has No Rhythm
    7. Her Ghost
    8. Two Sides of You
    9. Devotion
    10. Reflections
    11. The Day That Needs Defending
    Woman's Hour
    $18.99
    Vinyl LP - Sealed Buy Now
  • I Do Not Want What I Haven't Got (Out Of Stock) I Do Not Want What I Haven't Got (Out Of Stock) Quick View

    $21.99
    x

    I Do Not Want What I Haven't Got (Out Of Stock)

    I Do Not Want What I Haven't Got became SinÉad O'Connor's popular breakthrough on the strength of the stunning Prince cover Nothing Compares 2 U, which topped the pop charts for a month. But even its remarkable intimacy wasn't adequate preparation for the harrowing confessionals that composed the majority of the album. Informed by her stormy relationship with drummer John Reynolds, who fathered O'Connor's first child before the couple broke up, I Do Not Want What I Haven't Got lays the singer's psyche startlingly and sometimes uncomfortably bare. The songs mostly address relationships with parents, children, and (especially) lovers, through which O'Connor weaves a stubborn refusal to be defined by anyone but herself. In fact, the album is almost too personal and cathartic to draw the listener in close, since O'Connor projects such turmoil and offers such specific detail. Her confrontational openness makes it easy to overlook O'Connor's musical versatility. Granted, not all of the music is as brilliantly audacious as I Am Stretched on Your Grave, which marries a Frank O'Connor poem to eerie Celtic melodies and a James Brown Funky Drummer sample. But the album plays like a tour de force in its demonstration of everything O'Connor can do: dramatic orchestral ballads, intimate confessionals, catchy pop/rock, driving guitar rock, and protest folk, not to mention the nearly six-minute a cappella title track. What's consistent throughout is the frighteningly strong emotion O'Connor brings to bear on the material, while remaining sensitive to each piece's individual demands. Aside from being a brilliant album in its own right, I Do Not Want What I Haven't Got foreshadowed the rise of deeply introspective female singer/songwriters like Tori Amos and Sarah McLachlan, who were more traditionally feminine and connected with a wider audience. Which takes nothing away from anyone; if anything, it's evidence that, when on top of her game, O'Connor was a singular talent.

    - Steve Huey (All Music Guide)
    1. Feel So Different (2009 Remastered Version)
    2. I Am Stretched On Your Grave (2009 Remastered Version)
    3. Three Babies (2009 Remastered Version)
    4. The Emperor's New Clothes (2009 Remastered Version)
    5. Black Boys On Mopeds (2009 Remastered Version)
    6. Nothing Compares 2 U (2009 Remastered Version)
    7. Jump In The River (2009 Remastered Version)
    8. You Cause As Much Sorrow (2009 Remastered Version)
    9. The Last Day Of Our Acquaintance (2009 Remastered Version)
    10. I Do Not Want What I Haven't Got (2009 Remastered Version)
    Sinead O'Connor
    $21.99
    Vinyl LP - Sealed Temporarily out of stock
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