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Talking Heads Vinyl'
Real Live Wires
• 140 Gram Vinyl
• 1000 Only Limited Edition
This great live set captures Talking Heads at The Park West, in Chicago, in 1978. After playing a selection of showcases in Europe at the start of the year - and taking time-out to record their second album in the Bahamas - the group were amidst a tour criss-crossing the USA from New York to Los Angeles.LP 1
1. The Big Country (Live)
2. Warning Sign (Live)
3. The Book I Read (Live)
4. Stay Hungry (Live)
5. Artists Only (Live)
6. The Girls Want to Be with the Girls (Live)
7. Don't Worry About the Government (Live)
1. The Good Thing (Live)
2. Uh-Oh Love Comes to Town (Live)
3. Love-Building on Fire (Live)
4. New Feeling (Live)
5. Psycho Killer (Live)
6. Thank You for Sending Me an Angel (Live)
7. Take Me to the River (Live)$37.99140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
American UtopiaDavid Byrne announced his new album American Utopia, the former Talking Heads singer's first solo LP in 14 years.
Byrne said of American Utopia in a statement, These songs don't describe an imaginary or possibly impossible place but rather attempt to depict the world we live in now. Many of us, I suspect, are not satisfied with that world-the world we have made for ourselves. We look around and we ask ourselves-well, does it have to be like this? Is there another way? These songs are about that looking and that asking.1. I Dance Like This
2. Gasoline And Dirty Sheets
3. Every Day Is A Miracle
4. Dog's Mind
5. This Is That
6. It's Not Dark Up Here
8. Doing The Right Thing
9. Everybody's Coming To My House
10. Here$20.99Vinyl LP - Sealed Buy Now
WARB-NON-3555xDavid Byrne and Brian Eno
My Life In The Bush Of GhostsNow approaching its 25th anniversary, Brian Eno and David Byrnes My Life in the Bush of Ghosts appears downright visionary. With its found vocals, cut-and paste arrangements, funked-up rhythms and embrace of influences from all around the globe, the duos controversial work anticipated the creative cross-pollination and technological innovation of contemporary electronic dance music, world music, hip hop and alternative rock. You can hear echoes of My Life in the Bush of Ghosts in the anthems Moby built around vintage vocal samples, in the outrageously exotic beats of Missy Elliot and Timbaland, in the Middle Eastern-accented chill-out tracks of Thievery Corporation or Bjorks otherworldly soundscapes.
Back in the day, however, critics were divided and audiences were, well, confused. Eno and Byrne themselves didnt know quite what they were looking for at first. They shard an enthusiasm for African music, especially the hypnotic grooves of Nigerian Feka Kuti, and a desire to free themselves from the constraints of conventional songwriting. They embarked on a nomadic journey through studios in New York City, Los Angeles and San Francisco. The players who accompanied them on these sessions included drummers Chris Frantz (Talking Heads) and Prairie Prince (The Tubes), bassist Bill Laswell (Material) and Tim Wright (DNA), avant-garde percussionist Dave Van Teighem and conga player Steve Scales, part of the Remain In Light live band. The result of their labors was an album that married West African and American R&B rhythms with the impassioned voices of talk-show hosts and evangelists taped off the radio or the evocative sound of prayerful singers culled from Middle Eastern field recordings. Byrne recalls their entire adventure in fascinating liner notes that detail the recording process and address the resulting critical furor. My Life in the Bush of Ghosts was cut between Talking Heads Fear of Music (1979) and Remain In Light (1980), but sample clearance issues, an almost unheard-of-problem in the analog era, kept it on hold until 1981.1. America is Waiting
2. Mea Culpa
4. Help Me Somebody
5. The Jezebel Spirit
6. Very, Very Hungry
7. Moonlight in Glory
8. The Carrier
9. A Secret Life
10. Come With Us
11. Mountain of Needles$24.99Vinyl LP - 2 LPs Sealed Buy Now
Speaking In TonguesSpeaking in Tongues is the fifth studio album by the band Talking Heads, released in 1983.
The album was a commercial breakthrough that produced the band's first (and only) American Top 10 hit, Burning Down the House, which was accompanied by a promotional video. The following tour was documented in Jonathan Demme's Stop Making Sense, which generated a live album of the same name. (The concert film and live album's title comes from the repeated phrase Stop making sense! during the song Girlfriend Is Better.) In addition, the album crossed over to the dance charts, peaking at number two for six weeks. In 2012, Slant Magazine listed the album at #89 on its list of Best Albums of the 1980s.
David Byrne designed the cover for the general release of the album. Artist Robert Rauschenberg won a Grammy Award for his work on the limited-edition LP version. This album featured a clear vinyl disc in clear plastic packaging along with three clear plastic discs printed with similar collages in three different colors.1. Burning Down The House
2. Making Flippy Floppy
3. Girlfriend Is Better
4. Slipper People
5. I Get Wild / Wild Gravity
7. Moon Rocks
8. Pull Up the Roots
9. This Must Be the Place (Naive Melody)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Remain In LightRanked 126/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Cut from the Original Analog Masters and Pressed at RTI for Stunning Sound!
Formed in the mid 70s by art school chums David Byrne, Chris Franz, and Tina Weymouth and ex-Modern Lover Jerry Harrison, Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands of all time. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius.
From their 1977 debut through their Brian Eno and self-produced classics and on to their swan song (1988's Steve Lillywhite-produced Naked), Talking Heads constantly broke creative boundaries while also scoring smart radio hits including "Burning Down The House," "Wild Wild Life," and, from 1980's Remain In Light, the brilliant "Once In A Lifetime."
Considered by many fans and critics alike to be the band's best album, Remain In Light was the third release in the Heads/Eno trilogy and fourth overall. More melodic and funkier sounding than that of its predecessors, the recording finds the band further exploring the African rhythms hinted at on 1979's Fear of Music with the help of a growing personnel that now included Adrian Belew (guitar), Bernie Worrell (keyboards), Steven Scales (percussion) and backing vocalists. As propulsive and essential as ever here on 180 gram vinyl courtesy of Warner Bros. Records!
"On this New Wave watershed, the avant-punk avatars became polyrhythmic pop magicians. David Byrne and Co. combined the thrust of P-Funk, the kinky grooves of Afropop and the studied adventurousness of producer Brian Eno - and they still had a pop hit with 'Once in a Lifetime'." - Rolling StoneThe Great Curve
Crosseyed and Painless
Born Under Punches (The Heat Goes On)
Houses In Motion
Once In A Lifetime
Seen and Not Seen
The Overload$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Talking Heads: 77Import
Ranked 290/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Talking Heads: 77 is the auspicious debut album from what was the most highly touted new wave band to ever emerge from New York's CBGB's scene and it immediately set them apart from their counterparts in both sound and scope. Both unique and infectious, David Byrne's high, yelping tenor serves as the perfect complement to the band's tightly-wound yet kinetic rhythms here, making for a tuneful collection of songs highlighted by the twisted anthem Psycho Killer and the joyous Pulled Up.1. Uh-Oh, Love Comes To Town
2. New Feeling
3. Tentative Decisions
4. Happy Day
5. Who Is It?
6. No Compassion
7. The Book I Read
8. Don't Worry About The Government
9. First Week/Last Week...Carefree
10. Psycho Killer
11. Pulled Up$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Boston Tea PartyClear Vinyl
This release comprises of an excellent radio broadcast from Talking Heads in August 1979 when, back on home turf in Boston, Massachusetts. The band played a rip roaring set to those smart enough to have bought a ticket and those lucky enough to have been living in the greater Boston vicinity to whom local FM radio transmitted the entire proceedings. A superb package of Talking Heads music from a time when this ground breaking collective were the hottest thing around and the name on every hipsters lips.LP1
1. Artists Only (Live)
2. Stay Hungry (Live)
3. Cities (Live)
4. Paper (Live)
5. Mind (Live)
6. Heaven (Live)
7. The Book I Read (Live)
8. Electric Guitar (Live)
9. Air (Live)
10. Warning Sign (Live)
1. Love Goes to Building on Fire (Live)
2. Memories Can't Wait (Live)
3. Psycho Killer (Live)
4. Life During Wartime (Live)
5. Take Me to the River (Live)
6. Take Me to the River (Live on Saturday Night Live)
7. Artists Only (Live on Saturday Night Live)$37.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Name Of This Band Is Talking HeadsAlthough most people probably think the only Talking Heads live release is Stop Making Sense, the fact is that there's an earlier, better live album called The Name of This Band Is Talking Heads. Originally released in 1982 on LP and cassette, the album chronicles the growth of the band, both stylistically and personnel-wise. The first LP is the original quartet version of the band, recorded between 1977 and 1979, performing excellent versions of tunes (mostly) off 77 and More Songs About Buildings and Food. Also included were the previously unavailable A Clean Break and Love Goes to a Building on Fire, as well as early versions of Memories Can't Wait and Air. The second LP comes from the Remain in Light tour, recorded in 1980 and 1981.
In order to present something close to the music on that album, the original quartet lineup was greatly expanded. Added were two percussionists (Steven Stanley, Jose Rossy), two backup singers (Nona Hendryx, Dollette McDonald), Busta Cherry Jones on bass, Bernie Worrell (!) on keys, and a young Adrian Belew on lead guitar. The excitement of this material is palpable, and the muscular band rips into these tunes with more power than the originals in most cases. Drugs gets revamped for live performance, and Houses in Motion kicks into high gear with a great art-funk coda. Belew is absolutely on fire throughout, especially on The Great Curve and Crosseyed and Painless, where his deranged feedback soloing has never sounded better. At this point in their career, Talking Heads were still basically an underground band; it was Burning Down the House that really thrust them into the mainstream, and Stop Making Sense documents their arrival as a more or less mainstream act. The Name of This Band Is Talking Heads captures a hungry band on its way up, performing with a fire that was never matched on later tours. Unfortunately, The Name of This Band Is Talking Heads remained unavailable on compact disc for years, which is a shame since it's arguably one of their finest releases.
- Sean Westergaard (All Music Guide)LP 1
Recorded for WCOZ broadcast, Northern Studios, Maynard MA, November 17, 1977
1. New Feeling
2. A Clean Break
3. Don't Worry About the Government
4. Pulled Up
5. Psycho Killer
Recorded at The Capitol Theater, Passaic NJ, January 17, 1979
6. Artists Only
7. Stay Hungry
9. Love - Building On Fire
10. Memories (Can't Wait)
Recorded at Emerald City, Cherry Hill NJ, November 8, 1980-November 9, 1980; Central Park, New York, August 27, 1980; Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
1. I Zimbra
3. Houses in Motion
4. Life During Wartime
5. The Great Curve
6. Crosseyed and Painless
7. Take Me to the River$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Fear Of MusicFear of Music is the third studio album by American New Wave band Talking Heads, released on 3 August 1979 on Sire Records. It was recorded at locations in New York City between April and May 1979 and was produced by the quartet and Brian Eno. The album reached number 21 on the Billboard 200 in the United States and peaked at number 33 on the UK Albums Chart. Three songs were released as singles between 1979 and 1980: Life During Wartime, I Zimbra, and Cities. The record was certified Gold in the U.S. in 1985.
Fear of Music received favourable reviews from critics. Praise centred on its unconventional rhythms and frontman David Byrne's lyrical performances. The record is often considered one of the best Talking Heads releases. It has featured in several publications' lists of the best albums of all time. England's Channel 4 named the record at number 76 in its 2005 countdown of The 100 Greatest Albums.I Zimbra
Life During Wartime
Memories Can't Wait
Drugs$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
More Songs About Buildings And FoodThe title of Talking Heads' second album, More Songs About Buildings and Food, slyly addressed the sophomore record syndrome, in which songs not used on a first LP are mixed with hastily written new material. If the band's sound seems more conventional, the reason simply may be that one had encountered the odd song structures, staccato rhythms, strained vocals, and impressionistic lyrics once before. Another was that new co-producer Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing. Where Talking Heads had largely been about David Byrne's voice and words, Eno moved the emphasis to the bass-and-drums team of Tina Weymouth and Chris Frantz; all the songs were danceable, and there were only short breaks between them.
Byrne held his own, however, and he continued to explore the eccentric, if not demented persona first heard on 77, whether he was adding to his observations on boys and girls or turning his Psycho Killer into an artist in Artists Only. Through the first nine tracks, More Songs was the successor to 77, which would not have earned it landmark status or made it the commercial breakthrough it became. It was the last two songs that pushed the album over those hurdles. First there was an inspired cover of Al Green's Take Me to the River; released as a single, it made the Top 40 and pushed the album to gold-record status. Second was the album closer, The Big Country, Byrne's country-tinged reflection on flying over middle America; it crystallized his artist-vs.-ordinary people perspective in unusually direct and dismissive terms, turning the old Chuck Berry patriotic travelogue theme of rock & roll on its head and employing a great hook in the process.
- William Ruhlmann (All Music Guide)1. Thank You For Sending Me An Angel
2. With Our Love
3. The Good Thing
4. Warning Sign
5. The Girls Want To Be With the Girls
6. Found A Job
7. Artists Only
8. I'm Not In Love
9. Stay Hungry
10. Take Me To the River
11. The Big Country$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
OVSE-MOV-1431xSly & The Family Stone
Small Talk is the seventh album by Sly and the Family Stone, released in 1974. This album was the final LP to feature the original Family Stone, which broke up in January 1975.
Singles include Time For Livin' (the band's final Top 40 hit) and Loose Booty, an up-tempo funk track which uses the names of Bible characters Shadrach, Meshach and Abednego as a chant, sampled by the Beastie Boys on their masterpiece Paul's Boutique in 1989. Beastie Boys also covered Time For Livin' which was released on the album Check Your Head in 1992 along with a live music video augmented with skateboarding footage.
Pictured on the album cover with Sly are his then-wife Kathleen Silva and his son Sylvester, Jr.1. Small Talk
2. Say You Will
3. Mother Beautiful
4. Time For Livin'
5. Can't Strain My Brain
6. Loose Booty
7. Holdin' On
8. Wishful Thinkin'
9. Better Thee Than Me
10. Livin' While I'm Livin'
11. This Is Love$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Body Talk (Speakers Corner)
Just listen to the first thirty seconds of this LP and you know that it's all about the 'Godfather of Soul' - the unique James Brown.
But it's just as obvious that such a great artist as George Benson doesn't just present "Greatest Hits" in a new guise. Six of his own compositions plus one by Donny Hathaway/Gene McDaniels provide the guitarist and singer with a great platform to launch from. He shoots off into orbit, accompanied by first-class guest soloists such as Jon Faddis, Frank Foster, Earl Klugh and Jack DeJohnnette. Ron Carter's bass doesn't boom in the low register but offers a light and airy, yet solid, base.
Body Talk is by no means the declaration of a world-shaking, new and avant-garde jazz. It is, however, a successful blend of jazz, soul and fusion. And when such a superb arranger as Pee Wee Ellis has his finger in the pie - or rather: his pen on the manuscript paper - then one can be sure that the almost 50-minute-long LP is a great success from beginning to end. Finally, one shouldn't forget the helping hand of the producer Creed Taylor, who made a significant contribution to this milestone on the CTI label.
- George Benson (guitar, vocal)
- Frank Foster (tenor saxophone)
- Gerald Chamberlain, Dick Griffin (trombone)
- Jon Faddis, John Gatchell, Waymon Reed (fluegel horn, trumpet)
- Harold Mabern (electric piano)
- Earl Klugh (guitar)
- Ron Carter, Gary King (bass)
- Jack DeJohnette (drums)
- Mobutu (percussion)
Recording: July 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder
Production: Creed Taylor
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Dance
2. When Love Has Grown
4. Body Talk
5. Top Of The World$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-UNI-0188xOf Monsters And Men
My Head Is An AnimalOf Monsters and Men is an amiable group of day dreamers who craft folkie pop songs. With the Icelandic group's bright, trumpeting single Little Talks winning over one blog at a time, Nanna Bryndis Hilmarsdottir and her bandmates (co-singer/guitarist Ragnar Raggi Þórhallsson, guitarist Brynjar Leifsson, drummer Arnar Rósenkranz Hilmarsson, piano/accordion player Árni Guðjónsson, and bassist Kristján Páll Kristjánsson) are well on their way to becoming citizens of the world.
Nanna, who began as the acoustic act Songbird, recruited extra hands to bolster her sound for a solo show. She liked how her vocals commingled with Raggi's, so they started writing songs together and in 2010 morphed into Of Monsters and Men. As victors of 2010's Músiktilraunir, the new group earned a slot on the influential Iceland Airwaves festival later that year, followed by Seattle's radio station KEXP posting Little Talks from a Living Room Session filmed there, setting the telltale ripple effect in motion. By the summer of 2011 Little Talks hit #1 in the band's native country, and people around the world seemed to be listening to us, marvels Raggi. The band was asked to perform again at Iceland Airwaves 2011, where KEXP then anointed the group as easily the most buzzed about band.
Though their reach is growing broader, the group's appeal has remained distinct. Their music is as fantastical as it is pretty. For inspiration, they often reference random stories they've read. The chanting, tribal Six Weeks was inspired by the true tale of American frontiersman Hugh Glass, seemingly left for dead after a bear attack. As for the swelling, epic From Finner, it's about a whale that has a house on its back says Raggi on which people travel across the ocean, exploring different places and having adventures. Little Talks, explores loneliness and insanity, while Love Love Love ruefully ruminates on heartbreak. If you listen to the lyrics, they're not as uplifting, he says. But our music is meant to be fun to sing along to.
Their full-length debut, My Head Is an Animal immediately reached #1 in their native Iceland and will now see its worldwide release via Universal Records. The album features production by Of Monsters and Men, Aron Amaarsson and Jacquire King (Kings of Leon, Modest Mouse, Cold War Kids) while Craig Silvey (Florence + The Machine, Arcade Fire) handled mixing duties. My Head Is An Animal sounds like a dream and its pure bliss to listen to!1. Dirty Paws
2. King and Lionheart
3. Mountain Sound
4. Slow and Steady
5. From Finner
6. Little Talks
7. Six Weeks
8. Love Love Love
9. Your Bones
12. Yellow Light$34.99Vinyl LP - Sealed Buy Now
ADAD-GHO-7001xXeno & Oaklander
Topiary (Colored Vinyl)Half-Moon Vinyl (Half Black, Half Transparent)
Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
themes of arcana and electricity.
The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
fashioned into forms, shrubs and trees are turned into semblances of abstract and
natural shapes - nature imitating nature, much to the delight of dreamers and
romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
journey through the manifold hallways of electro magnetic architecture and
The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
of blaring synthetic horns and organs.
Known for their signature analog synth sound, Xeno & Oaklander have been
quoted as referring to their synths as elemental: fire is what powers energy,
voltage and electricity. Electro magnetism is electric energy, like lightning in the
sky: here it is controlled by switches and buttons, shaped by filters and
envelopes, and travels through patch cables and modules to create synthetic
creations of classical instruments: pianos, brass, guitars, percussions. The result is
orchestral and textured.
A room - a sound studio is often referred to as 'the room': it has a sound, a history,
and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
their entire arsenal of synths into the Clubhouse array of analog outboard gear.
They used their signature style of recording: the album was recorded as a live
session, but this time in a bracketed amount of time and in one place. Everything
was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
were intent on creating a sense of dimensionality with this recording by exploring
the idea of 3D in sound: left, right, back and front as well as up and down. Room
tone is present in the recordings themselves, so that 'the room' is present in the
songs, and so that there is a trace of the space in the sound itself: making this a
unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
Metaphysics, the study of being, time and space is a long time fascination for
Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
pre-Socratic philosopher whose view on the world tipped it upside down and
inside out: he is known for his paradoxes; in short what you see is not what you
get, life is a chimera, an illusion, a matter of perception. It is this inversion that
captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
themes that permeate their lyrics and sounds.
The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
photographed through an electron microscope - what is called X-Ray crystallography.
In Liz's words what is deep inside of us is a reflection of what is above us: and
electricity runs through it all.1. Marble
2. Virtues and Vice
8. Worldling Worlds
9. Topiary II$19.99Colored Vinyl LP - Sealed Buy Now
Standing On The Verge Of Getting It On (Colored Vinyl)
Reissued On Marbled Seashore Blue Vinyl In A Deluxe Gatefold Tip-On Jacket
Originally released in 1974, Standing On The Verge Of Getting It On, is the 6th album from George Clinton's pioneering, funk-rock outfit. After a brief hiatus Standing On The Verge features the return of the blistering guitar work of Eddie Hazel, along with the consistently brilliant keyboards of future Talking Head Bernie Worrell. Another feather in the increasingly bizarre and brilliant cap of Mr. Clinton.1. Red Hot Mama
2. Alice In My Fantasies
3. I'll Stay
4. Sexy Ways
5. Standing On The Verge Of Getting It On
6. Jimmy's Got A Little Bit Of Bitch In Him
7. Good Thoughts, Bad Thoughts$23.99Colored Vinyl LP - Sealed Buy Now
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$31.99Colored Vinyl LP - Sealed Buy Now
Killing Is My Business... And Business Is Good - The Final Kill (Red Vinyl) (Pre-Order)Release Date: June 8, 2018*
Pressed On 2x 180-Gram Red Colored Vinyl
New Artwork Which Finally Sees Mustaine's Original Vision Fully Realized As An Actual Sculpture
Brilliant Remix By Mark Lewis (Trivium, Devil Driver, Whitechapel) Which Restores Previously Unheard Parts And Performances, Allowing You To Experience This Album With A Whole New Level Of Details And Notably Increased Sonic Force
Remastered By Ted Jensen For An Optimal Listening Experience
Featuring An Introduction By Mustaine, Live Recordings Covering All Album Songs, And The Original 1984 "Skull Beneath The Skin" Demo
The story of Dave Mustaine's fights with Metallica, which ultimately led to the birth of his own band MEGADETH is basic knowledge of every metal head out there and nothing that's necessary to revisit when talking about the debut assault "Killing Is My Business...And Business Is Good!". It was, is and forever will be one hell of an aggressive, no-holds-barred, maniacal speed/thrash record that now returns in its ultimate version! From the new artwork, which finally sees Mustaine's original vision fully realized as an actual sculpture to the brilliant remix by Mark Lewis (Trivium, Devil Driver, Whitechapel), which restores previously unheard parts and performances, allowing you to experience this album with a whole new level of details and notably increased sonic force. Featuring an introduction by Mustaine, live recordings covering all album songs and the original 1984 "Skull Beneath The Skin" demo, the 2018 edition of "Killing Is My Business...And Business Is Good!" is a must for each and every MEGADETH fan! Now, rattle your goddamn head!
*Please note that release dates are subject to change.LP 1
1. Last Rites / Loved to Deth (Remastered)
2. Killing Is My Business...And Business Is Good! (Remastered)
3. The Skull Beneath the Skin (Remastered)
4. Rattlehead (Remastered)
5. Chosen Ones (Remastered)
6. Looking Down the Cross (Remastered)
7. Mechanix (Remastered)
8. These Boots (Remastered)
1. Last Rites / Loved to Deth (live) (1987 London, UK)
2. Killing Is My Business...And Business Is Good! (live) (1986 Denver, CO)
3. The Skull Beneath the Skin (live) (1990 London, UK)
4. Rattlehead (live) (1987 Bochum, Germany)
5. Chosen Ones (live) (1986 Denver, CO)
6. Looking Down the Cross (live) (1986 Denver, CO)
7. Mechanix (live) (1986 Denver, CO)
8. Last Rites / Loved to Deth (demo) (Remastered)
9. The Skull Beneath the Skin (demo) (Remastered)
10. Mechanix (demo) (Remastered)$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Wild Things Run Fast (Awaiting Repress)Wild Things Run Fast is Joni Mitchell's eleventh studio release and her first for Geffen Records. Released in 1982, it represents her departure from jazz to a more '80s pop sound. The more rhythmic nature of the music on this album was influenced by Steely Dan, Talking Heads and The Police. Featured artists include Wayne Shorter, James Taylor and Lionel Richie. Mastered by Bernie Grundman from the original analogue master tapes.
This title is not eligible for discount.1. Chinese Cafe/Unchained Melody
2. Wild Things Run Fast
3. Ladies Man
4. Moon At The Window
5. Solid Love
6. Be Cool
7. (You're So Square) Baby, I Don't Care
8. You Dream Flat Tires
9. Man To Man
10. Underneath The Streetlight
11. Love$59.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed AWAITING REPRESS Buy Now
PrintsThis duo consists of multi-instrumentalist Kenseth Thibideau (Tarentel, Sleeping People, Pinback) and Zac Nelson (Who's Your Favorite Son God). Merging the eclectic instrumentation of Talking Heads with the ethereal vocals of Peter Gabriel, the two mingle the precision of Brian Eno with the jubilance of Brian Wilson. Unvarnished performances and otherworldly themes. The lyrics create a lucid, dreamlike environment, marrying disparate images into fantastic and sometimes comical scenarios. "Prints" is that rarest of pop records, consistently rewarding with repeated listens.
2.Too Much Water
6.I Wanna Know
7.All We Knead
8.End$14.99Vinyl LP - Sealed Buy Now
O Soundtrack My HeartPivot is a rare combination of the emotive and cerebral, harnessing the raw garage energy of three explosive musicians along-side intensive studio production. Part prog-warrior, part slacker geek, the band's music and approach provide something much needed in the world of music. Pivot's sound exudes an omnipresent sense of melodrama and what can only be described as a sort of 'apocalyptic joy.' For fans of The Talking Heads and Vangelis.1 - October
2 - In The Blood
3 - O Soundtrack My Heart
4 - Fool In Rain
5 - Sing, You Sinners
6 - Sweet Memory
7 - Love Like I
8 - Didn't I Furious
9 - Epsilon
10 - Nothing Hurts Machine
11 - My Heart Like Marching Band$19.99Vinyl LP - 2 LPs Sealed Buy Now
LoveAvailable On Vinyl For The First Time
Mastered For Vinyl At 96 Khz/24-bit From 1/2 Inch Analog Tape By The Famous Stan Ricker
Gatefold Jacket, 11 X 22 Insert
Pressed On 180 Gram Audiophile Vinyl
''Imagine the anthemic power of Iron Maiden, the ambitious pop of Joshua Tree-era U2, and the energetic tension of Sunny Day Real Estate all thrown together in a blender and you can begin to understand where Juliana Theory is coming from.'' - Allmusic
First ever vinyl pressing of The Juliana Theory's third album, Love. Mastered for vinyl at 96 kHz/24-bit from 1/2 inch analog tape and features two bonus tracks.
Produced by Jerry Harrison of Talking HeadsBring It Low
Do You Believe Me
Shell of a Man
Jewel To Sparkle
The Hardest Things
Into the Dark
As It Stands
Before I Go
The Black Page$32.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
Imperial (Awaiting Repress)Imperial was both his finest work to date and his best received. The brief, breathless album showcases his nearpeerless technical skill along with a newfound maturity in his songwriting. "I was going through a dark time," Curry says now of the time that birthed Imperial. So he challenged himself to find a radical level of transparency. "The whole theme of that tape is just being honest--exposing myself before anybody else does, talking about my past, talking about where I'm heading to."1. ULT
3. Sick & Tired
4. Knotty Head
5. Me Now
6. Story: No Title
7. This Life
9. Good Night
10. If Tomorrow's Not Here$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
REDI-HYD-0717xOld Man Gloom
Meditations In BMeditations in B. A simpler time. Like Pepperidge Farms, and Little House on the Prairie. Two beautiful young men (Aaron Turner and Santos Montano) set off on their own, in the peak of their sexual virility, to forge a new path in brutally sludgy, crushing, apocalyptic, post-metal, post-hardcore, pre-Y2K, post-math, pre-friendster, post-rock riffs. It was a magical time, before they added a few session players. Still regarded by some (mostly the guys who played on it) as Old Man Gloom's finest hour. Fun fact: Meditations in B was written in one afternoon, then recorded AND mixed in 12 hours! While many things in this text are only kinda true, that is absolutely true. They also had the privilege of recording it in their home town of Santa Fe, New Mexico at Stepbridge Studios. Within months of this, they used this monumental piece of music to convince Nate Newton (Converge) to join, and once they had him, it was a little easier to convince Caleb Scofield (Cave In) to join. It's kinda like the beginning of Bill and Ted, where the talk about getting Eddie Van Halen to join, but won't be good until he joins, but can't get good 'til he joins, to convince him to join. Get it? Fantastic.1. Afraid Of
2. Flood I
3. Simian Alien Technology: Message Recieved
4. Sonic Wave of Bees
5. Sonar Enlightenment Program
6. Rotten Primate
7. The Exploder Whale
9. An Evening at the Gentlemen's Club for Apes
11. Test Results: Alien Ape Distress Signal
12. Flood II
13. Resolving the de-Evolution Conflict$19.99Vinyl LP - Sealed Buy Now
20th Century Women (Music From The Motion Picture)Director Mike Mills first made his mark on the silver screen with the Academy Award-winning film Beginners, but his back catalog is also filled with a number of music videos, including those for songs by Everything But The Girl ("Temperamental"), Moby ("Run On"), Air ("All I Need"), Mansun ("Legacy"), Pulp ("Party Hard"), and Air ("Sexy Boy"). His appreciation of music also extends to the soundtracks of his films, and with 20TH CENTURY WOMEN, his latest cinematic endeavor, he's managed to put together one of the most musically diverse compilations in recent memory.
This is not praise derived from a desire to play up new product. This is simply the reality of the situation. How else to describe a compilation which sandwiches "Basin Street Blues," by Louis Armstrong & His Hot Five between tracks by Talking Heads and The Raincoats? We're talking about a musical landscape which finds Fred Astaire, Benny Goodman, and Rudy Vallee rubbing elbows with Siouxsie and the Banshees, Devo, and the Buzzcocks. It shouldn't work, and yet somehow it does.1. "Don't Worry About The Government" - Talking Heads
2. "Fairytale In The Supermarket" - The Raincoats
3. "Media Blitz" - Germs
4. "Cheree" - Suicide
5. "D.J." - David Bowie
6. "Gut Feeling/(Slap Your Mammy)" - Devo
7. "The Big Country" - Talking Heads
8. "Basin Street Blues" - Louis Armstrong & His Hot Five
9. "This Heart Of Mine" - Fred Astaire
10. "In A Sentimental Mood" - Benny Goodman And His Orchestra
11. "After Hours On Dream Street" - Sandy Williams
12. "As Time Goes By" - Rudy Vallee & His Connecticut Yankees
13. "Why Can't I Touch It?" -The Buzzcocks$21.99Vinyl LP - Sealed Buy Now