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The Man Comes Around

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  • Band of Brothers Band of Brothers Quick View

    $24.99
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    Band of Brothers

    IN A CELEBRATED CAREER
    that's extended over a half century,
    Willie Nelson is immediately recognizable as one of our nation's most
    celebrated singer-songwriters. After almost two decades, he's putting both of
    those unique talents together with an
    all-new album of predominantly original
    material, titled, Band Of Brothers.


    Willie Nelson's musical gifts ring as
    true as ever, and they're brilliantly
    captured on this brand new album. 14
    new recordings, nine of which feature
    new music and lyrics written by Willie,
    comprise in one of his most personal
    albums in years. The man who penned
    elegant country standards from "Crazy"
    to "Funny How Time Slips Away" is
    in rare form with deeply introspective
    tracks including "The Wall" and "Send
    Me A Picture." Elsewhere, songs like
    the rollicking "Wives And Girlfriends"
    and "Used To Her" prove his continued
    gift for wit and wisdom when it comes
    to affairs of the heart. Willie also
    delivers signature interpretations of
    Vince Gill's "Whenever You Come
    Around", Billy Joe Shaver's "The Git
    Go" (a duet with Jamey Johnson)
    and Billy Anderson's aptly-titled
    "Songwriter". Buddy Cannon returns
    as producer and co-writer, having
    collaborated with Willie on all four of
    his albums for Legacy.


    Band Of Brothers comes hot on
    the heels of a whirlwind of activity
    surrounding the legendary performer,
    already a Lifetime Achievement
    Grammy Award winner, a Kennedy
    Center honoree and one of the rst
    recipients of a lifetime achievement
    award from the National Academy
    of Popular Music. Nelson, whose
    association with the Sony Music family
    goes back to his 1964 signing to RCA
    Records and an extraordinary stint with
    Columbia Records from 1975 to 1993,
    signed to Legacy Recordings in 2012,
    releasing the acclaimed Heroes that
    same year, followed by Let's Face The
    Music And Dance (2013), a collection
    of pop, jazz and country standards.
    To All The Girls..., a collection of new
    duets with eighteen female duet
    partners, was released in October
    2013, becoming Nelson's first Top 10
    placement on the pop charts in over
    30 years. Having turned 80 last year,
    Willie shows no signs of slowdown,
    continuing to tour and record at the
    pace of a man half his age.

    1. Bring It On
    2. Guitar In The Corner
    3. The Wall
    4. Whenever You Come Around
    5. Wives And Girlfriends
    6. I Thought I Left You
    7. Send Me A Picture
    8. Used To Her
    9. The Git Go (with Jamey Johnson)
    10. Band Of Brothers
    11. Hard To Be An Outlaw
    12. Crazy Like Me
    13. The Songwriter
    14. I've Got A Lot Of Traveling To Do
    Willie Nelson
    $24.99
    Vinyl LP - Sealed Buy Now
  • American IV: The Man Comes Around American IV: The Man Comes Around Quick View

    $34.99
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    American IV: The Man Comes Around

    On first thought, the idea of the Man in Black recording such covers as Bridge over Troubled Water, Danny Boy, and The First Time Ever I Saw Your
    Face might seem odd, even for an artist who's been able to put his personal stamp on just about everything. But American IV: The Man Comes Around,
    which also draws on Cash's original songs as well as those by Nine Inch Nails (Hurt), Sting (I Hung My Head), and Depeche Mode (Personal Jesus),
    may be one of the most autobiographical albums of the 70-year-old singer-songwriter's career. Nearly every tune seems chosen to afford the ailing giant
    of popular music a chance to reflect on his life, and look ahead to what's around the corner. From the opening track--Cash's own The Man Comes
    Around, filled with frightening images of Armageddon--the album, produced by Rick Rubin, advances a quiet power and pathos, built around spare
    arrangements and unflinching honesty in performance and subject. In 15 songs, Cash moves through dark, haunted meditations on death and
    destruction, poignant farewells, testaments to everlasting love, and hopeful salutes to redemption. He sounds as if he means every word, his baritonebass,
    frequently frayed and ravaged, taking on a weary beauty. By the time he gets to the Beatles' In My Life, you'll very nearly cry. Go ahead. He
    sounds as if he's about to, too. Unforgettable. --Alanna Nash


    This is the fourth in a series of collaborations between the original Man in Black, Johnny Cash, and producer Rick Rubin. The Man Comes Around
    features new Cash compositions as well as a diverse array of cover songs, including Nine Inch Nails Hurt, Hank Williams I'm So Lonesome I Could
    Cry, and Paul Simon's Bridge Over Troubled Waters. He duets with Don Henley on Desperado.

    1. The Man Comes Around
    2. Hurt
    3. Give My Love To Rose
    4. Bridge Over Troubled Water
    5. I Hung My Head
    6. First Time Ever I Saw Your Face
    7. Personal Jesus
    8. In My Life
    9. Sam Hall
    10. Danny Boy
    11. Desperado
    12. I'm So Lonesome I Could Cry
    13. Tear Stained Letter
    14. Streets of Laredo
    15. We'll Meet Again
    Johnny Cash
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Man Comes Around The Man Comes Around Quick View

    $8.99
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    The Man Comes Around

    The Man Comes Around is the title track from Johnny Cash's American IV: The Man Comes Around. It is the last song Cash wrote before his death. The
    song was listed as one of the best songs of the 2000s by Pitchfork Media. Both sung and spoken, the song makes numerous Biblical references,
    especially to the Book of Revelation.
    1. The Man Comes Around
    2. Personal Jesus
    Johnny Cash
    $8.99
    7 Vinyl Single - Sealed Buy Now
  • Searching For Sugar Man Searching For Sugar Man Quick View

    $27.99
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    Searching For Sugar Man

    The story remains one of the music world's most unusual tales of the 1970s: an obscure debut LP by a Detroit singer-songwriter becomes a source of hope and inspiration to the anti-Apartheid movement in South Africa. Now, the story of Rodriguez and his cult album Cold Fact is the basis for Searching For Sugar Man, a riveting new documentary by filmmaker Malik Bendjelloul. Light In The Attic Records in partnership with Sony Legacy are honored to announce the release of the original motion picture soundtrack, comprising tracks from Cold Fact and its 1971 follow-up Coming From Reality - both reissued in 2008 and 2009 by Light In The Attic. The soundtrack begins with the otherworldly "Sugar Man" and acts as a primer to this long-overlooked musician's fusion of gritty funk, political poetry and blissful psych-folk.


    Searching For Sugar Man, a Red Box Films & Passion Pictures Production in association with Canfield Pictures & The Documentary Company, distributed by Sony Pictures Classics in the U.S., was a big hit at this year's Sundance Film Festival where it won the world documentary audience award and a special jury award, and then went on to screen at SXSW, Tribeca, and the Sheffield Doc Fest. The film opens in New York, Los Angeles, and London (via Studio Canal) on July 27th and will play in other cities throughout the coming months. For a complete release schedule, visit the film's website: www.SearchingForSugarManMovie.com.


    Back in the late '60s, Rodriguez was discovered in a Detroit bar by renowned producers Dennis Coffey and Mike Theodore. They recorded a 1970 album that they believed was going to secure his reputation as one of the greatest recording artists of his generation. Instead, Cold Fact bombed, and despite the release of a second LP, entitled Coming From Reality and produced by Steve Rowland, Rodriguez drifted into obscurity, even being subject to some fantastic rumors of a dramatic onstage death.


    Cold Fact took on a life of its own when a bootleg recording found its way into apartheid-era South Africa. Banned by the government, the album became a country-wide phenomenon over the next two decades, and the soundtrack to a resistance movement of liberal African youth. Back in Detroit, working in construction and renovation (he also ran for mayor), Rodriguez was totally unaware that he was not just a folk hero but a household name thousands of miles away.


    Decades later, two South African fans, Stephen 'Sugar' Segerman and Craig Bartholomew-Strydom set out to find out what really happened to their hero, and their investigation led them to a story more extraordinary than any of the many myths they'd heard. Their story forms the basis of Searching For Sugar Man.


    Both sides of the story, Rodriguez's life in Detroit and the subsequent impact of his music in South Africa, proved fascinating to Stockholm-based documentary filmmaker Malik Bendjelloul. His short documentary films for Swedish Television's international cultural weekly show Kobra became the basis for such films as Men Who Stare At Goats (George Clooney) and The Terminal (Tom Hanks). The evolution of the financing, production, and filming of Searching For Sugar Man is as fascinating and complex as the life of Rodriguez himself.


    "I describe myself as 'musico-politico'," Rodriguez said recently. "I was born and bred in Detroit, four blocks from the city center. Back then, I was influenced by the urban sounds that were going on around me all the time. Music is art and art is a cultural force. As far as my work from Detroit comparing to the South African Apartheid, the similarities echo. The placards of the 1970s in the United States read things like: We Want Jobs and Stop the War - I was looking at the music from a working class perspective that was relevant, as it turns out, to the kids in South Africa."

    1. Sugar Man
    2. Crucify Your Mind
    3. Cause
    4. I Wonder
    5. Like Janis
    6. This Is Not A Song, It's an Outburst: Or, The Establishment Blues
    7. Can't Get Away
    8. I Think of You
    9. Inner City Blues
    10. Lifestyles - Sandrevan Lullaby
    11. Street Boy
    12. A Most Disgusting Song
    13. I'll Slip Away
    14. Jane S. Piddy
    Rodriguez
    $27.99
    180 Gram Audiophile Virgin 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
  • Manley Mahi Amplifier Manley Mahi Amplifier Quick View

    $4,900.00
    Buy Now
    x

    Manley Mahi Amplifier

    6moons


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Handcrafted in the USA


    These cute little guys produce around 40 watts RMS in Ultra-Linear mode or around 20 watts in TRIODE from a quartet of EL84 / 6BQ5 tubes driven by a 6414 dual triode driver and a 12AT7EH input dual triode. The EL84 has been one of our very favorite tubes for many years, extremely long lasting and reliable, and can be considered the smaller brother of the much beloved EL34: really quick-sounding both in the bass and especially in the top end. And of course this has a lot to do with our Manley Output transformer, the same one we build for the Manley Stingrays.


    We have been building EL84 amplifiers for well over a decade. The Manley-branded Tiny Triodes were much acclaimed in the early 1990's. In 1993 after the Manley company split off from VTL, the Manley Tiny Triodes underwent a chassis rework to become the Manley 35 watt Monoblocks soon followed by the 50 Watt Monoblocks. The more powerful Ultra-Linear mode operation became the standard with hard-wired Triode operation or Triode/UL switching available upon special request.


    After the introduction of the Stingray Integrated amplifier in 1998, we then went back and incorporated the Stingray's new circuitry design refinements into the 50 Watt Monoblocks. Finally, big bass out of a small amplifier! So, topology-wise, the post-1998 50 watters were the monoblock version of the stereo Stingray, with the additional variable feedback feature. After the introduction of the fabulous Manley Snappers in 2002, it was obvious that we had to update our classic EL84 50 watt monoblocks both cosmetically and feature-wise. Make-over time!


    Everyone was always asking us for Triode/Ultra-Linear switching. We listened to your requests and feature the Triode-UL switch as standardequipment on the MAHI's. As are the beautiful german WBT binding posts. Also we increased the B+ rail capacity in a major way. The 50 Watt monos only had around 45 Joules or energy storage in the B+ rail. Now the MAHI's have nearly 115 Joules of energy storage for the B+ rail. You can hear this improvement in the especially in the bass region: tighter, faster, deeper. More is more in this case.


    The chassis design is like a mini-Snapper. They are so cute! And of course they come standard as a pair so you get.... Mahi-Mahi.


    We believe the MANLEY MAHI's give a lot of value for an affordable price and we think you will be surprised at just how big these little guys sound. You have no idea how fabulous these amplifiers are.


    Manley Labs
    $4,900.00
    Manley Mahi Amplifier Buy Now
  • All American Made All American Made Quick View

    $17.99
    Buy Now
    x

    All American Made

    A lot can change in a year: markets boom and bust, trends come and go, presidents
    get elected. In 2015, Margo Price was a country underdog just trying to keep
    enough gas in the tank to get to the next gig, but by the end of 2016, she was one
    of the genre's most celebrated new artists and a ubiquitous presence on late night
    television and at major festivals around the world.


    It's the kind of year most musicians can only dream of, and the arrival of Price's
    spectacular sophomore album, "All American Made," proves that she hasn't taken a
    moment of it for granted. Delivering on the promise of her debut and then some, the
    record finds Price planting her flag firmly in the soil as a songwriter who's here for
    the long haul, one with the chops to hang with the greats she so often finds herself
    sharing stages with these days.


    A prolific writer with a knack for candid self-reflection, Price has never had to look
    too far for inspiration, and on 'All American Made,' she and her songwriting partner/
    husband, Jeremy Ivey, continue to depict the trials of everyday life with unflinching
    honesty, painting poetically plainspoken portraits of men and women just trying to
    get by.


    Highs and lows, long nights and hard days, wild women and cocaine cowboys,
    politics and sexism, it's all in there, singularly filtered through Price's wry, no-bullshit
    perspective. Throughout the album, her contemporary take on classic sounds is at
    once familiar and daring, an infectious blend of Nashville country, Memphis soul,
    and Texas twang that tips its cap to everyone from Waylon and Willie (who makes
    a guest appearance) to Loretta and Dolly, all while flipping a middle finger to the
    cookie-cutter pop that dominates modern country radio. Rich with swirling pedal
    steel, honky-tonk rhythms, and Price's stop-you-in-your-tracks vocals, 'All American
    Made' is deeply reverent of tradition even as it challenges conventions, a nuanced
    exploration of conflicted emotions for our deeply conflicted times.

    1. Don't Say It
    2. Weakness
    3. A Little Pain
    4. Learning to Lose
    5. Pay Gap
    6. Nowhere Fast
    7. Cocaine Cowboys
    8. Wild Women
    9. Don't Say It
    10. Do Right By Me
    11. Loner
    12. Don't Say It
    Margo Price
    $17.99
    Vinyl LP - Sealed Buy Now
  • Manley Mahi Amplifier (Open Box) Manley Mahi Amplifier (Open Box) Quick View

    $3,699.00
    Buy Now
    x

    Manley Mahi Amplifier (Open Box)

    6moons


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Open Box


    Handcrafted in the USA


    These cute little guys produce around 40 watts RMS in Ultra-Linear mode or around 20 watts in TRIODE from a quartet of EL84 / 6BQ5 tubes driven by a 6414 dual triode driver and a 12AT7EH input dual triode. The EL84 has been one of our very favorite tubes for many years, extremely long lasting and reliable, and can be considered the smaller brother of the much beloved EL34: really quick-sounding both in the bass and especially in the top end. And of course this has a lot to do with our Manley Output transformer, the same one we build for the Manley Stingrays.


    We have been building EL84 amplifiers for well over a decade. The Manley-branded Tiny Triodes were much acclaimed in the early 1990's. In 1993 after the Manley company split off from VTL, the Manley Tiny Triodes underwent a chassis rework to become the Manley 35 watt Monoblocks soon followed by the 50 Watt Monoblocks. The more powerful Ultra-Linear mode operation became the standard with hard-wired Triode operation or Triode/UL switching available upon special request.


    After the introduction of the Stingray Integrated amplifier in 1998, we then went back and incorporated the Stingray's new circuitry design refinements into the 50 Watt Monoblocks. Finally, big bass out of a small amplifier! So, topology-wise, the post-1998 50 watters were the monoblock version of the stereo Stingray, with the additional variable feedback feature. After the introduction of the fabulous Manley Snappers in 2002, it was obvious that we had to update our classic EL84 50 watt monoblocks both cosmetically and feature-wise. Make-over time!


    Everyone was always asking us for Triode/Ultra-Linear switching. We listened to your requests and feature the Triode-UL switch as standardequipment on the MAHI's. As are the beautiful german WBT binding posts. Also we increased the B+ rail capacity in a major way. The 50 Watt monos only had around 45 Joules or energy storage in the B+ rail. Now the MAHI's have nearly 115 Joules of energy storage for the B+ rail. You can hear this improvement in the especially in the bass region: tighter, faster, deeper. More is more in this case.


    The chassis design is like a mini-Snapper. They are so cute! And of course they come standard as a pair so you get.... Mahi-Mahi.


    We believe the MANLEY MAHI's give a lot of value for an affordable price and we think you will be surprised at just how big these little guys sound. You have no idea how fabulous these amplifiers are.

    Demo Discounts
    $3,699.00
    Manley Mahi Amplifier (Open Box) Buy Now
  • Woodstock Woodstock Quick View

    $19.99
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    Woodstock

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

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

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

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

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

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

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

    $18.99
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    Welcome To Success

    What is success? And what's left after the party's over? Backed by the lush, vivid beats of Canadian producer Factor, Bay Area emcee Kirby Dominant ponders the perils of self-actualization on their third LP together as Paranoid Castle. Are the trappings of success smoke screens for inner turmoil or are they success itself? Do the drugs and women provide joy or fleeting escape? How long can one keep clawing out at temporary pleasures in the wake of unresolved anguish? Kirby's narratives reflect upon these and a host of other grown man queries. And if the answers don't come, what does come, is hope. "If the sun comes back to town, I want to be around," Kirby sings on the catchy, ebullient hook to "Fear of Missing Out." He maintains his sense of humor in the face of being broke on "Laugh Out Loud," drops a hilarious one-liner here and there on "Cemetery," and ands traces of positivity through gritted teeth. Welcome To Success, the culmination of a 13-year working relationship, showcases two seasoned vets playing on each other's strengths and making a grand artistic statement. Kirby continues to sharpen his delivery and singing chops with each release, often rapping and crooning on the same track and shifting moods between verse and chorus. Incorporating live instrumentation and samples, Factor's dynamic beats accentuate the emcee's ruminations while making statements of their own. Welcome To Success is grown man music, unafraid to ask painful questions and wise enough to make you laugh if you don't like the answers.
    1. Welcome To Success
    2. I Don't (Really Miss You)
    3. I Know I Know
    4. Cemetary
    5. Fantastic Song
    6. Fear Of Missing Out
    7. Meditate Feat. Myka 9
    8. I Got It For You
    9. Wait For Me
    10. Laugh Out Loud
    Paranoid Castle
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Phosphorescent Blues The Phosphorescent Blues Quick View

    $39.99
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    The Phosphorescent Blues

    \After working with Burnett numerous times-most recently on the soundtrack for the Joel and Ethan Coen film Inside Llewyn Davis and the related Town Hall/Showtime concert Another Day, Another Time-Punch Brothers decided to join forces with the multiple Grammy Award-winning producer for their new record. Last summer, the band and Burnett spent a month at Hollywood's Ocean Way Recording laying down the songs that guitarist Chris Eldridge, bassist Paul Kowert, banjo player Noam Pikelny, mandolinist and lead singer Chris Thile, and fiddler Gabe Witcher had written during several writing "retreats" last winter and spring.


    Thile explains one of the ways the music on The Phosphorescent Blues reflects the band's view of modern life: "We often go to bars after shows or writing sessions, to be around other people for a little while. And I'd see people just like me on their phones, telling people they wish they were there, texting people who really are there. Then a song would come on that somebody likes and then they see that someone else does too and maybe they both sing it together and that moment is spiritual, some shared experience, and they are interacting in the flesh, with their fellow man. And that's communion. Many of the songs on this record dive into that: how do we cultivate beautiful, three-dimensional experiences with our fellow man in this day and age?"


    Shortly before the sessions began, Thile and Witcher met with Burnett and discovered the producer had the very same things on his mind. In fact, he'd just given a commencement address at the University of Southern California on the subject of technology and human interaction. Witcher remembers, "Thile and I looked at each and said, 'This is unbelievable. It's exactly what we are writing about.' So this was a perfect, serendipitous union."

    LP 1
    1. Familiarity
    2. Julep
    3. Passepied (Debussy)
    4. I Blew It Off
    5. Magnet
    6. My Oh My


    LP 2
    1. Boll Weevil
    2. PrÉlude (Scriabin)
    3. Forgotten
    4. Between 1st and A
    5. Little Lights
    6. Sleek White Baby
    7. Clementine
    8. The Hops of Guldenberg
    9. The Wireless

    Punch Brothers
    $39.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Full Circle Nightmare (Pre-Order) Full Circle Nightmare (Pre-Order) Quick View

    $19.99
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    Full Circle Nightmare (Pre-Order)


    Ever since his debut album Dolls of Highland was
    released on Sub Pop in 2016, Kyle Craft has been
    a critic's dream. Based in Portland, he serves up
    all the observational, storytelling talent with none
    of the attitude that so often comes with male
    singer-songwriter territory. "I've found my place,"
    he says. "I'm not one of those people that
    approaches music for anyone other than myself.
    My favorite part about music is when it's just me
    and a notebook." Speaking of, his second
    forthcoming album Full Circle Nightmare is
    entirely autobiographical. Sonically, thematically,
    lyrically, it's a huge leap forward from his 2016
    release.


    The title Full Circle Nightmare refers to a moment
    where Craft saw his life for what it is and told
    himself to be satisfied. "But that's nightmarish to
    me," he laughs. He described his debut record as:
    "like walking down this long hall of bizarre
    characters and surreal experiences, moving
    through the spider web of love and loss." This
    album is when you get to the end of that hallway,
    turn around and see all the stuff you've been
    through, then walk through the door, close it and
    start a new chapter in an even crazier hallway. A
    straight-up rollicking rock'n'roll album, it traverses
    all the different nuances of the genre; from the
    bluegrass twang of 'Exile Rag,' to the gothic style
    of 'Gold Calf Moan,' it's a timeless piece that could
    exist in any of the past five decades.


    In terms of contemporary peers, Craft likes to stay
    in his own lane. He's an old soul who sticks to his
    tried and tested influences. Social media is not
    his game - it's just not interesting to him. He's not
    fussed about preaching his politics or discussing
    the status quo either. "I don't really like writing a
    time piece. I don't wanna get trapped in the
    'Donald Trump era of Kyle Craft,' you know? I'm a
    very off-the-grid sort of person. As much as I am
    traveling across this giant place sometimes I just
    feel so outside of it. Also, I'm not necessarily a
    stand-up citizen so it's hard for me to say: here's
    Kyle Craft's America, ladies and gentlemen."
    The ironic thing is that Full Circle Nightmare
    sounds exactly like Kyle Craft's America. That is
    what he's built for us: the story of one man's trials
    and tribulations to find his passion and voice for
    art and creativity in this vast opportunistic
    country. Where did he find it? Among the historic
    riches of America's most honest sounds.

    1. Fever Dream Girl
    2. Full Circle Nightmare
    3. Heartbreak Junky
    4. The Rager

    5. Exile Rag
    6. Belmont (One Trick Pony)
    7. Slick & Delta Queen
    8. Fake Magic Angel
    9. Bridge City Rose
    10. Gold Calf Moan
    Kyle Craft
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Hollow Bones Hollow Bones Quick View

    $17.99
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    Hollow Bones

    Hollow Bones, the most anticipated blues rock album of the year from Long Beach, California's Rival Sons will finally be upon us! Having supported some of the biggest and best names in rock history, including being hand-picked to support Black Sabbath on their final world tour, following sold out tour after sold out tour, and just recently being added to the main stages at Europe's premier festivals such as Download, Hellfest and Rock Am Ring, the Rival Sons hype train continues to gain momentum, and Hollow Bones will surely propel them to their rightful place at the pinnacle of today's rock scene!


    Arguably the most soulful voice in rock music today, Jay Buchanan's vocal performance on the album is as fiery and passionate as ever. Infused perfectly with Scott Holiday's fuzzy guitars, a powerful bassline courtesy of Dave Beste, and held together by the precise drumming of Mike Miley, and the two-times Grammy award winning talent of producer Dave Cobb, the lead single, Hollow Bones, Pt. 1 and the electrifying anthem Pretty Face encapsulate the harmonious blend that we've all come to know and love, now further refined and perfected to create a unique, timeless sound that sets the band apart.


    Of course, no Rival Sons album would be complete without a heartfelt tune or two, provided here by the raw, dark Fade Out, which showcases the band's immense songwriting capabilities with haunting melodies and a touch of wistful melancholy. The final track, All That I Want, is an incredibly tender, touching finale, with the guitars this time taking a backseat allowing Jay Buchanan to deliver a breathtaking performance that'll tug at your heartstrings in a way that only he can. The man himself offers his own views on their latest work:


    Each record we've made has been part of a distillation toward revealing the band's essence. This record, finally is the release of the unapologetic, wild beast that has long lived within the ribs of Rival Sons howling to be freed.


    In keeping with a theme the band have touched upon several times, the stunning album artwork comes courtesy of renowned Brooklyn-based artist Martin Wittfooth, who's exhibited extensively in galleries and museums throughout North America and Europe. This particular piece, entitled Rainsong, is an oil-based painting featured in his latest solo exhibition, Offering, which was displayed at the famous Jonathan LeVine Gallery, New York in late 2015.


    Through his work, Martin Wittfooth has presented a dystopian world, devoid of human life and filled with strong symbolic implications that the root cause is our own disrespect for the natural world. In contrast to some of his earlier work, which have often featured creatures removed from their own natural environments and instead surrounded by trash and decay, Offering explores the ancient art of shamanism, demonstrating a more optimistic view that perhaps its current revitalisation can peel away the materialistic obsessions through which we are collectively destroying our planet. In Martin Wittfooth's own words, the reemergence of shamanism appears to be having a great impact on consciousness around the globe by severing individual attachments to the ego-driven, ideology-based monotheistic modality that has shaped so much of the human enterprise over the past millennia.

    1. Hollow Bones, Pt. 1
    2. Tied Up
    3. Thundering Voices
    4. Baby Boy
    5. Pretty Face
    6. Fade Out
    7. Black Coffee
    8. Hollow Bones, Pt. 2
    9. All That I Want
    Rival Sons
    $17.99
    Vinyl LP - Sealed Buy Now
  • I'm Not The Devil I'm Not The Devil Quick View

    $24.99
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    I'm Not The Devil

    Cody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."


    Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."


    His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"


    Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
    There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."


    "All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
    One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."


    "No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."


    With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."


    It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."


    Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."


    It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."

    1. The Same
    2. I'm Not the Devil
    3. No Guarantees
    4. No Words
    5. Give All You Can
    6. She's All Mine
    7. The Way I Am
    8. Chase That Song
    9. Heavy Load
    10. Grey
    11. Church at Gaylor Creek
    12. Vampires
    13. Hand Me Down
    Cody Jinks
    $24.99
    Vinyl LP - Sealed Buy Now
  • Beast Beast Quick View

    $19.99
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    Beast

    Imagine a creature laying dormant beneath the earth, in an inhuman slumber since a time long forgotten. This creature reawakens, cracks up through the ground and finds a world it barely recognizes. Chaos, disorder, brutality, bloodthirst and terror are all around. Seeking to restore some sense of order to its surroundings, the creature adopts the destructive nature it witnesses in man and begins a vengeful quest for power.


    Mythology, fable and metaphor collide with "Beast", a blistering new album marking the return of DESPISED ICON. The genre-defining band is fully reawakened, poised to recapture the crown with the monstrous and merciless might of their potent expression. Featuring the men responsible for most of the band's now classic death metal catalog, "Beast" is a vicious commentary on the state of the world and the state of music itself.


    This is old school DESPISED ICON reminiscent of "The Healing Process" (2005) and "The Ills Of Modern Man" (2007), but cast through an ultra-modern lens, carrying with it the experience and driven purpose of a band secure in their identity and their legacy. Without sacrificing the creative leaps of what many feared would be their final album, "Day Of Mourning" (2009), DESPISED ICON renew their focus on the collision of dual vocals, technical wizardry, precision dexterity and massive bottom end they helped to pioneer.


    'The Aftermath' kicks off the album with brutal immediacy, encompassing the full scope of what's ahead with unrelenting attack and classic death metal flair. 'Inner Demons' will have guitar teachers and drum instructors pulling their hair out in frustrated angst, while songs like 'Bad Vibes' put the impossible sounding shred workouts on the backburner in favor of brute force. Throughout the album, deep grooves reminiscent of the best of OBITUARY, DYING FETUS, INTERNAL BLEEDING, or even BIOHAZARD pulse within the fierce aggression. There's melody to be found in songs like the French-language 'Drapeau Noir.' The dual vocal style DESPISED ICON fans love is as unrestrained as ever.


    For many extreme music fans, it may be hard to remember a time before DESPISED ICON, given the massive influence they've subsequently had on the genre. But when the group formed back in 2002 and released "Consumed By Your Poison" the same year, there was little intersection between the sounds of classic death metal and the brute force of hardcore. The "metalcore" genre had been in full swing for some time and plenty of those bands had experimented with elements of death metal. But DESPISED ICON were among the first to fully embrace the signatures of the traditional death metal formula combined with a relentless embrace of breakdowns, part of an emerging new sound.


    DESPISED ICON steadily built a following through hard touring with CRYPTOPSY, SUFFOCATION, IMMOLATION, DEICIDE, MORBID ANGEL, BEHEMOTH, HATEBREED and NAPALM DEATH. The diversity of sounds demonstrated by that list of bands is evidence of DESPISED ICON's broad appeal. Before too long, a new subgenre bubbled up from the underground, built around bands like DESPISED ICON, SUICIDE SILENCE, ALL SHALL PERISH, CARNIFEX and JOB FOR A COWBOY. Like many genre tags, "deathcore" became something of a controversial and uncomfortable albatross for many of the associated bands at various times. But the impact of what is unquestionably an exciting variation of extreme music is undeniable.


    DESPISED ICON now boldly reclaims their legacy without reservation or apology. Since the time of the band's dissolution - the result of professional burnout, the shifting priorities and responsibilities that come with adulthood and the need for a creative recharge - the group's members were able to explore different textures with groups like OBEY THE BRAVE and HEAVEN'S CRY. The time apart has only strengthened their resolve when it comes to the purity of what DESPISED ICON means to them as well as to their worldwide fans.


    From the savagely unhinged vocals to the inexhaustible pound of the blast beats, DESPISED ICON's new album is a swift reminder that this band is one of the originators of a powerful movement in extreme metal. The "Beast" is reawakened and ready to rumble. DESPISED ICON is back, ladies and gents, with no frills, no bullshit, and just total power.

    1. The Aftermath
    2. Inner Demons
    3. Drapeau Noir
    4. Bad Vibes
    5. Dedicated to Extinction
    6. Grind Forever
    7. Time Bomb
    8. One Last Martini
    9. Doomed
    10. Beast
    Despised Icon
    $19.99
    Vinyl LP - Sealed Buy Now
  • Bo Diddley Bo Diddley Quick View

    $24.99
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    Bo Diddley

    From The Original Chess/Checker Masters In Glorious Mono


    Faithful Reproduction Of The Original Artwork


    Music historians have wasted so many perfectly good words trying to explain the significance of Bo Diddley. "Bo Diddley liberated the blues from the 12-bar form and melded it to an insistent, infectious rhumba beat," they bleat. "Diddley was the progenitor of all that was to come in the evolution of rock and roll," blah blah blah blah.


    Listen: Why is eating a plateful of ribs and dripping all over your hands and clothes fun? BECAUSE IT JUST IS. Why is walking around with cotton candy in one hand and a blue, helium-filled balloon on a string in the other fun? BECAUSE IT JUST IS. Bo Diddley is fun BECAUSE HE JUST IS. Bo Diddley (the album) was rock and roll's Big Bang, dripping with sinew and grease and humor and understated swagger. The simplest ingredients - a guitar, a drum, and some maracas - were packed in a gunny sack and slung over the shoulder of some smiling guy with a slick process and a wild plaid jacket, who took it and ran headfirst into oncoming traffic. Reckless, yet crazy cool. He made it sound easy. Geniuses can do that.


    No doctoral thesis will explain Bo Diddley, the man or "Bo Diddley," the album. You won't find the answer in some scholarly article called "The Epistomological Roots of 'Diddy Wah Diddy' or something like that, in your dog-eared copy of the Journal of the American Institute of Ethnomusicology.


    Bo Diddley just is.


    Bo Diddley. (the album) is not an option, it's mandatory. We'll be imposing fines on anyone who thinks otherwise, so best to pick up a copy if for no other reason than to avoid a big hassle later on. We're not kidding.

    1. Bo Diddley
    2. I'm A Man
    3. Bring It To Jerome
    4. Before You Accuse Me
    5. Hey! Bo Diddley
    6. Dearest Darlin'
    7. Hush Your Mouth
    8. Say Bossman
    9. Diddley Daddy
    10. Diddy Wah Diddy
    11. Who Do You Love
    12. Pretty Thing
    Bo Diddley
    $24.99
    180 Gram Audiophile Vinyl LP Mono - Sealed Buy Now
  • I Robot I Robot Quick View

    $49.99
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    I Robot

    Alan Parsons Project I Robot on Numbered Limited Edition 180g 45RPM 2LP From Mobile Fidelity


    Perfectionism, Innovation, Complexities, and Reference-Grade Production Make Alan Parsons Project's Conceptual I Robot a Timeless Classic: Sci-Fi Arrangements Steeped In Drama and Moodiness


    More Music, More Information, More Detail, More Nuance, More Everything: Mobile Fidelity 180g 45RPM 2LP Set the Definitive-Sounding Analog Version of 1977 Audiophile Standard


    A Demonstration Disc for the Ages: Immaculate Highs and Lows, Supreme Spaciousness, See-Through Transparency, 3D Imaging, Wider Grooves on System-Testing Pressing


    Audiophiles needn't any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous-sounding 180g 45RPM 2LP set and the question becomes irrelevant.


    Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45RPM LP, I Robot comes to life like never before on this numbered limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this super-clean edition has been lovingly restored by Mobile Fidelity engineers with the intention of demonstrating the full-range capabilities of the world's best stereo systems. Put simply, there's more music, more information, more detail, more nuance, more everything.


    Savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, the analog masterwork is a demonstration record for the ages - the likes of which are no longer being made. Longtime fans can finally rest assured knowing they don't have to pony up hundreds of dollars for older pressings - including three prior Mobile Fidelity versions on LP and CD. This is the very reason you own and invest in high-end audio gear.


    Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record increasingly relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as The Voice call into question human behavior - and their relationship to increasing robotic supremacy - in everyday life. Sonically, Parsons reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.


    I Robot's absorbing tunes also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. Some Other Time employs two different lead vocalists and yet gives the illusion only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace Don't Let It Show. The origins of Nucleus stem from a unique analog keyboard concoction dubbed the Projectron, devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with Total Eclipse arriving as an aptly frightening track that presages the climactic Genesis Ch. 1 V. 32.


    Does man or machine win in the end? Decide with Parsons as you get lost in Mobile Fidelity's definitive pressing.


    This title is not eligible for discount.

    1. I Robot
    2. I Wouldn't Want To Be Like You
    3. Some Other Time
    4. Breakdown
    5. Don't Let It Show
    6. The Voice
    7. Nucleus
    8. Day After Day
    9. Total Eclipse
    10. Genesis Ch. 1 V.32
    Alan Parsons Project
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Eponymous Eponymous Quick View

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    Eponymous

    A supercombo team-up between Simon Lord (ex Simian) and Rafter Roberts, the Roberts & Lord duo present their Asthmatic Kitty debut, Eponymous. Roberts rough and grimy (yet complexly arranged) analog backing tracks paired with Lords clean, digitally-recorded vocals, gives these songs a tricky kind of depth that is immediately engaging.


    This effortless juxtaposition reigns throughout these 35 some-odd minutes. The album begins with Mosquito, a perfect example and touchstone of Roberts loud, garage rocky, blown-outness paired with structure well-thought-out (but never lingered upon). Simons lyrics tell the story of a mans love for a mosquito, his vocals backed by a crunchy oil-drum thunk of beats (a theme of this record.) Simons lyric writing on Mosquito sets the tone for what's to come and the tone is fun.


    Influenced by verse poets like Ivor Cutler and Edward Lear, Lord gives us a simple, light-hearted return to innocence, a goodly love for good love, the capital F feel-goodness compressed into a chorus, the sweaty exuberance of a solid dance party with all your friends around you.

    1. Mosquito
    2. Wild Berries
    3. Bottom of the Bottle
    4. Windmill
    5. Oblique
    6. Knots
    7. Menuhin
    8. Purple Doves
    9. We Rise, We Fall
    10. Interior Demon
    11. Spem
    12. The Same Love
    Roberts & Lord
    $16.99
    Vinyl LP - Sealed Buy Now
  • Falling Faster Than You Can Run Falling Faster Than You Can Run Quick View

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    Falling Faster Than You Can Run

    Well, it doesn't take long for Falling Faster Than You Can Run to reveal that Nathaniel Rateliff isn't in a very good place. His deep funk is revealed very quickly on the opening track 'Still Trying': "If you roll in it long enough/your shit won't even smell" sings Rateliff, in between crying out, unaccompanied, "I don't know/I don't know/a god damned thing".


    And that's the feeling that sticks throughout this, often very fine, new record from Denver, Colorado's Missouri-born Rateliff. On his second full-length album (dropping the & the Wheel from his name) loneliness is writ large: not the kind of loneliness from actually being along, but the kind that comes from being constantly surrounded by people yet unable to shake the feeling of complete isolation. Rateliff has toured with many, many acts over the past few years and most recently has spent time with Dr Dog and fellow Denver act (and friends) The Lumineers. Thankfully, Rateliff rarely sounds like his friends (you might say I'm not a fan) and instead writes and plays music with a lot of heart and soul. It's often his voice that's the star of the show thanks to the subtly-arranged instrumentation: part matured Kurt Wagner burr and part throat-ravaged bluesman ( a bit The Tallest Man on Earth) it's a voice you could listen to all day. But good voice is nothing without good songs, and Rateliff comes with plenty of ammunition on Falling Faster Than You Can Run.


    "Still Trying" is an arresting opener; while Rateliff's heart-wrenching roars are the highlight, the backing isn't too shabby either - acoustic guitar and bass drum battle for the spotlight on a ragged country song, and it sounds authentic, like Rateliff has lived what he's singing. And things get better quickly: "I Am" is mostly just Rateliff and his guitar, as broaches his isolation singing: "you'll never know what's buried there / less you dig around". The music swells as he sings the title over and over, following a similar pattern to the album opener. But before things get too familiar, Rateliff picks up the pace with a couple of full band numbers that could almost be considered jaunty, if we were to ignore the lyrics. "Don't Get Too Close" is fine enough and ticks over nicely like a quickstep, but "Laborman" is even better. Like Wilco at their poppiest, it flies off on crunchy and bright electric guitars which belies the lyrical content: "I got a feelin' / a sleepin' depression / that somebody's gonna get hurt", sings Rateliff, followed by "you got the harness/so where you gonna drag me now?" You can see a pattern developing here; Rateliff's stuck somewhere he doesn't want to be, lonely, but how does he get out of it? Take another look at that album cover too - a couple share a bed, an arm reaches out yet it doesn't touch the other person. It's basically a visual encapsulation of what's being sung about.


    The epic electric storm of "Forgetting Is Believing" leads a trio of great closing tracks, ending with the Lambchop-murmur of the title track. Rateliff's baritone is exposed and dusty as he sings "leave me alone/you can see me fall/faster than you can run", ending as he started the record - alone and isolated.


    Falling Faster Than You Can Run feels, through the dirt, the shit and the whisky, and despite the loneliness, like a hard-earned triumph for Nathaniel Rateliff.


    - Andrew Hannah (The Line Of Best Fit)

    1. Still Trying
    2. I Am
    3. Don't Get Too Close
    4. Laborman
    5. How To Win
    6. Nothing To Show For
    7. Right On
    8. Three Fingers
    9. Forgetting Is Believing
    10. When Do You See
    11. Falling Faster Than You Can Run
    Nathaniel Rateliff
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Circle The Circle Quick View

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    The Circle

    It's an interesting question to ask: Is that a fair dose of motivation or is that a chip on your shoulder? Jon Bon Jovi posed that question to himself, and it's worth pondering. You might think that a man whose band has sold more than 120 million records and played before tens of millions of fans in the course of an illustrious 26-year career would be content to rest on his considerable laurels, at least for a while.


    You might think that, but you'd be wrong, and the new Bon Jovi album, The Circle, provides irrefutable proof. As its title suggests, The Circle marks a powerful reassertion of Bon Jovi's commitment to the hard-hitting, uplifting rock & roll that has been the band's indelible signature since it began. The band share an abiding bond that informs and defines their music. It is a circle that remains unbroken.


    The album title, Bon Jovi explains, has several meanings. Some may say that with this album we have come full circle. Others may see The Circle as never ending. I see it as very hard to get in to and even harder to get out of, the singer says with a laugh. Having had 5 studio records in this decade, there are songs on each record that represent the world around us. And while they don't always like what they see, they try hard not to see the cup as half empty. From the new single We Weren't Born To Follow to the powerful When We Were Beautiful, the songs are as uplifting and anthemic as anything Bon Jovi and Sambora have ever written.


    Another reason for the anthemic sound of THE CIRCLE is the re-emergence of Richie Sambora. This is meant to be a stadium, turn-the-guitars-back-up record, and that's a testament to having Richie at my side, Jon says. I can't tell you how much that's meant. With me and Richie, one and one makes three.


    That flame burns at the heart of The Circle. When We Were Beautiful shares its title with the superb Bon Jovi documentary by filmmaker Phil Griffin. Like the film, the song is atmospheric and haunting. It opens with a sense of crisis: The world is cracked/The sky is torn. Jon Bon Jovi hears the song as a true departure for the band. That's a unique song, he says, We've written hits, but this is something more, this is something different. I didn't want to sugarcoat things. Those lyrics are factual. As a country and as people, we hit a wall. But the idea is to try to get back to `when we were beautiful.'


    The new studio album, The Circle, was produced by John Shanks, who also worked with the band on the two preceding Bon Jovi albums, Lost Highway (2007) and Have a Nice Day (2005). The album has an underlying positive theme that is apparent throughout the songs. Whether it's questioning your vitality in Fast Cars, or asking what the future holds in Work for the Working Man, the songs are about the prospect of people having to find new directions in their lives. In these trying times every word relays the truth.


    So The Circle, then, like all of Bon Jovi's best music, stares down the troubles that afflict our lives, and offers a bracing vision for overcoming those obstacles. It's stirring, and it's an emotion that, strong as the album is, will find its most convincing expression on the concert stage. And this is why Bon Jovi have managed to play over 2600 concerts to over 34 million fans in over 50 countries. I can't believe I'm even saying this, but I can't wait to go on the road again, Jon Bon Jovi exclaims.

    1. We Weren't Born to Follow
    2. When We Were Beautiful
    3. Work for the Working Man
    4. Superman Tonight
    5. Bullet
    6. Thorn in My Side
    7. Live Before You Die
    8. Brokenpromiseland
    9. Love's the Only Rule
    10. Fast Cars
    11. Happy Now
    12. Learn to Love
    Bon Jovi
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Turnstiles Turnstiles Quick View

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    Turnstiles

    By 1976, Billy Joel had proven his merit as an auteur of California-based singer-songwriter pop-rock. On Turnstiles, the legend focuses his attention on more ambitious matters: Making an album whose scope and range dwarf that of his previous work, and shot his star into the stratosphere. Encompassing everything from urgent rock to soft pop and saloon fare, Turnstiles is a classic of major proportions.



    Mobile Fidelity has gone back to the original master tapes to present Joels encompassing music the way it was always intended to be experienced: Intimate, detailed, expressive, warm. The records widescreen sonics are at last properly cinematic, flush with colors, textures, and atmosphere.



    Progressing away from sensitivity, Joel casts his eye towards broader horizons. For him, that meant moving from the West Coast back to his native New York and embracing the citys doo-wop, Broadway, and R&B heritage. Joels diversity comes through in a spectacle of memorable tunes, including the infectious All You Wanna Do Is Dance, acerbic Angry Young Man, and gorgeous Ive Loved These Days.



    Still, no song better illustrates the allureand breadthof Turnstiles more than Say Goodbye to Hollywood, bathed in the sort of fabulous Phil Spector sound, huge drum echoes, and Brill Building orchestral sweep that Joel grew up on. Similarly, the sprawling ballad New York State of Mind clearly states the singers vision and mood. On the definitive track, Joel luxuriates in full string accompaniment and soulful saxophone playing that gives the pop standard its foundation. Not for nothing did Joel insist on keeping his touring band for the album, a decision that resulted in the firing of the records original producer.



    Supported by talents such as arranger Kenny Ascher, guitarist James Herb Smith, and percussionist Mingo Lewis, Joel succeeds in wrapping his head around a rich swath of American pop music, stopping by way of New Orleans, Kansas City, Memphis, Chicago, and other cities on his way from California back to the Garden State. While lacking the fame of the subsequent The Stranger and 52nd Street, Turnstiles is in every way their equal.



    Finally, the delicate nuances of Joels phrasing, pregnant pauses, and introspective emotion can be experienced in three-dimensional fidelity. In addition, the spectrum of the orchestras power and finesse, ravishing poignancy of the lyrics, and bittersweet qualities of the melodies bloom with unforced immediacy. The previous veiled sonic character and stultifying dryness have been corrected, presenting Joel and his crack band with illuminating precision and feeling.



    Turnstiles has never sounded betterand it never will.



    This title is not eligible for discount.

    1. Say Goodbye to Hollywood
    2. Summer, Highland Falls
    3. All You Wanna Do Is Dance
    4. New York State of Mind
    5. James
    6. Prelude/Angry Young Man
    7. I've Loved These Days

    8. Miami 2017 (Seen the Lights Go Out on Broadway)
    Billy Joel
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Worry Off My Mind Worry Off My Mind Quick View

    $17.99
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    Worry Off My Mind

    Born in 1903 in Western Mississippi, Teddy Williams started on guitar when he was 31 years old. Nobody taught me, I just listened to the other people. He played local rent parties in the country, and had also played for a time in Chicago.


    GEORGE MITCHELL: Do-Boy Diamond and Teddy Williams came from the same town. It was Teddy who told me about Do-Boy. Teddy was the older man, and even though Do-Boy said he learned from someone else, it sounded like he might have learned from Teddy. Or maybe they both learned from the same source. Teddy was an older man, he didn't work. He'd sit around the courthouse square in Canton, hanging out. Canton was a bigger town than most of these places, so the black section was livelier. Lots of people hanging out in the street, music coming out of cafes.


    Teddy Williams: Vocal and Guitar


    Recorded by George Mitchell in Canton, Mississippi, September 1967

    1. Shaggy Hound
    2. The Swing Blues
    3. Catfish Blues #1
    4. Down Home Blues
    5. Going Away Blues
    6. Catfish Blues #2
    7. Black Mattie
    8. Hard Time Blues
    9. Sun Don't Shine
    10. You See Me Laughing
    Teddy Williams
    $17.99
    Vinyl LP - Sealed Buy Now
  • Condolences (Gray w/Black Splatter) Condolences (Gray w/Black Splatter) Quick View

    $29.99
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    Condolences (Gray w/Black Splatter)

    Pressed On Gray Vinyl With Black Splatter


    A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.


    "All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"


    After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.


    MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.


    Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.


    "It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."


    In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.


    "The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."


    Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.


    "It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"

    1. Last Rites
    2. What The Night Brings
    3. Cadaverous
    4. Blood Sick
    5. Good Riddance
    6. You Breathe, I Kill
    7. Omen Amen
    8. Cruel To You
    9. Eulogy XIII
    10. Prey For Me
    11. Lonesome Road To Hell
    12. Condolences
    13. Death Infinity
    Wednesday 13
    $29.99
    Colored Vinyl LP - Sealed Buy Now
  • Teacher Don't Teach Me Nonsense Teacher Don't Teach Me Nonsense Quick View

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    Teacher Don't Teach Me Nonsense

    Teacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.


    Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.


    Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.

    1. Teacher Don't Teach Me Nonsense
    2. Look and Laugh
    3. Just Like That
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
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