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Time To Die'
Time To DieA cultural as well as a musical force, ELECTRIC WIZARD has left an indelible mark on a host of different genres, the likes of doom, stoner and sludge; at heart, however, they stand as an iconic British metal band, cast in the great tradition, with lyrics and artwork reflecting the hypnotic weight of the music, and subject to the same intelligence and detail.
Wreathed in occult ritual and drug-culture references, with classic '70s horror an inspirational seam, ELECTRIC WIZARD is poised to turn a page; there's the new deal with Spinefarm Records, plus - after a nine-year hiatus - the return of Mark Greening (the drummer on Dopethrone), who completes the lineup of Oborn, American guitarist Liz Buckingham, a key member since 2003, and new bassist Clayton Burgess (SATAN'S SATYRS).
Fueled by strong emotion and the harder sounds of late-'60s Detroit, the remodeled lineup - isolated by choice, giant stacks glowing red - set about crafting an eighth studio album to both rival and exceed the milestone recordings of the past, with Buckingham keeping things suitably monolithic and the band generally looking back to some of their earliest influences. Toerag Studios in London was once again charged with capturing The Sound, and (encouragingly) words like raw, hateful and sickeningly heavy are being traded.
Founding member Jus Oborn said the following: All of our albums in the past have had a theme - revenge, drugs, black magick - and the theme of this one is death. Of course, death to us really means rebirth, so this album is a manifestation of a very primal occult belief in the final sacrifice. We have gone full circle - it was inevitable, but we had to do it. We had to kill the band so we could be reborn. It was the only way to ensure we could come back even stronger.LP1
1. Incense For The Damned
2. Time To Die
3. I Am Nothing
4. Destroy Those Who Love God
5. Funeral Of Your Mind
1. We Love The Dead
3. Lucifer's Slave
4. Saturn Dethroned$25.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Ready To Die
Ranked 133/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Ready to Die is the debut album of American rapper The Notorious B.I.G., released September 13, 1994 on Bad Boy Records. The first release on the label, it features production by record producer and Bad Boy founder Sean Puffy Combs, Easy Mo Bee, Chucky Thompson, DJ Premier, and Lord Finesse, among others. Recording sessions for the album took place during 1993 to 1994 at The Hit Factory and D&D Studios in New York City. The partly autobiographical album tells the story of The Notorious B.I.G.'s experiences as a young criminal, referring to himself as the black Frank White. Ready to Die is his only studio album released during his lifetime; B.I.G. was murdered days prior to the release of his second album Life After Death (1997).1. Intro
2. Things Done Changed
3. Gimme the Loot
4. Machine Gun Funk
6. Ready to Die
7. One More Chance
8. Fuck Me (interlude)
9. The What
11. Everyday Struggle
12. Me & My Bitch
13. Big Poppa
15. Friend of Mine
17. Suicidal Thoughts$29.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-INT-0915xLana Del Rey
Born To Die (Awaiting Repress)Lake Placid, NY native Lana Del Rey is a throwback singer/songwriter whose stage name combines that of the late Hollywood actress Lana Turner and the Ford Del Rey. Pop's newest femme fatale calls herself the gangsta Nancy Sinatra and cites Kurt Cobain, Thomas Newman and Bruce Springsteen as musical influences. She released an EP entitled Kill Kill in 2009 under the name Lizzy Grant and also recorded a full-length album on an independent label with producer David Kahne, which was released for a brief time before it was pulled due to lack of label support. Born To Die is her highly anticipated official debut release on Interscope Records featuring the viral firestorm hits Video Games and Blue Jeans. Her much talked about appearance on Saturday Night Live on January 15, 2012 marked the first artist since Natalie Imbruglia in 1998 to perform before the release of her debut album.1. Born To Die
2. Off To The Races
3. Blue Jeans
4. Video Games
5. Diet Mountain Dew
6. National Anthem
7. Dark Paradise
10. Million Dollar Man
11. Summertime Sadness
12. This Is What Makes Us Girls$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
REDI-SUN-5817xThe Pleasure Seekers
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Ready To Die (Awaiting Repress)'Ready To Die' is the band's first studio collection since 2007's 'The Weirdness' and the first album of all-new material featuring Iggy Pop, guitarist James Williamson and drummer Scott Asheton since 1973's classic 'Raw Power'. Mike Watt fills in for the late Ron Asheton on bass.
Explaining his decision to make another Iggy And The Stooges album in 2013, Iggy Pop said recently: My motivation in making any record with the group at this point is no longer personal. It's just a pig-headed fucking thing I have that a real fucking group when they're an older group, they also make fucking records. They don't just go and twiddle around on stage to make a bunch of fucking money...
Tracks confirmed to appear include 'Burn', 'Job', 'Sex & Money' and the title track 'Ready To Die'. The album was produced by guitarist Williamson at Fantasy Studios in San Francisco, though Iggy Pop recorded his vocals in Miami.
The album was mixed by Ed Cherney, who revealed last month (January): It's old-time Stooges. It's raw. They're great songs, but not necessarily big choruses. They're the Antichrist of anthems.1. Burn
2. Sex And Money
5. Unfriendly World
6. Ready To Die
8. Dirty Deal
9. Beat That Guy
10. The Departed$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Die ScreamingSomething sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.
Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.
With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.
This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.
Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.1. Thumper's Theme
2. Instruments of Hellfire
3. Curse of the Corpse
4. Black Souls
5. Show Me Your Skull
6. One By One
7. Lucifer Lives
8. Die Screaming$34.99Vinyl LP - Sealed Buy Now
Never Die YoungFor the First Time Ever on Audiophile Vinyl
Mastered from the Original Columbia Records Tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and Manufactured at RTI
When James Taylor releases an album, it is always a much welcomed event to his millions of fans around the globe.
This superstar singer/songwriter/guitarist is undoubtedly one of America's most important contributors ever to popular
After a major run of hit recordings with Apple and Warner Bros. Records throughout most of the 70's, James Taylor
signed with Columbia Records and began even more decades of gold and platinum successes which have forever stood
the test of time. His 1988 platinum achievement Never Die Young continued his winning streak.
Filled with a number of hit singles and definitive album tracks, this masterwork LP kicks off with the smash title track
Never Die Young. After the first few seconds of his signature guitar riffs and original lyric and vocal delivery, you know you
are in for an unmistakable James Taylor musical journey.
More hit sounds abound as his soulful voice and stunning guitar belt out memorable Taylor favorites like Baby Boom
Baby, the country rock feel of Runaway Boy, as well as the uplifting funk of Sweet Potato Pie.
The album continues its brilliance with one of his most interesting and clever compositions yet with his love ballad
More introspective James Taylor is found on favorites Home by Another Way and Letter in the Mail, which echo the
brilliance of how James Taylor just reaches millions with his stellar voice and music.
As a fine closer to this LP, the rhythm and emotion of First of May truly captivate the fans into yearning more and
more listens of this powerful album.
For the first time ever on audiophile vinyl, Friday Music is very honored to continue The James Taylor 180 Gram Audiophile Vinyl Series with its second installment, the 1988 masterpiece Never Die Young. Mastered impeccably from the
original Columbia Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at RTI, this
album is a much welcomed release for all the followers of this musical genius.
In addition to the great music within, this limited edition high grade vinyl release also comes in a super rare first time
gatefold cover, which also includes all the lyrics and additional photos from the original album not seen since its original
To enhance your listening pleasure, we are also packaging the album in a poly lined protective sleeve and a poly bag for the album cover too.
Look for more James Taylor 180 Gram Audiophile masterpieces soon from your friends at Friday Music Hold Them
Up Hold Them Up!Side One
1. Never Die Young
3. Baby Boom Baby
4. Runaway Boy
5. Valentine's Day
1. Sun on the Moon
2. Sweet Potato Pie
3. Home by Another Way
4. Letter in the Mail
5. First of May$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Die Healing (Awaiting Repress)"Die Healing" featuring original SAINT VITUS vocalist Scott Reagers! This is essential doom!!!!
Recommended if You Like: BLACK SABBATH, TROUBLE, COUNT RAVEN, CANDLEMASS, THE OBSESSED, HIGH ON FIRE, SLEEP, BARONESS, MASTODON, SIR LORD BALTIMORE
Die Healing is a pivotal point in Vitus' discog; not only their very last before they temporarily ended their relentlessly classic doom metal album releases with a thirteen year hiatus, but their third recording with Scott Reagers, who helped make the eponymous debut, Hallow's Victim and EP The Walking Dead such milestones of doom. And what a way to go out. Many will tell you this is actually Saint Vitus' finest moment, and although I favour the debut and Wino's career zenith Born Too Late above it, there is no doubt it deserves as solid a place in the pantheon of doom as Nightfall or Master Of Reality or In The Rectory Of The Bizarre Reverend.
The band's sound and instrumentation is class without question. The guitar tone saw a slight departure from the fuzz prevalent on Wino-albums (including the 2012 opus Lillie: F-65), with something more of an electric edge familiar to C.O.D. Fret not, the tone is still plenty burly, and of course massively appropriate for the toking of vaporous substances.
The guitar solos are likewise a little clearer - though of course solos like on 'One Mind' and 'Return Of The Zombie' have that inimitable Chandler scaling chaos in spades, squeaking like a dozen metal detectors malfunctioning. In general though the album's sound gives the feeling of the band moving forward with the sound established on the underappreciated, Chritus Linderson-assisted C.O.D., while welcoming their original singer back into the fold as easily as if he'd never left. It comes together brilliantly.
What cements the album's place atop the pile of '90s Vitus releases is that it's a lot more solid than V and C.O.D. in terms of songs, chock full of highlights with nary a skippable track. 'Dark World' heralds absolutely no messing about, a timeless slow burn Saint Vitus classic to get you going. Reagers unlocks his trademark moon-touched howls, boosted here with a gruffness and depth that must have come with age. He can still hit the unnerving highs that made the debut such a unique piece. Not to mention his more aghast and tragic-heroic style is accompanied by a lyrical shift toward tales of horror and myth, adding further colours of yore to the band's solidified musical approach (although 'In The Asylum' is as brilliantly witty a tale of human disintegration as anything Wino has written for Vitus).
Some of the great knells peeling off Chandler's guitar in the main riff of 'Let The End Begin' are highlights for Vitus' entire career. It climaxes with a great rocking section, splashed with sumptuous guitar and bass solos, in a move actually quite uncharacteristic for the band, who tended to steer between leadweight trawling songs and more rambunctious cuts. The eerie build on 'Sloth' is another of the band's best moments. The entire song, with its off-kilter structure and wailing chorus, is an example of just how muscular the band's creative fibers were at the time. 'Return of the Zombie', a quasi-sequel to the classic, shifty song off the debut of course, makes its mark with a crazed vocal performance and some spooky effects. And of course there's more, I've just listed a few real standouts but the album is too generous in its blessings for them to be exhaustively listed.
It's just a really solid album that builds on all the best things the band had done to date while keeping the songwriting fresh. What a swansong this was. This album is the reason Lillie: F-65 had such vast expectations from me. A must have.
- joncheetham88 (Metal Archives)1. Dark World
2. One Mind
3. Let The End Begin
4. Trail Of Pestilence
6. Return Of The Zombie
7. In The Asylum
8. Just Another Notch$21.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
James Bond: Live and Let Die Soundtrack1973 Soundtrack Includes Paul McCartney & Wings Performing Live And Let Die!
Live and Let Die is the soundtrack to the eighth James Bond film of the same name. It was scored by George Martin. The title song was written by Paul and Linda McCartney and performed by Paul McCartney & Wings.
It was the first Bond film score not to involve John Barry.
Producers Saltzman and Albert Broccoli approached Paul McCartney to write the theme song and McCartney in turn asked Martin to record it for him. Impressed with the orchestration for the finished track, Saltzman and Broccoli considered Martin for the film's score.
Martin worked closely with director Guy Hamilton who described what the music should convey in each scene as it unfolds. Only very minor changes to the finished score were asked for. Martin felt that this was as much for Hamilton's accurate briefing.
The orchestra was conducted by Martin and recorded at AIR studios. The soundtrack was also released in quadrophonic.
Live and Let Die was the first time that a rock music arrangement was used to open a Bond film. It was also the first time that McCartney and Martin had worked together since Abbey Road in 1969. McCartney had been considered as title song composer for the previous Bond film, Diamonds Are Forever.
The Live and Let Die single was a major success in the U.S. and U.K. and continues to be a highlight of McCartney's live shows.1. Live and Let Die
2. Just A Closer Walk With Thee
3. Bond Meets Solitaire
4. Whisper Who Dares
5. Snakes Alive
6. Baron Samedi's Dance of Death
7. San Monique
8. Fillet of Soul
9. Bond Drops In
10. If He Finds It, Kill Him
11. Trespassers Will Be Eaten
12. Solitaire Gets Her cards
14. James Bond Theme
15. Gunbarrel / Snakebit
16. Bond To New York
17. San Monique (alternate)
18. Bond and Rosie
19. The Lovers
20. New Orleans
21. Boat Chase
22. Underground Liar$24.99Vinyl LP - Sealed Buy Now
Stand For Something Or Die For Nothing
Boston. Titletown. The Cradle of Liberty. Beantown. From popular neighborhoods like Jamaica Plain and Davis Square to the more hardscrabble quarters like Mattapan and Roxbury, Boston is a complex fabric of people, cultures, and viewpoints. None more Boston are punk rock outfit, Street Dogs. From the air they breathe and the food they eat to the communities they serve-frontman Mike McColgan is a Boston Fire Department 911 Dispatcher and drummer Pete Sosa is an honorary member of the City of Boston-and the values they uphold, Street Dogs exemplify their city and what it has to offer the world. Across the group's storied 16-year career, they've hit hard, spoke the truth, and walked the walk. New album, Stand for Something or Die for Nothing, is proof the Bostonians continue to live and be empowered by their punk rock, tell-it-like-it-is ethos.
"Anyone who has ever listened to our group knows we are Bostonians to the bone," says bassist Johnny Rioux. "We all love the city. It's our home. I think our fans abroad get a window into our city and what it is like to grow up here and live here through a multitude of different life experiences [from our music]."
Indeed, Sicut Patribus Sit Street Dogs Nobis. But the primary motivator to pick up where 2010's lauded self-titled left off wasn't to continue waving the sky blue at the Boston Common, but to sound the alarm that our leadership and the affluent are taking advantage of society. The wedge is being driven between classes, deeper and deeper, where the rich get richer and the poor are afforded fewer choices in life, like education, opportunity, and the pursuit of a good life, respected liberties, and unquestionable happiness. This gift, as it were, has given the Street Dogs have plenty to write about eight years after their Hellcat Records' swansong.
"The dumbing down of America is a reason to write songs in 2018," Rioux asserts. "People need to wake the fuck up and realize the rich won't drain the swamp or look after the working man and woman. [So] we hit on familiar turf and we go outside our zone as well on Stand for Something or Die for Nothing. It's tough to contain my excitement for this record and our fans are going to love it. Everyone stepped way up."
If there's one thing that sets the self-titled apart from Stand for Something or Die for Nothing it's the songwriting. Tracks like "Other Ones," "Angels Calling," "Working Class Heroes," and "Never Above You, Never Below You" show Street Dogs at their finest: loud, abrasive, confrontational, and unifying. In fact, there's not one track on the group's sixth full-length that doesn't convey brotherhood, common values, and the ability to stand together against anyone with aims to disfigure or disband their raised fist.
"On Stand for Something or Die for Nothing, we took our time making sure everything was worked out as well as it possibly could be with multiple re-writes of songs and painstaking takes," says Rioux. "The band wrote this record together as a unit. This is the most full-band record we have ever made with everyone contributing. It's our best record. I really believe that and all the hard-painstaking work we put in people will hear and feel. With respects to the self-titled record we were moving at very quick and prolific pace back then. That record came together fast and is special."
Recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studios with Rioux in the producer's chair, mix master Sean Cahalin at the desk, and mastering ace Jeff Lipton navigating, Stand for Something or Die for Nothing is a punk rock album for the new era. Rioux was careful to balance the DIY tenets of punk with the professional requirements of recording an album. The result was hard won, but Stand for Something or Die for Nothing is a punk rock triumph, with tracks like "The Comeback Zone," "Lest We Forget," and the title track delivering modern-day anthems that kick ass and take names.
"Other than Sean being a total professional and super-proficient, there aren't really any specific stories to Stand for Something or Die. I've always has had a hand in the production of our records and I can be demanding in the studio! That all said, I think we have our best sounding record to date. It has all the energy of our live shows in it. Fans will immediately tell it's us when they hear it."
While the definition of punk rock has its divisions, Street Dogs are, no doubt, part of the genre's proud history. Stand for Something or Die is undoubtedly punk rock. Using Rioux's definition (or not): "What's punk to me is people living how they want to not how they are told to."
Amen, brother.1. Stand For Something Or Die For Nothing
2. Other Ones
3. The Comeback Zone
4. Angels Calling (feat. Slaine)
5. These Ain't The Old Days
6. Working Class Heroes
7. Lest We Forget
8. The Round Up
9. Mary On Believer Street
10. Never Above You, Never Below You
11. Torn And Frayed$20.99Vinyl LP - Sealed Buy Now
Rise Or Die Trying (Awaiting Repress)Worcester, Massachusetts. 8 pm. Those who have their hearts set on a Sunday night bingo game or knitting circle at the Quinsigamond Village Community Center will walk away sorely disappointed. Instead, nearly 600 kids spanning all ages and tastes have excitedly packed themselves into the tiny venue. The room is plunged into darkness and the wild shouting echoes in the air; this is the moment they've been waiting for. The first strains of Michael Jackson's "Thriller" filter through the speakers as Four Year Strong take their hometown stage, fully prepared to shred faces, blow minds, and take no prisoners.
Alan Day (Vocals/Guitar), Dan O'Conner (Vocals/Guitar), Joe Weiss (Bass), Josh Lyford (Synth), and Jake Massucco (Drums) are Four Year Strong. At first, this may not raise eyebrows or drop jaws, but it is only a matter of time. Bringing a unique blend of brutal breakdowns and soaring choruses, Four Year Strong have cut their teeth into the Worcester hardcore scene and thirst for more. Their music incites a riot like nothing seen before, leaving live crowds and CD listeners alike simultaneously blown away, and fired up.
Their influences range from Lifetime to Saves the Day, Gorilla Biscuits to New Found Glory. "We just play exactly what we want to hear," describes Dan, explaining their combination of hardcore and pop-punk. Sharing an average age of 20 years old and with a do-it-yourself determination, Four Year Strong do not pretend to be anyone but themselves. The band does not sugarcoat their image, avoiding the pretty-boy front that smothers the scene. Behind the numerous tattoos and grizzly beards, Four Year Strong are the kind of guys you would want to bring home to Mom and Dad. The band does not bother with egos or attitude, determined to connect with every fan on a personal level.
Their debut full-length, Rise or Die Trying, premieres on I Surrender Records. Already, the album has generated an excited buzz across the web, featured on websites like Absolutepunk.net and FriendsorEnemies.com to print magazines Rolling Stone and Alternative Press. The band has nearly 1 Million plays on Myspace with nothing more than a taste of what Rise or Die Trying will bring. Unrelenting spirit, gut-wrenchingly good music, and no flashy gimmicks, Four Year Strong are building themselves to the top with an indestructible foundation.
Four Year Strong combine equal parts melody and mayhem; however, their true talent lies in the ability to use these parts to create one exciting, infectious whole. "We wanted to put out a great record and not just a bunch of great songs." They fully embrace their album title, Rise or Die Trying, and Four Year Strong refuse to stop until they've taken the world by storm.
Brace yourself, let's start the takeover.1. The Takeover
2. Prepare To Be Digitally Manipulated
3. Abandon Ship Or Abandon All Hope
4. Heroes Get Remembered, Legends Never Die
5. Wrecked 'Em? Damn Near Killed 'EM
7. Men Are From Mars, Women Are From Hell
8. Bada Bing! Wit' A Pipe!
9. Beatdown In The Key Of Happy
10. If He's Here, Who's Running Hell?
11. MANIAC (R.O.D.)$14.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Persistence Of TimeIn 1990, while making Persistence of Time, the members of Anthrax looked up from their comic books, quit joking around, and realized they were going to die someday. But unlike its Big Four brethren (Slayer, Metallica, Megadeth), the Fourth Horseband of the Thrashpocalypse didn't celebrate the coming of the grim reaper. The aptly named Persistence of Time opens with the ticking of a clock and unleashes heart-pounding waves of existential dread, stylistic evolution, and white-hot anger at death itself.
Cut at Mobile Fidelity by engineer Krieg Wunderlich and afforded requisite groove space for the first time ever on a proper 2LP pressing that accommodates the band's longer songs, Anthrax's 1990 magnum opus sounds as genuine, forceful, and uncompromising as the songs' urgent lyrics and thematic struggles. Serious and complex, this definitive analog pressing of Persistence of Time-known by fans as POT-presents the vital music as a furious blend of dynamic speed and three-dimensional heaviness.
Seething anthems like Keep it in the Family and In My World give way to straight-ahead headbangers like H8 Red and a rapid-paced cover of Joe Jackson's Got the Time. Guitarists Scott Ian and Dan Spitz converse with mosquito whines and monster-truck thunder. Intro to Reality forms a prog-inspired cocoon with harmonizing twin guitars and contemplative resonance until Frank Bello's thundering bass hacks its way out and leads straight into the bare-knuckle Belly of the Beast." Throughout, Charlie Benante's virtuosic drumming accelerates and slows the crashing pulse of Anthrax's last album until 2011 to feature Joey Belladonna's riotous vocals.
The band's darkest affair, Persistence of Time shakes its fist at mortality, snarls at wasted life, and pits burgeoning maturity against livid, riff-driven metal. Tackling more grown-up motifs, extended arrangements, and slower time signatures than on albums past, the group manages to preserve its youthful energy while expanding beyond the borders of thrash.
Persistence of Time is timeless.1. Time
3. Keep It in the Family
4. In My World
6. Intro to Reality
7. Belly of the Beast
8. Got the Time
9. H8 Red
10. One Man Stands
11. Discharge$33.99Vinyl LP - 2 LPs Sealed Buy Now
The Embers Of TimeA talent to outrank Ryan Adams or Conor Oberst - Uncut
He's found a way to encapsulate all the dichotomies of life and make them work within the confines of a three-minute pop song. - Popmatters
"It's my surreal expat therapy record," observes Josh Rouse about his new LP, The Embers of Time. A career peak, The Embers of Time takes inspiration from his self-admitted crisis of confidence and bouts with existential psychotherapy in his adopted home of Valencia, Spain.
The 10-song collection of originals contains some of Rouse's most beautiful arrangements and complex songwriting to date. First song and lead single "Some Days I'm Golden All Night" channels Glen Campbell-style Countrypolitan pop mastery through 'Self Portrait'-era Dylan confessional lyrics.
Rouse has been called "one of contemporary music's most engaging singer-songwriters" (NPR) as well as "a talent to outrank Ryan Adams or Conor Oberst" (Uncut), and with The Embers of Time he opens a new chapter in his lauded career. He split time recording the album between Valencia and Nashville, and enlisted Brad Jones (Justin Townes Earle) as producer. The record moves from the hushed twang of "Time," where Josh recalls a stepfather who died too young and muses about his own mortality, to the deceptively sunny album closer "Crystal Falls," which recounts a rare period of solace from his itinerant childhood. "In Crystal Falls I made a few good friends," he sings. "It was just another stop. I never saw them again."
Originally hailing from rural Nebraska, Rouse has carved out a distinguished career as a top-tier musician. His last record, 'The Happiness Waltz' earned unanimous praise, with AllMusic calling it "absolutely beautiful, like 10cc producing Al Green."1. Some Days I'm Golden All Night
2. Too Many Things On My Mind
3. New Young
4. You Walked Through The Door
6. Pheasant Feather
7. Coat For A Pillow
8. Worried Blues
9. Expat Blues
10. Crystal Falls$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
URPD-SMA-065xThe Brought Low
Right On TimeThere's a narrative at work in The Brought Low's best songs, chronicling existence in the inner-cities outer boroughs and the pratfalls of hard work, hard liquor and hard time. The essence of these stories mirror the band's own: the past couple years has been a repetition of arrivals and departures: family dying and being born, band members entering in and then walking out. There was a local new wave revival whose aesthetic they couldn't have less to do with, a cycle of touring, working, and touring again, a decrepit practice space that's become a decrepit second home. On the other side of the tunnel they've come out stronger, more resolute in their conviction, and wired for maximum impact.
Singer/ guitarist/ songwriter Benjamin Howard Smith and drummer Nick Heller have been the nucleus of The Brought Low since the rolling thunder of their NYC debut in 1999. The band's universally-lauded self-titled debut album on Tee Pee Records earned them a loyal audience, and the howling overdrive of their impassioned live shows have become the stuff of city folklore. 2003 saw the addition of bassist Robert Russell as well as second guitarist Kevin Eleven, who left the band shortly after recording concluded, returning them to their original power trio format. Following the release of Right On Time, The Brought Low band has planned a series of guerrilla tours throughout the country that will carry them well into 2007.1. A Better Life
2. Hail Mary
3. This Aint No Game
4. Tell Me
5. Dear Ohio
7. Vernon Jackson
8. Shake Down
9. Blues For Cubby
10. There's a Light$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Mighty Long TimeNew West Records is proud to present the reissue of four classic Antone's Records blues titles. Long out of print on compact disc, these four titles have been re-mastered for vinyl. Unlike their previous release, each of these LP's will include the entire original master as well as bonus tracks when available. Each LP is displayed in a beautiful, one of a kind package (leather texture, die-cut, embossed logo) and pressed onto 180-gram vinyl that is manufactured in the USA1. Straighten Up Baby
2. Everything Gonna Be Alright
3. Black Nights
4. Blow Wind Blow
5. Sugar Sweet
6. Moanin' at Midnight
7. Baby Please
8. Hold Me in Your Arms
9. Call It Stormy Monday
10. Three Hundred Pounds of Joy
11. Northside Cadillac
12. Mighty Long Time$31.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
UNIM-EGR-6596xThe Album Leaf
One Day I'll Be On TimePink & White Starburst Colored Vinyl
Vinyl reissue of One Day I'll Be On Time, originally released in 2001 on Tigerstyle. Album displayed Jimmy
LaValle's talents in a full on recording studio, and was the album picked up by Jón Þór Birgisson of Sigur Rós, who
then asked The Album Leaf to support them on their upcoming tour. Double LP featuring a die cut leaf cover, on a
limited runs of pink + white starburst vinyl.1. Gust of
2. The MP
3. Story Board
4. Wet the Day
5. The Audio Pool
6. Hang Over
7. In Between Lines
8. Last Time Here
10. The Sailor
12. Glimmer$29.99Colored Vinyl LP - 2 LPs Sealed Buy Now
A Dying Machine>
After two decades at the forefront of all things guitar, a GRAMMY® Award win, 40 million-plus units sold between Alter Bridge, Creed, and his eponymous Tremonti, and countless other accolades, Mark Tremonti once again summited an uncharted creative peak in 2018. For the very first time, the guitarist and singer crafted an immersive concept and accompanying novel for Tremonti's fourth full-length album and first for Napalm Records, A Dying Machine. Since emerging in 2012, he and his bandmates-Eric Friedman [guitar, bass] and Garrett Whitlock [drums]-have built the foundation for such an ambitious statement. Their full-length debut All I Was bowed in the Top 5 of the Billboard Top Hard Rock Albums Chart and Top 30 of the Top 200. The 2015 follow-up Cauterize hit the #1 spot on the Top Rock Albums chart on iTunes when it was released. 2015 saw the frontman take home "Best Guitarist" at the Loudwire Music Awards just a year removed from his 2014 "Riff Lord" win at the Metal Hammer Golden Gods. In between sold-out headline gigs and festival appearances everywhere from Rock on the Range to Shiprocked!, 2016's Dust maintained that momentum. With A Dying Machine, Tremonti reaches new heights like never before.LP 1
1. Bringer Of War
2. From The Sky
3. A Dying Machine
5. Throw Them To The Lions
6. Make It Hurt
2. The First The Last
3. A Lot Like Sin
4. The Day When Legions Burned
5. As The Silence Becomes Me
6. Take You With Me
8. Found$23.99Vinyl LP - 2 LPs Sealed Buy Now
Lost To The Living
Available on vinyl for the first time ever! Lost to the Living is the title of the third full-length album by Daylight Dies and was originally released by Candlelight Records in 2008.1. Cathedral
2. A Portrait In White
3. A Subtle Violence
4. And A Slow Surrender
6. At A Loss
7. Woke Up Lost
8. Last Alone
9. The Morning Light$35.99Colored Vinyl LP - 2 LP Sealed Buy Now
WARB-FUE-3633xPanic! At The Disco
Too Weird To Live, Too Rare To Die!"Too Weird to Live, Too Rare to Die!" is the fourth studio album by the American rock band Panic! at the Disco.
Panic! At The Disco is a platinum-selling, Grammy-nominated duo from Las Vegas, NV. Formed in 2004, Panic! quickly began writing their debut album, A Fever You Can't Sweat Out, released on Fueled By Ramen in September, 2005. The album, featuring singles such as I Write Sins Not Tragedies and The Only Difference Between Martyrdom and Suicide is Press Coverage was a smash, selling over 1.7 million copies to date. In July 2006, the album was officially certified Platinum. Coming off of their first worldwide tour, the band had established themselves as mainstays in the hearts of fans everywhere.
In 2007 the band began writing their sophomore release, Pretty. Odd. They decided to make the album they wanted to make. While the album is equally as catchy and infectious as their debut, Pretty. Odd. saw the band digging through their parents' record crates to craft and expansive pop album that channeled the ghosts of Brian Wilson and the Beatles as well as lesser-known pop sensations like the Zombies. After creative differences saw the band split from four to two members in mid-2009, it was time to start rebuilding.1. This is Gospel
2. Miss Jackson (featuring Lolo)
3. Vegas Lights
4. Girl That You Love
7. Casual Affair
8. Far Too Young to Die
9. Collar Full
10. The End of All Things$19.99Vinyl LP - Sealed Buy Now
SONM-EPI-80610xAC / DC
Highway To HellRanked 199/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Highway to Hell is the sixth studio album by Australian hard rock band AC/DC, released in August 1979. It is also AC/DC's fifth international studio album. It was the last album featuring Bon Scott, who died early the following year from over-consumption of alcohol.1. Highway to Hell
2. Girls Got Rhythm
3. Walk All Over You
4. Touch Too Much
5. Beating Around the Bush
6. Shot Down in Flames
7. Get It Hot
8. If You Want Blood (You've Got It)
9. Love Hungry Man
10. Night Prowler$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
Method To My Madness180 Gram Blue Colored Vinyl
On 2014's The Devil You Know, California bluesman Tommy Castro pared his band back to a quartet called the Painkillers and returned his guitar playing and singing to the forefront of his attack. Though the album was chock-full of guest stars, its arrangements were largely uncluttered - no horns, strings, or other gimmickry. Method to My Madness strips back the veneer even further. The tightrope of energy, grit, and inspiration on display in these 12 tunes - ten originals and two excellent covers - are usually reserved for live shows. For the first time, Castro has produced an album by himself. Recorded at Ari Rios' Laughing Tiger Studio in San Francisco, he and the Painkillers - bassist Randy McDonald, keyboardist Michael Emerson, and drummer Bowen Brown - cut the music live from the floor with minimal overdubs.
Much has been made of Castro's vocal style being influenced by the singers from the vintage Stax/Volt era. While that's somewhat true, Method to My Madness reveals, perhaps for the first time, an even deeper debt to funky soul and country-blues singer Delbert McClinton. Common Ground is a swaggering gospel-tinged soul blues. The melody and choral refrain nod at Sly Stone, but Castro lets his McClinton flag fly with a gritty delivery atop a cracking snare and driving Wurlitzer groove.
Shine a Light is dirtier; it's a razor-wire, rocking soul-blues with double-timed drumming, bumping bassline, and killer slide guitar and B-3 work, with great backing vocals from Rios and Amber Morris adding gospel fuel to the fire. The title track is a wrangling guitar-driven boogie, where funky rock meets the 12-bar blues head on. Castro testifies in his delivery, leaving no room for doubt about his intentions and attitude. While Lose Lose is a simmering Stormy Monday-esque deep blues, its proceeding tune, Died and Gone to Heaven, is a swelling, souled-out, rousing, gospel-tinged love song.1. Common Ground
2. Shine A Light
3. Method To My Madness
4. Died And Gone To Heaven
5. Got A Lot
6. No Such Luck
7. Two Hearts
8. I'm Qualified
10. Lose Lose
11. All About The Cash
12. Bad Luck$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Light That Never DiesOn his second album A Light That Never Dies which will be released in North America via Forty Below Records, KaiL Baxley has returned with a hard hitting, lush and beautifully haunting collection of songs. Co-produced with Producer/Engineer Eric Corne whose recording credits include Lucinda Williams, Glen Campbell, Kim Deal and John Mayall, the album was recorded over the last year in three different cities.
"We used a lot of really old gear on this one to capture that warm analog sound and preserve its truth," says KaiL about the album. "I'm proud of what Eric and I got out of the studio and I'm eager to get out on the road and share it with people."
Hailing from the small backwater town of Willison-Elko - a town so small that most people in South Carolina don't even know where it is, much less the rest of the world. It's only claim to fame is soul legend James Brown, with whom Baxley shared an unlikely friendship as a child. Perhaps this was one of the leading influences in Baxley's soul-drenched music or perhaps it was the similar circumstances in which they were raised that fuels such deep emotion in an individual.
Abandoned by both his mother and father as a small child Baxley was raised by his grandfather Woody until age 12. When he passed away, KaiL bounced from one living situation to another, rarely living in one place for more than a year at a time. It was in this constant migration that he found escape in a pair of old RCA headphones.
"It wasn't all bad really," he recalls. "I got to know quite a bit of music from all different genres during that time period. I'd stay with my uncle for a while and pick up some Van Morrison; my auntie gave me the Stones;friends parents turned me on to gospel. Then I discovered hiphop and it was all over. I was hooked."
This is the very apparent source of inspiration in KaiL Baxley's genre-bending music that also blends blues, indie rock, soul, gospel, and syncopated hiphop-style beats into a most exquisite and easily drinkable cocktail of sound - a sound that he has dubbed "Soul Swagger".
KaiL's debut effort, Heatstroke/The Wind and the War, was presented as a double EP which displayed the yin and yang of his musical range. A surprise nominee for NPR's Album Of The Year, it received critical acclaim, including a debut at SXSW, where Baxley was tapped as, "One of NPR's top new artists" by All Songs Considered.
"His voice falls somewhere between Joe Cocker and Bill Withers with a husky authority. The guy is a whiz-bang folkie-turned-soul-rocker and has a voice which can make you dance or which melts butter, depending upon the tune."
- Frank Gutch Jr. / Segarini1. Light That Never Dies
2. Mr. Downtown
3. Tell the Falling Sun
4. The Ballad of Johnny Steel
5. Morning Light
6. Better FeelN' Better Days
8. Still Wonder (Interlude)
9. Troubled Souls
10. Chasing James Dean
11. Mirrors of Paradise$18.99Vinyl LP - Sealed Buy Now
From Scene To Shining SceneCanada's proudest pop-punk progenies CHIXDIGGIT! have had an enduring career pumping out some of the catchiest, fast paced, fun laden melodies ever written. With an unwavering dedication to their proven formula of cheeky lyrics and to-the-point music, CHIX have created a vast catalog of pop-punk classics over their more than 20 years as a band. While it's true that a classic never dies, it never hurts to take it off the shelf and polish it up every once in a while. This is exactly what the band decided to do with their two definitive releases Born On the First of July and From Scene To Shining Scene. Both albums were originally released on Honest Don's (a former subsidiary of Fat Wreck Chords) to great acclaim, but never quite received all the attention that they deserved.
Vinyl fans will be elated to hear that both (previously out of print) LPs will be individually reissued (remastered and with bonus tracks). This time around these albums will be official Fat Wreck Chords releases too, affording them the broader visibility they warrant.1. My Dad vs. P.M.
2. Spanish Fever
3. Thursday Night
4. Melissa Louise
6. Folks Are Gone
7. Moto Foxe
8. Sweaty and Hairless
9. Going to the Peelers?
10. Summer Please
11. Born in Toulouse$15.99Vinyl LP Reissue - Sealed Buy Now
Within the Realm Of A Dying SunWith Dead Can Dance now firmly centred round the core of Brendan Perry and Lisa Gerrard, they released their third album Within The Realm Of A Dying Sun in the Summer of 1987, showing both a continued maturity in their sound and rise in their popularity. Recorded during an intense period of musical and personal growth for the band, the album's eight songs are split equally between the duo with the first half being sung by Brendan and the second Lisa. At the time, Q Magazine described the album as combining "superb voice, ethereal church choirs, sweeping strings and a brochure of ethnic music: Middle Eastern, Indian, Moorish, anywhere but London's East End where the couple resided." The album's cover only adds to the album's aura of mystery with a haunting photograph of the family grave at the Père-Lachaise cemetery in Paris of famed French biologist François-Vincent Raspail.1. Anywhere Out Of The World
3. In The Wake Of Adversity
5. Dawn Of The Iconoclast
7. Summoning Of The Muse
8. Persephone (The Gathering Of Flowers)$21.99Vinyl LP - Sealed Buy Now