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Within The Ruins'
Invade (Awaiting Repress)
Within the Ruins set the creative bar high with their greatly-respected 2009 Victory Records debut, Creature. These tech-metal masters are on a warpath to demolish the bar they previously set with their freshly polished and innovative new album, Invade. Invade is another firm example of the band's elaborate songwriting ability and is chock-full of sophisticated time signatures, skilled noodling, choppy rhythmic punches, rapid death metal-like riffing, and commanding vocals.1. Designing Oblivion
3. Behold the Harlot
4. Red Flagged
7. Cross Buster
8. Feast or Famine
10. The Carouser
11. Roads$15.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Natives of Westfield, Massachusetts, Within The Ruins is armed with a unique take on blending tech and metal together; writing music that sets their band apart from numerous other metal bands. The quintet has mastered their technique of bringing breakdowns, riffs, tempo and a dash of personality together in order to form one cohesive entity.
They describe their sound as "loud, energetic, interesting and fresh" and cite bands like Metallica and As I Lay Dying as their early influences.
Their 2011 EP, Omen, issued on Victory Records, follows that to a T with two new originals to go along with a cover of Metallica's "Fight Fire With Fire" and Kansas' "Carry On Wayward Son." Colored vinyl pressing from Victory Records!1. Controller
3. Carry On Wayward Son (Kansas Cover)
4. Fight Fire With Fire (Metallica Cover)$12.99Colored Vinyl LP - Sealed Buy Now
Beauty & Ruin"It's a song cycle. A narrative. It's nobody's story but my own I ran so
fast from my past that I caught up with myself. This album is
acknowledging that and dealing with every year getting a little tougher."
Bob Mould's new album Beauty & Ruin is a twelve-track journey of loss,
reflection, conciliation, and coming through the other side. It may very well
be the most epic emotional roller coaster ever pressed into 36 minutes.
Well into his fourth decade as a singer-songwriter, Mould is as relevant,
ferocious, and poignant as he has ever been. Much of Beauty & Ruin deals
with the passing of Mould's father in October 2012, Bob's struggle to come
to terms with it, himself, and his own identity and legacy, and repercussions
of all of the above on his ongoing relationships in the land of the living.
Beauty & Ruin is a challenging work of raw beauty-and may well be Bob
Mould's finest work since his 1989 solo debut, Workbook.
Bob Mould's journey as singer-songwriter, guitarist, author, DJ, and all-around
MVP began in 1979 with the formation of HÜsker DÜ. In 1988, Mould began
the first part of a solo career producing the aforementioned Workbook and the
heavy Black Sheets of Rain. In 1992, Bob gave the world Sugar, a reimagined
power trio that toured the globe and produced two albums and an EP: Copper
Blue, Beaster, and File Under: Easy Listening. From these releases came a cache
of songs-"Helpless," "Hoover Dam," "If I Can't Change Your Mind,"
"Your Favorite Thing"-that remain staples of Bob's live shows to this day.
In fall 2012, Bob gave the world Silver Age, his debut album for Merge
Records and the first to feature current bandmates Jason Narducy and Jon
Wurster. The subsequent touring covered four continents, ending in October
2013 in South America. Beauty & Ruin is in large part the sound of this band,
on the road relentlessly, congealing into the tightest unit to surround Bob
in his storied career. Two days after returning from South America, the trio
reconvened in Chicago to begin the recording of Beauty & Ruin. The
October 2013 session at Steve Albini's famed studio complex Electrical Audio
consisted of nine days of band tracking and five days of layering guitars. The
following month, Bob returned to Different Fur Studios in his hometown of
San Francisco to finish lyrics for six songs, add vocals, and mix the album.
Beauty & Ruin is a product of a survivor who refuses to give up, thrives
through his work, and subsequently embraces the many changes around and
within himself. Bob smartly declares the album as "yet another bonus round,
and I am very grateful."1. Low Season
2. Little Glass Pill
3. I Don't Know You Anymore
4. Kid With Crooked Face
5. Nemeses Are Laughing
6. The War
8. Hey Mr. Grey
9. Fire in the City
10. Tomorrow Morning
11. Let the Beauty Be
12. Fix It$19.99Vinyl LP - Sealed Buy Now
Rise to Ruin (Discontinued)1. Revolt
2. Rise To Ruin
3. War On Stupidity
4. Question Of Terror
5. Babylon's Whores
6. Speak When Spoken To
7. Grim Charade
8. Murder Brigade
9. End Of It All$23.99Vinyl LP - 2 LPs Sealed Buy Now
Halfway HumanBorn and bred in the same heavy metal rich Northeast soil as New Wave Of American Heavy Metal progenitors Killswitch Engage, All That Remains, Unearth and Shadows Fall.... Weaned on the dark sounds of classic death metal, the technical melodicism of Scandinavia and the precision staccato crunch of Meshuggah, Within The Ruins have busted their collective ass to carve out a unique identity for themselves from those ingredients and have succeeded like never before with this year's Halfway Human.1. Shape-Shifter
2. Death of the Rockstar
3. Beautiful Agony
4. Incomplete Harmony
6. Objective Reality
8. Ivory Tower
9. Sky Splitter
10. Ataxia IV
11. Treadstone$29.99Vinyl LP - 2 LPs Sealed Buy Now
Hit ResetKathleen Hanna stealthily assembled the members of The Julie Ruin without any of them realizing exactly what was happening. It all began in late 2009. Kathleen had not released an album since Le Tigre's This Island (2004), and she was ready to jump back into music again. She knew her onetime Bikini Kill band mate Kathi Wilcox was going to be moving to New York in the near future, so she didn't even bother with finding a bass player at first. Carmine Covelli, who had toured with Le Tigre as their video guru, was having a blast at Kathleen's birthday party when she abruptly asked him to be the drummer.
A longtime admirer of Kathleen's work, Carmine couldn't say no to her at her own party, so of course he joined the band. Sara Landeau and Kathleen both taught at Girls Rock Camp and Kathleen lured her into the band by trading Pro Tools lessons for guitar lessons. Sara's surf-informed style gelled perfectly with Kathleen's sonic vision for her new band. Kathleen approached Kenny Mellman last with the idea that they should write country songs together to sell to other artists. Within a week of their first meeting, Kathleen's mysterious "manager" (whom Kenny maintains does not exist) told her that they would never break into the Nashville songwriting scene, so Kenny might as well join her new band on keyboards. Done.
In late 2014 they began work on their second album, Hit Reset, due out July 8th on Hardly Art records. Mixed by Eli Crews (with whom the band worked on Run Fast), Hit Reset expands on the band's established sound: dancier in spots and moodier in others, with girl group backing vocals and even a touching ballad closer. Hit Reset is the sound of a band who have found their sweet spot. Kathleen's vocals are empowered and her lyrics are as pointed and poignant as ever. From the chilling first lines of "Hit Reset"("Deer hooves hanging on the wall, shell casings in the closet hall") to the touching lines of "Calverton" ("Without you I might be numb, hiding in my apartment from everyone / Without you I'd take the fifth, or be on my death bed still full of wishes"), Hanna takes a leap into the personal not seen completely on the first album or possibly even in the rest of her work.1. Hit Reset
2. I Decide
4. Be Nice
5. Rather Not
6. Planet You
7. Let Me Go
8. Mr. So and So
9. Record Breaker
10. Hello Trust No One
11. I'm Done
12. Roses More Than Water
13. Time Is Up
14. Calverton$16.99Vinyl LP - Sealed Buy Now
Drawn And QuarteredA collection of previously unreleased and rare recordings from Oneohtrix Point Never: Lovergirls Precinct was originally released on an OPN/Outer Space split cassette in 2009. Ships Without Meaning was originally released on the Ruined Lives cassette in 2008. Terminator Lake and Transmat Memories were originally found on the Transmat Memories cassette in 2008. A Pact Between Strangers and When I Get Back From New York were originally released on A Pact Between Strangers CD in 2008, and I Know It's Taking Pictures From Another Plane (Inside Your Sun) was originally released on Young Beldnahga on CD in 2009.1. Lovergirls Precinct
2. Ships Without Meaning
3. Terminator Lake
4. Transmat Memories
5. A Pact Between Strangers
6. When I Get Back From New York
7. I Know It's Taking Pictures From Another Plane (Inside Your Sun)$14.99Vinyl LP - Sealed Buy Now
VolunteersJefferson Airplane Volunteers on Numbered Limited Edition 180g 45RPM 2LP from Mobile Fidelity
Seminal 1969 Album Steeped in Revolution, Vitality, Protest: The Aural Equivalent of a Demonstration March, Jefferson Airplane's Uncompromising Volunteers Rooted in Belief Music Can Change World
Mastered from the Original Master Tapes: Wider, Deeper Grooves on 180g 45RPM 2LP Set Yield Superior Transparency, Rich Nuances, and Engaging Dynamics on Set Ranked #370 on Rolling Stone's 500 Greatest Albums of All Time
Defiant, Assured, Cohesive Songs Filled With Driving Psychedelia, Rustic Country, and Crunchy Acid-Rock: Guest Musicians Include Jerry Garcia, Stephen Stills, and David Crosby
Awash in controversy and loaded with revolutionary protest, Jefferson Airplane's Volunteers stands as the last album made by the group's classic lineup and brings insurgent closure to the peace-and-love era. The potent 1969 record confronts war, politics, greed, and environmental ruin in head-on fashion matched by few peers. Steeped in the belief people and music could transform the world, it steers the band in community-minded and county-rock directions, and features charged playing by guest luminaries such as Jerry Garcia, Stephen Stills, David Crosby, and Nicky Hopkins. Volunteers also benefits from being one of the first 16-track recordings. And now, the historic set can be heard in the fidelity the artists and producers intended.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of Volunteers teems with soul-affirming energy, dynamics, immediacy, and standout textures. The wider and deeper grooves translate into finer pacing, enhanced information retrieval, and superior transparency. Soundstages stretch far and extend back, with instrumental separation giving all of the musicians their own place in the mix. As a result, subtle albeit important details - Hopkins' rollicking piano, guitarist Norma Kaukonen's biting tones, Garcia's deft pedal-steel work - emerge in three-dimensional fashion amidst a musical canvas that manages to be both edgy and produced, raw and revealing. Jefferson Airplane has never sounded more vital.
Much had changed in America - and within Jefferson Airplane - in just the two short years since the release of the San Francisco collective's breakthrough smash Surrealistic Pillow. The countercultural movement had darkened, government involvement in Vietnam escalated, and regard for human rights fallen. Retreating from the excessive experimentalism that graced its prior two LPs, the Airplane responded to the social circumstances with defiant, assured, and cohesive songs shot through with driving psychedelia, crunchy acid-rock, and rustic country. From start to finish, it's the aural equivalent of a demonstration march.
Having drawn attention for the inclusion of profanities in multiple tunes, the Top 20 LP also ran up against the nonprofit Volunteers of America after the sextet wanted to title the record Volunteers of Amerika in order to express further dissatisfaction with the country. While Grace Slick and Co. gave into the charity's desires to switch the name, there's nothing compromising about Volunteers. Kaukonen's leads cut searing swaths through urgent fare like Eskimo Blue Day and anthemic We Can Be Together, which boldly speaks out against convention and in favor of chaos and anarchy.
Indeed, in organizing a pseudo summit of many of the counterculture's leading musical figures to participate on Volunteers, the Airplane treats the album as an orchestrated stance against the establishment. Stills and Crosby assist in rocking the boat on a turbulent cover of Wooden Ships lined with Slick and Marty Balin's overlapping lead vocals. Hopkins gooses the call-to-arms title track with frisky boogie-woogie lines. Garcia lends The Farm a suitable rustic vibe, and on his final appearance with the Airplane, drummer Spencer Dryden helms the pastoral sing-a-long A Song for All Seasons.
Ranked #370 on Rolling Stone's 500 Greatest Albums of All Time, Volunteers remains a cultural and musical touchstone.
This title is not eligible for discount.1. We Can Be Together
2. Good Shepherd
3. The Farm
4. Hey Fredrick
5. Turn My Life Down
6. Wooden Ships
7. Eskimo Blue Day
8. A Song for All Seasons
10. Volunteers$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
Love From With The DeadWith the Dead - Love From With the Dead
Doom is all around us. The optimism of a new millennium has steadily disintegrated. The light at the end of the tunnel turned out to be a burning tower block and the powers-that-be are dancing in the smouldering ruins. Humanity is eating itself and we're all terminally fucked. As a result, it makes perfect sense that the emergence of British doom metal mavens With The Dead would strike a dissonant chord with so many people. Formed in 2014 by former Cathedral/Napalm Death frontman and Rise Above Records boss Lee Dorrian and ex-Electric Wizard/Ramesses bassisit/guitarist Tim Bagshaw, the band coalesced in a monetary burst of spontaneity and shared fury, resulting in the release of their eponymous debut album in 2015: one of that year's most widely acclaimed releases and a welcome shot in the arm for fans of merciless, unrelenting sonic despair.
"We were very happy with the way the first album was received," says Lee. "To be honest, there were no real expectations with the first LP. It's hard to explain. We just got together and did it. There was no big anticipation. We knew it was going to be well received by certain people, just because of the sheer heaviness of it, but we didn't think it would get the reaction it did. It sold really well and got a good response all around. It came together so strangely and so fast. We hadn't gone round, sweating in the clubs, although we've all done that previously. The record came out on Rise Above so it was easy and there were no demands from anyone except ourselves. The important thing is, we didn't want it to be seen as some novelty project band."
Hell-bent on staking a further claim to be doom metal's most intense and remorseless practitioners, With The Dead have now completed work on their second album, Love From With The Dead. Comprising tracks recorded during two separate sessions with celebrated studio guru Jaime Gomez Arellano, the new material represents the first fruits of the band's recently retooled line-up. Joining Lee and Tim are bassist Leo Smee and drummer Alex Thomas, who replaces the departed Mark Greening. As Lee explains, the band's new incarnation generated great chemistry from the start.
"Tim came over from New Jersey, where he still lives, and we booked four nights' rehearsals with Leo and Alex to see how it was going to work. Literally, on the first night, they had the whole set nailed within three or four hours. It sounded better than ever before, too. So the next three nights were pointless and we didn't need them, so we spent the time going over ideas for new songs and by the end we had four brand new songs. It was crazy. Then we thought 'While Tim's over, let's go in the studio and record them ' Luckily, Gomez was free and we went over to his studio and recorded the four new tracks, they're the last four on the album, and it was all done just like that. The other three tracks were recorded nearly a year later, again with just one night's rehearsal. It was all done super quick."
For those who flinched at the sheer, unforgiving brutality of With The Dead's first record, the songs on Love From With The Dead are liable to cause major emotional trauma. Darker, denser, more despondent and sickeningly heavy in numerous senses of the word, this is an album that re-establishes doom as a genre that embraces the extreme and not just some cosy, nostalgic reimagining of the early '70s. From opener Isolation's slithering howl of torment and the crushing, schizophrenic barrage of Egyptian Tomb through to the expansive, drone-driven horrors of the closing CV1 (a mournful lament to Lee Dorrian's home city of Coventry that features a guest appearance by home-town comrade and electro-noise maverick Russell Haswell), Love From With The Dead grimly extinguishes the light of hope and hammers home the hatred and futility that plagues our brief and brittle lives.
"The thinking was that the first LP was meant to be the heaviest we could possibly make, but then what do you next?" Lee muses. "Well, the only thing you can do is make the next one even heavier. So that was the ambition and the intention, to make it even more crushing. But to be able to do that you have to be crushed yourself. This last couple of years have been quite soul-destroying. There's been a lot of personal shit going on, and during this whole process so much fucking bad shit has happened in my personal life and other people's personal lives. Everything you hear on this LP, the angst is very real. I've never felt so disillusioned with life and the world around me, not since the first Cathedral album!"
Irrefutable evidence that With The Dead are a formidable and substantial proposition, the quartet's second album could hardly provide a more apposite soundtrack to the deeply fucked up and irrevocably dysfunctional state of the world in 2017. Both a fine example of the simple, savage power of the riff and an authentic outpouring of anger, bitterness, bile and vivid existential dread, it is the living, breathing, screaming embodiment of heaviness itself. Cometh the hour, cometh the bringers of doom
"I'm 50 next year and you're supposed to mellow out when you get older, but why?" Lee asks. "I don't feel like mellowing out. The world's getting worse, the atmosphere is getting heavier, people treat each other like shit and there's so much negativity, how are you supposed to chill out when all that's going on? I'm in a privileged position to be able to be in a band like this, so why fuck around? The band's called With The Dead and it's a doom band, why would you want to mellow out? It's got to be pure nihilism or nothing."
Dom Lawson, July 2017.1. Isolation
2. Egyptian Tomb
3. Reincarnation of Yesterday
4. Cocaine Phantoms
5. Watching the Ward Go By
7. CV1$29.99Vinyl LP - Sealed Buy Now
...Ya Know? (Awaiting Repress)BMG Rights Management presents Joey Ramone's second solo album, "...Ya Know?", eleven years after his life was cruelly cut short by lymphoma. The tracks were drawn from a cache of demos and unreleased recordings that Joey had cut at various times during the last decade and a half of his life.
His brother, musician Mickey Leigh, executive produced the project. It was of the utmost importance to me that these remaining songs of Joey's be finished properly, and made available for the world to hear, Leigh says of "...Ya Know?", which is comprised primarily of never-before-heard songs written and sung by his brother.
But this is no half-baked grab-bag of odds and ends. Rather, it's a riveting collection of first-rate songs that embody Joey's trademark intensity and wit, and that can stand proudly alongside his most beloved Ramones compositions. It's also a fitting, if belated, follow-up to Joey's first solo album Don't Worry About Me, which was recorded just prior to his death and released the following year.
"...Ya Know?", whose title refers to the phrase that was a ubiquitous staple of Joey's conversation, adds a significant new chapter to the seminal punk icon's hugely influential body of work. Among the many talented people Mickey Leigh and Joey's manager Dave Frey reached out to in bringing "...Ya Know?" to fruition was veteran producer Ed Stasium, who was behind the board for many of the Ramones' greatest albums, including their early classics Leave Home, Rocket to Russia and Road to Ruin.
In addition to producing ten of the album's fifteen tracks, Stasium also contributed instrumentation and vocals to each. The swaggering album-opener Rock 'n' Roll Is the Answer (co-written with Plasmatics guitarist Richie Stotts) will be released as a limited-edition 7" single for Record Store Day on April 21, 2012.
That song and the hometown shout-out New York City demonstrate Joey's knack for channeling his personal passions into bracing anthems. The playfully breezy Make Me Tremble (which Joey wrote and recorded with Dictators founder Andy Shernoff) and the bittersweet acoustic ballad Waiting for That Railroad find him exploring some of the more introspective territory that he'd been unable to visit within the format of his former band.
Elsewhere on "...Ya Know?", I Couldn't Sleep is a collaboration between brothers Joey and Mickey, who also teamed up to record a romantic alternate version of the Ramones' holiday classic Merry Christmas (I Don't Want to Fight Tonight) in Joey's apartment. Meanwhile, a previously unreleased reprise of Joey's late-period Ramones tune Life's A Gas ends the album on an appropriately uplifting note.
Also contributing to "...Ya Know?" is an assortment of musicians and producers whose prior relationships with Joey help to give the album an organic vibe that enhances its power and character. The cast of players includes Joan Jett, and Little Steven Van Zandt, who plays guitar on Party Line and wrote the album's poignant liner notes, along with such notables as former Ramones drummer Richie Ramone, Bun E. Carlos of Cheap Trick, Dennis Diken of the Smithereens, Richie Stotts, Patti Smith Group guitarist Lenny Kaye, punk survivor Holly Beth Vincent, members of the Ramones' punk-era contemporaries The Dictators, and producers Jean Beauvoir and Joe Blaney.
The resulting album is a brilliant encapsulation of the qualities that made Joey Ramone one of rock's most unlikely, yet most beloved, heroes. Leigh reflects "Over the past eight years I've been getting barrages of emails and Facebook messages from Joey's fans, wanting to know when this album would be coming out. So having it finally become a reality gives me a feeling of triumph, not for me, but for my brother, and for his fans. And there's not the slightest doubt in my mind that people are gonna be blown away by it.1. Rock 'n' Roll Is The Answer
2. Going Nowhere Fast
3. New York City
4. Waiting For That Railroad
5. I Couldn't Sleep
6. What Did I Do To Deserve You?
7. Seven Days of Gloom
8. Eyes of Green
9. Party Line
10. Merry Christmas (I Don't Want To Fight Tonight)
11. 21st Century Girl
12. There's Got To Be More To Life
13. Make Me Tremble
14. Cabin Fever
15. Life's A Gas$20.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now