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Women And Children First (Remastered)Remastered
Van Halen's third record in as many years, Women and Children First doesn't surrender anything to its two famous predecessors. Eddie Van Halen, David Lee Roth, and company go for broke, amping up the energy and escalating the heaviness on a concise, hard-hitting 9-song set that also throws a few surprises into the mix.
Anchored by the one-two punch of And the Cradle Will Rock and Everybody Wants Some!!, the 1980 release marks the first and only time the group employed a female vocalist, as Nicolette Larson sings on the chorus during Could This Be Magic? In addition, the opening track features a phase-shifter-effected Wurlitzer piano being played through a 100-watt Marshall amplifier, the change in instrumentation a hint of the ambition that was to come.
Make no mistake: Women and Children First knows how to party hard, but there are also undercurrents of somber tension missing on the first two albums. Van Halen matures here and it's a welcome evolution, as confirmed by the power ballad In a Simple Rhyme and country-flavored Take Your Whiskey Home. But above all, this album rocks harder than any other VH effort.
No, the bottle of hairspray and liter of Jack Daniel's aren't included with this killer reissue, but cue this meticulously pressed LP up on a good system, turn up the volume, and the good time pleasures forever associated with early Van Halen come rushing back! Guaranteed.
Mastered from the original analog tapes and pressed at RTI, Rhino's new 180g LP brings brings the dynamics and punch of the fervent music into crystal-clear focus and also shines a spotlight on the group's trademarks: Roth's shuck-and-jive deliveries; Alex Van Halen's booming percussion; Michael Anthony's soulful bass; and of course, Eddie Van Halen's inimitable guitar heroics.
Rock on!1. And The Cradle Will Rock...
2. Everybody Wants Some!!
4. Romeo Delight
5. Tora! Tora!
6. Loss Of Control
7. Take Your Whiskey Home
8. Could This Be Magic?
9. In A Simple Rhyme$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Women & ChildrenWest Coast-based AUTHOR & PUNISHER, the long-running, one-man industrial doom project propagated by iconic sound contortionist Tristan Shone, is pleased to announce his fifth and latest creation of audio rebellion. Titled Women & Children, the follow up to last year's critically lauded Ursus Americanus full-length further challenges the traditional confines of extreme music with eight tracks of audio exploration and mechanical decomposition.
Shone elaborates: "AUTHOR & PUNISHER's newest sonic endeavor combines elements of both machines and more traditional apparati to stretch and blur the dynamic palette from doom to industrial, to heavy bass music, and back again."
Adds Seventh Rule Recordings label head Scott Flaster: "The new AUTHOR & PUNISHER? On first listen I was thrown into a grey world where the bleakness of early industrial music layered with a heavier contemporary dirge. "1. Women & Children
2. In Remorse
4.Tame as a Lion
7. Miles from Home
8. Pain Myself$15.99Vinyl LP - Sealed Buy Now
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
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
13. Death Infinity$29.99Colored Vinyl LP - Sealed Buy Now
Telling The TruthOver the course of eight years, The Numero Group has journeyed to scads of tiny island nations in search of rare and previously unknown recordings. This time we kept it a little closer to home, unearthing a soul-folk curiosity on the one-stop light cay of Nantucket. By no means a thriving musical community in the 70s or otherwise, the limerick-inducing isle played home to Greenwich Village folk singer Willie Wright for a few years, producing his second and final album in the process.
Born of Harlem doo-wop roots and refined by Boston's counterculture scene, Wright arrived in Nantucket in 1976 well worn by two decades of street corner and club performing, eager to make the easy money only a private yacht clientele could guarantee. Trapped on the island over winter, a set of original songs poured into his cover-heavy set. Tales of Wright's native roots, straight life, his abandoned four children, and the many women he had known flooded his loose leaf notebook before finally being set to tape in New York the following spring.
Tracked with George Buzzy Bragg and Herry Jensen (of Skull Snaps and Jimmy Castor Bunch fame, respectively) in one day with minimal overdubs, Telling The Truth was, and would remain, Willie Wright's brightest and most inspired moment. Sold from the trunk of a car and from a handful of resort stages, the humble album disappeared into the collections and garages of Nantucket tourists, taking what was left of a near-30-year career along with it.
Available for the first time since 1977, this expanded edition of Telling The Truth gathers Wright's lone 45 and only original composition from his first LP to tell the definitive Willie Wright story. The deluxe LP edition includes a replica 7 of his cover of Curtis Mayfield's Right On For The Darkness with his original Africa on the flip.1. Hello, Music People Of The World
2. Nantucket Island
3. Lady Of The Year
4. I'm So Happy Now
5. In The Beauty Of The Night
6. Love Is Expensive
7. Okay, Once Again
8. Jackie's Song
9. Son, Don't Let Life Pass You By
10. Indian Reservation
11. Dressing For The Occasion
12. It's Only Life, That's All
13. Right On For The Darkness
15. Lack Of Education$23.99Vinyl LP + 7 - Sealed Buy Now
Miss Machine (Colored Vinyl) (Awaiting Repress)Limited Edition Coke Bottle Green Vinyl
New vocalist Greg Puciato begins on Van Damsel, It's not what you thought as it runs a dead stop. A thousand bands would've quit at ...what you thought; Dillinger adds runs a dead stop, and makes you leap out of the way of its hardcore car crashing into the jazz establishment. No kidding! After five years, the band has lost nothing, only gained. Time signatures are a play toy, genres are a joke, and the wannabes' goofy I'm so tortured, listen to me scream is nowhere to be found. Here, jarring instrumental changes work as a bitches' brew of stealthy genius, sticking you with a shiv and changing faces in the dark.
Technical metal, righteous hardcore, twittering jazz interludes, and starkly melodic, seemingly post-punk-inspired segments all put the punters soundly in their place. Miss Machine doesn't even really seem that angry. Well, not anger for anger's sake, anyway. Cuts like Panasonic Youth and We Are the Storm are fueled by a manic alchemy of metal and hardcore, and Puciato's veins couldn't have survived the sessions. But the rage is artful; it's an integral part of Dillinger's larger performance. In the near future, rich women and fuddy-duddies will consider Miss Machine through opera glasses as sweaty children lash each other with cat-o'-nine-tails. There's nothing more to say -- the next true image of rock & roll has crawled out of the swamps of Jersey.1. Panasonic Youth
2. Sunshine the Werewolf
3. Highway Robbery
4. Van Damsel
5. Phone Home
6. We Are The Storm
7. Crutch Field Tongs
8. Setting Fire to Sleeping Giants
9. Baby's First Coffin
11. The Perfect Design$19.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Teacher Don't Teach Me NonsenseTeacher 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$19.99Vinyl LP - Sealed Buy Now
TurbinesBands as emotive and enduring as Tunng don't come around too often. Across their decade together, the group have honed their pastoral pop to perfection, winning over audiences and critics one rustic twang of guitar, icy electronic echo and sumptuous whisper of vocals at a time to become one of Britain's most championed underground forces - fitting for an act who began literally underground, in the basement of a Soho women's clothing boutique some ten years ago.
Now their success story is set to continue with the release of fifth studio album Turbines on June 18th on Full Time Hobby in America, their most bewitching and brilliant listen yet. "It's been a twisted adventure to this point, one that has taken us all over the world, an amazing journey," grins instrumentalist and founding member Mike Lindsay. As the band has evolved and grown, so too has its members. "There's a lot happened in this band in the last couple of years" he adds. "Children born, people moving into different places, falling in love, skipping country, broadening horizons maybe this is a coming-of-age record!"
Recorded mainly in a Dorset studio this is the first Tunng album where all six members were more or less all present at each stage of the recording process. Bar an excursion to album engineer and vintage equipment expert Ben 'Benge' Edwards' "synth museum" to add electronic embellishments. It's an album rich in colour and emotion, from the geyser-like organ eruptions of By This to the trip-hop grooves and thunderous timpani of Trip Trap and Heavy Rock Warning. "I remember thinking that this album would go full circle and match the first record in its experimentalism. But that didn't happen." Instead came Tunng's most direct and affecting effort to date. "It's more concise," says Winter. "It's just the essentials, delivered straight."
"It's our sci-fi folk rock album," declares Lindsay, who stresses the key to Turbines' enchanting charm is the sense of family among its creators. "We have been through a lot together, seen some amazing places and some pretty bad places too and it's time to see some more!"1. Once
2. Trip Trap
3. By This
4. The Village
6. Follow Follow
7. So Far from Here
9. Heavy Rock Warning$18.99Vinyl LP - Sealed Buy Now
Drogas LightA decade after Lupe Fiasco exploded onto the hip-hop scene with his seminal 2006 debut Food & Liquor, the Chicago native is closing the chapter on his career with his most visualized projects yet. The independent rapper, who parted ways with his former label Atlantic Records following the release of 2015's Tetsuo & Youth, hits his creative peak with a trilogy of albums-Drogas Light, Drogas and Skulls-the final curtain call on one of the most gifted lyricists and visionaries to grace the mic.
If anything, Drogas Light, the first delivery to fans arriving in early 2017 via 1st & 15th/Thirty Tigers, is a testament to Fiasco's artistic growth throughout the years. The 14-track LP is free of restraint, and daring by his standards: the sonic and storytelling palettes are vast and diverse, more so than ever before, traipsing genre and style with ease and touting songs to soundtrack everything from a night at the club to a quiet listen on headphones. Where Tetsuo & Youth leaned into more experimental pastures, Drogas Light is the embodiment of a musician whose foray beyond the boundaries of hip-hop feels increasingly natural, a glimpse into the genius that will be Fiasco's legacy as he inevitably walks away from the spotlight.
From the start of Drogas Light, Fiasco lays his rhyming skills bare, attacking a haunted beat accented by a screwed vocal sample on opener "Dopamine" that self-reflectively emphasizes the magnetism of the album ("Over-d off of this, but don't fall asleep 'til the dopamine hit!" he chants). The set is dotted with several trap-inflected songs-"NGL" featuring Ty Dolla $ign is a turn-up anthem that entertains the reasons why success comes slow to many, while the STREETRUNNER-produced lead single "Made in the USA" catalogues the various home-grown, illicit products manufactured in the country.
Fiasco has often been pegged as a socially conscious emcee, likened to peers including Common and Nas, and he lives up to the reputation on "City of the Year," where he explores the economic disparity of Chi-town. He flexes his storytelling muscle on the hypnotic, spinning "Jump," on which he unfolds the tale of going from a "trapper to a rapper" by supplying a female adversary with a career boost. But it's when the album hits the relax button that Drogas Light coasts on cushy grooves: "Kill," also featuring Ty Dolla $ign, is an after-hours ode to women who work at gentleman's clubs, and the vamping closer "More Than My Heart" is an emotionally charged hat-tip to all the mothers who would sacrifice anything for their children.
While Drogas Light signifies the beginning of the end for Fiasco, it represents how far he's come since he first entered the game and merely accents the intellectual breadth of the discography he'll leave behind. At the onset of career, rappers including Jay Z and Kanye West regarded him as the future of hip-hop, with the latter tapping him for a standout guest verse on "Touch the Sky" after Fiasco remixed West's hit "Diamonds from Sierra Leone." His debut album Food & Liquor earned him three Grammy nominations and a win for the Jill Scott-assisted "Daydreamin'," which netted the trophy for Best Urban/Alternative Performance in 2008.
In the years since, he evolved from the backpack rap of his debut with a string of classics including 2007's Lupe Fiasco's The Cool and 2011's Lasers, a prelude to the following year's Food & Liquor II: The Great American Rap Album Pt. 1. While Drogas Light is just a taste of what he has to offer in the new year, it's yet another earmark on a track record of an artist who continually comes into new bloom.1. Dopamine Lit (Intro)
2. NGL (feat. Ty Dolla $ign)
4. Made In The USA (feat. Bianca Sings)
5. Jump (feat. Gizzle)
6. City Of The Year (feat. Rondo)
7. High (Interlude) (feat. Simon Sayz)
8. Tranquillo (feat. Rick Ross and BIG K.R.I.T)
9. Kill (feat. Ty Dolla $ign and Victoria Monet)
10. Law (feat. Simon Sayz)
11. Pick Up The Phone
12. It's Not Design (feat. Salim)
13. Wild Child (feat. Jake Torrey)
14. More Than My Heart (feat. RXMN and Salim)$25.99Vinyl LP - 2 LPs Sealed Buy Now