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  • Black Sabbath (Deluxe Edition) Black Sabbath (Deluxe Edition) Quick View

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    Black Sabbath (Deluxe Edition)

    Ranked 241/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The new deluxe edition of Black Sabbath includes studio outtakes from the 1969 sessions for the album, including alternate versions of Black Sabbath and N.I.B., as well two versions of the UK single Evil Woman (Don't Play Games With Me). Also includes the 2012 remaster of the original album.

    LP 1
    1. Black Sabbath
    2. The Wizard
    3. Wasp/Behind The Wall Of Sleep/Bassically/N.I.B.
    4. Wicked World
    5. A Bit Of Finger/Sleeping Village/Warning


    LP 2
    1. Evil Woman (Don't Play Your Games With Me)
    2. Black Sabbath (Studio Outtake: Regent Sound Studio, 11/17/69)
    3. Black Sabbath (Instrumental: Regent Sound Studios, 11/17/69)
    4. The Wizard (Studio Outtake: Regent Sound Studios, 11/17/69)
    5. Behind The Wall Of Sleep (Studio Outtake: Regent Sound Studios, 11/17/69
    6. N.I.B. (Alternative Version: Regent Sound Studios, 11/17/69
    7 Evil Woman (Alternative Version: Regent Sound Studios, 11/17/69
    8. Sleeping Village (Intro) (Alternative Version: Regent Sound Studios, 11/18/69
    9. Warning - (Part 1) (Studio Outtake: Regent Sound Studios, 11/18/69

    Black Sabbath
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Master Of Reality Master Of Reality Quick View

    $21.99
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    Master Of Reality

    Ranked 298/500 On Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Black Sabbath's classic 1971 album Master of Reality is arguably the heaviest release of the band's legendary career, and certainly one of the most influential. Features the proto-metal gems Sweet Leaf and Children of the Grave.

    1. Sweet Leaf
    2. After Forever
    3. Embryo
    4. Children Of The Grave
    5. Orchid
    6. Lord Of This World
    7. Solitude
    8. Into The Void
    Black Sabbath
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Black Sabbath Black Sabbath Quick View

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    Black Sabbath

    Ranked 241/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The 1970 British heavy metal debut album that became the blueprint of the genre and set the stage for generations of bands that developed in its wake. Features the killer title track along with the classics The Wizard and N.I.B.

    1. Black Sabbath
    2. The Wizard
    3. Wasp/Behind The Wall Of Sleep/Bassically/NIB
    4. Wicked World
    5. A Bit Of Finger/Sleeping Village/Warning
    Black Sabbath
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sabbath Bloody Sabbath Sabbath Bloody Sabbath Quick View

    $21.99
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    Sabbath Bloody Sabbath

    Sabbath Bloody Sabbath is the fifth studio album by English heavy metal band Black Sabbath, originally released in December 1973. It was produced by the band and Tom Allom and recorded at Morgan Studios in London in September 1973.
    For the first time in their career, the band began to receive favourable reviews in the mainstream press, with Rolling Stone calling the album an extraordinarily gripping affair, and nothing less than a complete success. Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a masterpiece, essential to any heavy metal collection, while also displaying a newfound sense of finesse and maturity. The album marked the band's fifth consecutive platinum selling album in the United States.
    1. Sabbath Bloody Sabbath
    2. A National Acrobat
    3. Fluff
    4. Sabbra Cadabra
    5. Killing Yourself To Live
    6. Who Are You
    7. Looking For Today
    8. Spiral Architect
    Black Sabbath
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Black Night Black Night Quick View

    $19.99
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    Black Night

    Very few bands come close to sounding like the metal legends Black Sabbath. The appropriately named Iron Man is one of the few who actually did, a very special band in the underground heavy metal scene that dared to re-create the dark/doomy sounds that Sabbath famously pioneered, but with their own twist.


    Originally released in 1993 by Hellhound Records, Iron Man's classic debut album Black Night, marked the birth of one of the few bands who dove head first into the heavy rock sounds and dark atmospheres that Black Sabbath trailblazed.


    The 7-song set is all about supersonic riffs and brutal heaviness, a dynamic that would even make Black Sabbath proud. Shadow Kingdom Records has now remastered the impossible-to-find but essential Black Night to make it sound as heavy as humanly possible which is scary in and of itself!

    1. Choices
    2. The Liar
    3. Black Night
    4. Leaving Town
    5. Life After Death
    6. Life's Toll
    7. A Child's Future
    Iron Man
    $19.99
    Vinyl LP - Sealed Buy Now
  • Black Masses Black Masses Quick View

    $29.99
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    Black Masses

    For those who crave Sabbath-like dirges, Electric Wizard has few peers. - The Chicago Tribune


    World-class British doom metal band Electric Wizard are back with their long-awaited new album Black Masses to be released courtesy of Metal Blade Records/Rise Above Records. The legendary group's seventh studio album was recorded with Grammy Award-winning British recording engineer Liam Watson (The White Stripes) in London's Toe Rag Studios. Long hailed as the true heirs to Black Sabbath, Electric Wizard have achieved near iconic status in the metal underground and the band prepares to annihilate the planet with Black Masses, their dark prayer to Luciferian heavy metal via crackling, vintage valve amplifiers set to full overdrive.


    Propelled by gigantic riffs and dripping with dark, bluesy undertones, Black Masses is an ugly, sleazy and dirty album steeped in unruly themes of '70s exploitation cinema, occultism, substance abuse and narco-satanism. Taken as a whole, the record creates a twisted amalgam of late '60s dark acid psychedelia and early '80s satanic metal, all draped in both vile, misanthropic imagery and lyrics.


    This ritual incantation of heavy metal sorcery will break down your psyche as wave upon crushing wave of lead weight acid-laced Doom leaves you numb and broken before our unholy altar, declared Electric Wizard cult leader Jus Oborn. Violent, bleak and ritualistic, we bow to the black altar of the riff. We do not rock, we kill!

    1. Black Mass
    2. Venus in Furs
    3. Night Child
    4. Patterns of Evil
    5. Satyr IX
    6. Turn Off Your Mind
    7. Scorpio Curse
    8. Crypt of Drugula
    Electric Wizard
    $29.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
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    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    This title is not eligible for further discount.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • Black Mountain (10th Anniversary Deluxe Edition) Black Mountain (10th Anniversary Deluxe Edition) Quick View

    $24.99
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    Black Mountain (10th Anniversary Deluxe Edition)

    Limited Edition Grey Vinyl


    It's only a clichÉ because it's true, but the greatest records are timeless. Black Mountain's self-titled debut
    album is just such a record. It is a new classic rock, with reference points arcane and clear, its sound fresh,
    unfamiliar and irresistible. The work of a small collective of musicians operating from Vancouver, Canada,
    far from any industry buzz but firmly in the eye of their own storm of creativity, Black Mountain's debut
    album was, of course, a beginning, but it also marked an ending.


    Begun as the fourth album for Jerk With A Bomb, the 4-track bedroom project turned non-rock band led
    by Stephen McBean that preceded Black Mountain, the songs grew from skeletal sessions cut by McBean
    and Josh Wells and honed on the road in empty North American clubs along with Amber Webber. "We'd lay
    down the bed tracks, the guitars and drums," remembers McBean. "Matt [Camirand, bass] joined, and we
    changed the band name after a dream of how life could be different in the B section between Black Flag and
    Black Sabbath. Josh's roommate Jeremy [Schmidt, keys] was lurking about. We asked him if he wanted to
    add some synth bleeps or whatever. He came back with all these orchestrated keyboard parts, and we said,
    'Oh, you should probably join the band now.'"


    They cut the album at the Hive and their jam space in Vancouver, recording in "a big cement room with a
    tall ceiling, nice boomy acoustics, lots of natural reverb, on an 8-track reel-to-reel tape recorder." During the
    sessions, these elemental first tracks found their true shape: wry & giddy, hypnotic & gracefully heavy, the
    dark and powerful blues, and mysterious chugging murk.


    The album's initial success saw the band take to the road, leaving their Vancouver enclave for stages across
    the world. "It felt like there was a real explosion of excitement at shows," remembers McBean. "We wouldn't
    write setlists, we'd just feel the energy in the room and call things out, jamming on songs like 'No Hits' and
    'Druganaut.' It was a good time for live rock'n'roll: DJ booths were being transformed back to drum risers,
    people were digging 20 minute heady jams and there were bands like Comets On Fire and Oneida out there
    who we felt kinship with. I was into Faust and Amon Duul but had no idea of the scene of modern bands
    doing that stuff. And then we met those bands, and it was cool. And then we went on tour with
    Coldplay and the adventures continued.


    Their jaunt across the world as guests of perhaps the biggest band in the world is a tale for another time,
    perhaps: the start of Black Mountain's next chapter, and all that followed. For now, savor the compact,
    spacey brilliance of that cosmic, heavy and subtle debut album, expanded now with a raft of delicious bonus
    tracks scavenged from the Black Mountain Army archives.

    Modern Music
    Don't Run Our Hearts Around
    Druganaut
    No Satisfaction
    Set Us Free
    No Hits
    Heart Of Snow
    Faulty Times
    Druganaut (Extended Remix)
    Buffalo Swan
    Bicycle Man
    Behind The Fall
    Set Us Free (Demo)
    Black Mountain (Demo)
    No Satisfaction (UK Radio)
    It Wasn't Arson
    Black Mountain
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • The Ultimate Collection (Box Set) The Ultimate Collection (Box Set) Quick View

    $59.99
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    The Ultimate Collection (Box Set)

    The Ultimate Collection is curated in conjunction with the band, the 31-track collection features the band's classic songs including Paranoid, Iron Man, War Pigs, N.I.B. and The Wizard as well as choice cuts from their classic albums and is the definitive accompaniment for all Sabbath fans as well as those with a love of hard rock.
    LP 1
    1. Paranoid
    2. Never Say Die
    3. Iron Man
    4. Black Sabbath
    5. Children Of The Grave
    6. Fairies Wear Boots
    7. Changes
    8. Rat Salad


    LP 2
    1. Sweet Leaf
    2. War Pigs
    3. Sabbath Bloody Sabbath
    4. Hole In The Sky
    5. Symptom Of The Universe
    6. Spiral Architect
    7. Rock 'N' Roll Doctor


    LP 3
    1. Dirty Women

    2. Evil Woman, Don't Play Your Games With Me
    3. A Hard Road
    4. Lord Of This World
    5. Into The Void
    6. Behind The Wall Of Sleep
    7. Snowblind


    LP 4
    1. Tomorrow's Dream
    2. The Wizard
    3. N.I.B.
    4. Electric Funeral
    5. Embryo
    6. Killing Yourself To Live
    7. Am I Going Insane
    8. Wicked World
    9. It's Alright

    Black Sabbath
    $59.99
    Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • 13 13 Quick View

    $24.99
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    13

    Black Sabbath's new studio album, one of the most anticipated metal releases of the year, already has a title. It will be called 13, so it is only fitting that the heavy metal band announced it today, on January 13th. We know now that it will be released this June (the exact date will be revealed later). The band also revealed what everyone wanted to know: who was the drummer that joined the recording sessions for the new album.


    The original Black Sabbath line-up, Ozzy Osbourne (vocals), Tony Iommi (guitar) and Geezer Butler (bass), recorded the album primarily in Los Angeles and were joined at the sessions by drummer Brad Wilk of Rage Against The Machine fame.


    13 was produced by Rick Rubin and the album will be released on Vertigo (worldwide) and Vertigo/Republic in the US. The new studio album also marks the band's return to Vertigo, their original label, apart from being the group's first studio album together since 1978s Never Say Die.

    1. End Of The Beginning
    2. God Is Dead?
    3. Loner
    4. Zeitgeist
    5. Age Of Reason
    6. Live Forever
    7. Damaged Soul
    8. Dear Father
    Black Sabbath
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Master Of Reality (Deluxe Edition) Master Of Reality (Deluxe Edition) Quick View

    $31.99
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    Master Of Reality (Deluxe Edition)

    Ranked 298/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The group's third album, Master of Reality, arrived in 1971 and introduced fans to essential Sabbath tracks like Sweet Leaf and Into The Void. The 2-LP deluxe edition builds on that legendary album with versions of Children Of The Grave and Sweet Leaf that have different lyrics. There is also an instrumental version of After Forever and an outtake for Solitude that features an alternative guitar tuning.

    LP 1
    1. Sweet Leaf
    2. After Forever (including the Elegy)
    3. Embryo
    4. Children Of The Grave
    5. Orchid
    6. Lord Of This World
    7. Solitude
    8. Into The Void


    LP 2
    1. Weevil Woman '71
    2. Sweet Leaf (Studio Outtake Featureing Alternative Lyrics)
    3. After Forever (Studio Outtake - Instrumental)
    4. Children Of The Grave (Studio Outtake feat. Alternative Lyrics)
    5. Children Of The Grave (Studio Outtake - Instrumental)
    6. Orchid (Studio Outtake - With Tony Count-In)
    7. Lord Of This World (Studio Outtake feat. Piano & Slide Guitar)
    8. Solitude (Studio Outtake - Intro With Alternative Guitar Tuning)
    9. Into The Void Spanish Sid (Studio Outtake - Alternative Version)

    Black Sabbath
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Never Say Die! Never Say Die! Quick View

    $17.99
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    Never Say Die!

    Never Say Die! is the eighth studio album by British heavy metal band Black Sabbath, released in September 1978. It was the final Black Sabbath studio album to feature vocalist Ozzy Osbourne prior to his departure from the band in 1979.


    At the time of the recording of Never Say Die! the members of Black Sabbath were all heavily involved in drug and alcohol abuse. Prior to the recording of the album, vocalist Osbourne quit the band and was briefly replaced by former Savoy Brown and Fleetwood Mac vocalist Dave Walker. Some songs were written with Walker, and the new group even performed an early version of Junior's Eyes with different lyrics on the BBC programme, Look Hear. Osbourne eventually rejoined the band, refusing to sing any of the songs written with Walker. These particular songs were rewritten, including Junior's Eyes, rewritten to be about the then-recent death of Osbourne's father.


    We had a few internal problems, Osbourne admitted to Sounds. My father was dying, so that put us out for over three months with the funeral and everything. I left the band for three months before we got back together to record it.
    The album was recorded at Sounds Interchange Studios in Toronto. We went to Toronto to record it, and that's when the problems started said Tony Iommi. Why Toronto? Because of the tax, really. The studio was booked through brochures because people thought it might be a good one. We got there and it had a dead sound - totally wrong. We couldn't get a real live sound. So what we had to do was rip the carpet up and try to make it as live as we could. They were okay about it, but it took time to get it exactly right. There were no other studios available. Closing track Swinging The Chain features lead vocals from drummer Bill Ward, necessitated by Osbourne's frequent absences from the studio and inability to perform due to substance abuse.


    It's a combination of what we've all been through in the last ten years, said Osbourne. It's a very varied album. Like, we started out playing in blues clubs, because British blues - like John Mayall and early Fleetwood Mac - was the thing at the time. We were into a twelve-bar trip and early Ten Years After-style stuff. So it's part of that sort of trip. Then there's the heavy thing and the rock thing. It's not just steamhammer headbanging stuff all the way through We got rid of all our inner frustrations: what each of us individually wanted to put down over the years but couldn't because of the pressures of work. So we put a lot of painstaking hours into developing this album.

    1. Never Say Die
    2. Johnny Blade
    3. Junior's Eyes
    4. A Hard Road
    5. Shock Wave
    6. Air Dance
    7. Over To You
    8. Breakout
    9. Swinging The Chain
    Black Sabbath
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Technical Ecstasy Technical Ecstasy Quick View

    $17.99
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    Technical Ecstasy

    Technical Ecstasy continued the band's separation from its signature doom and darkness that had been such a trademark of the band's early career. While the album's lyrics dealt with topics such as drug dealers, prostitution, and transvestites, the music itself was seldom dark, and tracks like Rock 'n' Roll Doctor and It's Alright (the latter sung by drummer Bill Ward-a decision supported by Ozzy Osbourne), were very different from Black Sabbath's earlier recordings. Also, the band continued experimenting with keyboards and synthesizers more so than previous albums. The track She's Gone features orchestrations.


    Osbourne left the band briefly following the release of the album. He would eventually rejoin for the follow-up album, Never Say Die!.


    Gypsy, Dirty Women, Rock 'n' Roll Doctor and (briefly) All Moving Parts (Stand Still) were played live on the supporting tour.


    It's Alright was often covered live by Guns N' Roses, and included in their Live Era: '87-'93 album.

    The song was also featured in the 2010 film It's Kind of a Funny Story.


    The album was certified Gold on 19 June 1997 and peaked at number 51 on the Billboard Pop Album chart.

    1. Back Street Kids
    2. You Won't Change Me
    3. It's Alright
    4. Gypsy
    5. All Moving Parts (Stand Still)
    6. Rock 'N' Roll Doctor
    7. She's Gone
    8. Dirty Women
    Black Sabbath
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Technical Ecstasy (Colored) Technical Ecstasy (Colored) Quick View

    $21.99
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    Technical Ecstasy (Colored)


    180 Gram Limited Edition White Colored Vinyl


    Technical Ecstasy is the seventh studio album by English rock band Black Sabbath, produced by guitarist Tony Iommi and originally released in September 1976. The album was certified Gold on June 19, 1997 and peaked at number 51 on the Billboard 200 Album chart.

    1. Back Street Kids
    2. You Won't Change Me
    3. It's Alright
    4. Gypsy
    5. All Moving Parts (Stand Still)
    6. Rock 'N' Roll Doctor
    7. She's Gone
    8. Dirty Women
    Black Sabbath
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sabotage Sabotage Quick View

    $21.99
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    Sabotage

    Sabotage is the sixth studio album by English rock band Black Sabbath, originally released in July 1975. It was recorded in the midst of litigation with their former manager Patrick Meehan and the stress that resulted from the band's ongoing legal woes infiltrated the recording process, inspiring the album's title. It was co-produced by guitarist Tony Iommi and Mike Butcher.

    1. Hole In The Sky
    2. Don't Start (Too Late)

    3. Symptom Of The Universe

    4. Megalomania

    5. The Thrill Of It All

    6. Supertzar
    7. Am I Going Insane (Radio)

    8. The Writ
    Black Sabbath
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Paranoid Paranoid Quick View

    $21.99
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    Paranoid

    Ranked 130/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The second studio album by English heavy metal band Black Sabbath. Released in September 1970, the album was the only one by the band to top the UK Albums Chart, and as a result is commonly identified as the band's magnum opus. Paranoid has been certified four times platinum by the RIAA and contains some of the band's best-known signature songs, including the title track, Iron Man and War Pigs.

    1. War Pigs
    2. Paranoid
    3. Planet Caravan
    4. Iron Man
    5. Electric Funeral
    6. Hand Of Doom
    7. Rat Salad
    8. Fairies Wear Boots
    Black Sabbath
    $21.99
    180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
  • Paranoid (Deluxe Edition) Paranoid (Deluxe Edition) Quick View

    $31.99
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    Paranoid (Deluxe Edition)

    Ranked 130/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Paranoid has gone on to be certified 4x platinum. The 2-LP deluxe edition features phenomenal instrumental takes on War Pigs, Iron Man and more, along with versions of Paranoid and Planet Caravan with alternate lyrics.

    LP 1
    1. War Pigs/Luke's Wall
    2. Paranoid
    3. Planet Caravan
    4. Iron Man
    5. Electric Funeral
    6. Hand Of Doom
    7. Rat Salad
    8. Jack The Stripper/Fairies Wear Boots


    LP 2
    1. War Pigs (Instrumental)
    2. Paranoid (Alternative Lyrics)
    3. Planet Caravan (Alternative Lyrics)
    4. Iron Man (Instrumental)
    5. Electric Funeral (Instrumental)
    6. Hand Of Doom (Instrumental)
    7. Rat Salad (Alternative Mix)
    8. Fairies Wear Boots (Instrumental)

    Black Sabbath
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Past Lives (Deluxe Edition) Past Lives (Deluxe Edition) Quick View

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    Past Lives (Deluxe Edition)

    The live collection Past Lives, originally released in 2002 but long out-of-print, will be reissued as a 2-LP sets on the same date. It features performances recorded between 1970 and 1975 - when the band was at the height of its dark powers - and includes phenomenal live versions of essential tracks like War Pigs, Paranoid, Snowblind and N.I.B.
    LP 1
    1. Tomorrow's Dream (Live 1973)
    2 .Sweet Leaf (Live 1973)
    3. Killing Yourself To Live (Live in 1973)
    4. Cornucopia (Live 1973)
    5. Snowblind (Live 1973)
    6. Children Of The Grave (Live 1973)
    7. War Pigs (Live 1973)
    8. Wicked World (Live 1973)
    9. Paranoid (Live 1973)

    LP 2
    1. Hand Of Doom (Live)
    2. Hole In The Sky (Live)
    3. Symptom Of The Universe (Live)
    4. Megalomania (Live)
    5. Iron Man (Live)
    6. Black Sabbath (Live)
    7. N.I.B. (Live)
    8. Behind The Wall Of Sleep (Live)
    9. Fairies Wear Boots (Live)
    Black Sabbath
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Sorceress (Black Vinyl) Sorceress (Black Vinyl) Quick View

    $29.99
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    Sorceress (Black Vinyl)

    Pressed On Black Vinyl


    There are few bands that can or will match Sweden's Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, become one of the best bands on the planet; on album or on stage. Ask any Opeth fan. Enquire with any band that's shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They'll all tell you the same thing: Opeth are peerless. And they're only getting better.


    Opeth's new album, Sorceress, their first for Nuclear Blast via the band's imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album's opener "Persephone" to "The Wilde Flowers" and "Strange Brew" to the album's counterpart title tracks "Sorceress" and "Sorceress II", Opeth's twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colours mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt's impressive record collection-his one true vice-but, as always, there's more invention than appropriation at play.


    "This time around I didn't think about what I wanted to do," Åkerfeldt reveals. "I was forced to write. But once I started, it was easy. This record, like the last record, didn't take long to write. Like five or six months. The thoughts behind this record developed as I was writing. The only thing I was thinking about with this record was to write that songs didn't musically connect. I made sure if I had a song that was new sounding for this record, I'd make the next song completely different. I think the songs are very different from one another. It's very diverse."


    Certainly, every Opeth record has had diversity. In 1995, Orchid reset the rules of death metal. Six years later, Blackwater Park hit the high note for musicality in a genre generally devoid of it. Damnation, in 2003, was the work of a band determined to upend the norm. Five years after that, Watershed closed Opeth's chapter on death metal by visiting its darkest corners and holding its native brutality aloft. And in 2014, Pale Communion officially bridged the progressive music gap by twisting the intrepid sounds of '60s, '70s, and '80s into contemporary brilliance. So, really, what's so different about Sorceress?


    "My music taste got a little wider," grins Åkerfeldt. "I started listening to jazz. I bought a lot of Coltrane records. I never really thought Coltrane would be for me because I like 'dinner jazz.' I like comfortable, soft, nice, and lovely jazz. Like Miles Davis' '50s stuff. Porgy and Bess, for example. I guess Dave Brubeck fits in there, too. So, that's the only new influx of musical inspiration for me. Other than that, I've been buying the same type of records I always have. Prog, symphonic rock, singer/songwriter, metal, hard rock But there wasn't anything that set me off like The Zombies or Scott Walker. Nothing got me going this time."


    Actually, that's not entirely true. Åkerfeldt's always mining for progressive gold. Good, rare music is particularly good at getting his motor running. He found double-gold in one-off Italian outfit Il Paese dei Balocchi and Bobak, Jons, Malone's ultra-obscure Motherlight album. To wit, get Åkerfeldt talking about either and he's all too pleased to discuss the finer points of Il Paese dei Balocchi's string-based darkness or how he fan-boyed Malone via email to get the famed British orchestrator and one-time Iron Maiden producer to contribute to Sorceress.


    "I absolutely love Il Paese dei Balocchi," Åkerfeldt professes. "They did one album. It's insanely good. It has everything I love about progressive rock in it. This album is so orchestrated and epic. It's got lots of string sections. It's very moody, dark, and sad. It's a mystery they didn't do any more. As for Will Malone, he did the strings and stuff for the Sabbath records-Sabotage and Never Say Die! But now he does strings for pop artists like Joss Stone, The Verve, Depeche Mode. I looked him up, mostly because he was the house engineer for Morgan Studios in the '60s. He was also in a few bands. Like Orange Bicycle and played on the Motherlight album. He also had a solo record, which is also amazing and superbly rare. It's orchestral. The bulk of it is strings. It's kind of like Nick Drake."


    Åkerfeldt's quick to point out, however, his newfound progressive music loves didn't directly inspire him to write Sorceress. The majority of the album was penned in Opeth's rehearsal space, where, nestled comfortably in a corner, a computer, a keyboard, and a microphone sit ready for the next Opeth epic. It isn't plush, but it's exactly the type of environment the frontman needs to focus his creative self into song.


    "When I'm in a writing mode, I have tunnel vision," says Åkerfeldt. "I have a really good work ethic. I go down to the studio everyday early in the morning and I work. I absolutely love it. It's so much fun. It's much easier now, too. I write complete demos. I sequence the songs in the order I want them to be on the record. I do mixing. I do overdubs. Once I'm done, I give copies to the guys so they can listen to the album. They practice to it on their own. When it's time to go into the studio, everybody does their own thing. It obviously works."


    For Sorceress, Opeth returned to Rockfield Studios in Wales, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The experience was so positive and historical-the countryside studio was also home to pivotal Budgie, Queen, Rush, Judas Priest, and Mike Oldfield recordings-there really was no other option for Opeth and crew. Rockfield Studios or bust! The studio, with Dalgety yet again in tow, provided the necessary isolation, the right bucolic atmosphere, the best gear, and three square meals a day for Sorceress to come out the other end spitting fire. All in 12 bittersweet days, too.


    "There was a time when I came out of our recordings a wreck," Åkerfeldt bemoans. "But now I come out with a wish. I wish it wouldn't have gone so quickly. There's emptiness after I leave the studio. I love writing and recording in the studio. It's lovely at Rockfield. It's in the sticks. It's got horses and cows. There's lots of sheep in Wales. But the studio is just a studio. It's so beautiful there. So quiet. It's a residential studio as well, so we live there while we're recording. We have chefs for us, too. So, we can just be there, playing, recording, and hanging out."


    If life is like a Peter Max poster, the lyrics to Sorceress aren't. There's color, but they've been treated, corrupted, and befouled. That is to say, they're much darker. Some of bleak lyrical tones stem from Åkerfeldt's personal life-and are thusly contorted beyond recognition-while others touch grimly on topics like love and what happens to people on the other side of it. In fact, some of the lyrical ideas are similar to what was happening on Blackwater Park.


    "I made sure to write good lyrics," Åkerfeldt laughs. "This sounds very old-fashioned black metal to say, but the lyrics are misanthropic. It's not a concept record, so there's no theme running through the record. Most of the record deals with love. The negative aspects of love. The jealously, the bitterness, the paranoia, and the mind games of love. So, it's a love record. Love songs. Love can be like a disease or a spell."


    Luckily, for Åkerfeldt and crew-bassist Martín MÉndez, drummer Martin Axenrot, guitarist Fredrik Åkesson, and keyboardist Joakim Svalberg-the lineup doesn't have to deal with Sorceress' main theme. They've been together since Heritage was completed, and according to Åkerfeldt he's not been in a better band situation before. Not since Orchid. Not since Still Life. Not since Ghost Reveries.


    "It's the best band situation I've ever had. Fans will look at our eras and have their favorite lineup, but this is the best. Even the happiest days of the first and second lineups aren't comparable to what I have now. We never fight. It's like a good work team. We know each other professionally and personally. As much as we're a band, we're also friends. We hang out when we're not doing Opeth."


    A core team is a good thing, when Opeth's credibility is in full view of fans and critics. Åkerfeldt's very aware of what the masses have had to say about Opeth since Watershed. While some disliked the musical shift on Heritage, most have applauded it. They've come to expect something new from Opeth. True to form, Sorceress will give long-time fans and weary critics reason to re-think Opeth and what it takes to be musically fearless.


    "I hope they'll like the record," posits Åkerfeldt. "I can only talk from my perspective and taste here, but we offer diversity that's not really present in the scene today. Whatever genre. We've always been a special band. We've gotten a lot of shit for being different. We still do. Our time will come, I think. It comes down to perseverance. It comes down to not giving up or giving in to public opinion. Music is about doing your own thing or going your own way."

    1. Persephone
    2. Sorceress
    3. The Wilde Flowers
    4. Will O The Wisp
    5. Chrysalis
    6. Sorceress 2
    7. The Seventh Sojourn
    8. Strange Brew
    9. A Fleeting Glance
    10. Era
    11. Persephone (Slight Return)
    12. The Ward
    13. Spring MCMLXXIV
    Opeth
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Vol. 4 Vol. 4 Quick View

    $21.99
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    Vol. 4

    Originally released in 1972, Vol. 4 is the fourth album by British heavy metal legends Black Sabbath. The release was initially titled Snowblind in reference to the many tracks centered around drug use which was running rampant in the band at the time of the recording. Vol. 4 also found the band expanding upon their trademark sound with the tracks Wheels of Confusion, Tomorrow's Dream and Changes, while still offering up classic Sabbath fair like the ultra-heavy Supernaut.
    1. Wheels Of Confusion/The Straightener

    2. Tomorrow's Dream
    3. Changes
    4. FX
    5. Supernaut
    6. Snowblind
    7. Cornucopia
    8. Laguna Sunrise
    9. St. Vitus' Dance
    10. Under The Sun/Every Day Comes And Goes
    Black Sabbath
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live In Detroit (Awaiting Repress) Live In Detroit (Awaiting Repress) Quick View

    $22.99
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    Live In Detroit (Awaiting Repress)

    Limited Edition Of 1000 On Red Vinyl


    Zakk Wylde-Guitar/Vocals, Blasko-Bass, Joey Castillo-Drums. 3 devotional Black Sabbath standards played by extended Sabbath family members.

    1. War Pigs
    2. Supernaut
    3. Fairies Wear Boots
    Zakk Sabbath
    $22.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Vol. 1 (Cherry Red Vinyl) (Pre-Order) Vol. 1 (Cherry Red Vinyl) (Pre-Order) Quick View

    $37.99
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    Vol. 1 (Cherry Red Vinyl) (Pre-Order)

    Pressed On Cherry Red Colored Vinyl


    Includes Insert


    First released on Friday 13th February 2010 (40 years to the day after Black Sabbath's debut LP), Vol 1 was the first efforts of unknown songwriter, Kevin Starrs. Pressed in small numbers for a non-existing fan base, the album took several months to shift all 30 CD-R copies and provided a small platform to fund it's follow up, BLOOD LUST (2011).
    Recorded on a tight budget of stashed dole money and with little knowledge or regard for conventional recording techniques, the chaotic results speak for themselves;


    Distorted vocals, out of tune harmonies, ragged musicianship and everything pushed to the red. The clatter of mic stands falling over mid performance, the rustling of lyric papers, the missed key changes and flubbed lines. Everything you would want to avoid is here. Self-funded, self-recorded and self-released to a fanfare of silence, VOL 1 was a true D.I.Y. effort from start to finish. No great ambition, no target audience, no press support. Just a collection of songs for anyone who would listen. With its mix of budget horror lyrics, Everly Brothers obsessed harmonies, downer rock riffs, overly long guitar solos and bizarre high pitched vocals, Vol 1 had very limited appeal outside a small group of underground fanatics.


    In the years following, The album became something of a cult curiosity. Despite the shoddy work of bootleggers and impatient collectors, Starrs refused to re release the album until he could work on its remix and oversee the mastering. "It was a D.I.Y project from the beginning so I wasn't going to give it up and let someone else mess with it. I Also wasn't going to cash in on something for the sake of it. I wanted it to sound the best that it possibly could. The record deserves my full attention, so with no new album to distract anyone in 2017, it was the perfect time to work on it and release it on vinyl. It can stand on its own...flaws included."


    So here it is, Vol 1 in all its ragged glory...finally mastered and mixed for this release.

    1. Crystal Spiders
    2. Witches Garden
    3. Dead Eyes of London
    4. Lonely and Strange
    5. Vampire Circus
    6. Do What Your Love Tells You
    7. I Don't Know
    8. Wind Up Toys
    Uncle Acid & the Deadbeats
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Vol. 1 (White Vinyl) (Pre-Order) Vol. 1 (White Vinyl) (Pre-Order) Quick View

    $37.99
    Buy Now
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    Vol. 1 (White Vinyl) (Pre-Order)

    Pressed On White Colored Vinyl


    Includes Insert


    First released on Friday 13th February 2010 (40 years to the day after Black Sabbath's debut LP), Vol 1 was the first efforts of unknown songwriter, Kevin Starrs. Pressed in small numbers for a non-existing fan base, the album took several months to shift all 30 CD-R copies and provided a small platform to fund it's follow up, BLOOD LUST (2011).
    Recorded on a tight budget of stashed dole money and with little knowledge or regard for conventional recording techniques, the chaotic results speak for themselves;


    Distorted vocals, out of tune harmonies, ragged musicianship and everything pushed to the red. The clatter of mic stands falling over mid performance, the rustling of lyric papers, the missed key changes and flubbed lines. Everything you would want to avoid is here. Self-funded, self-recorded and self-released to a fanfare of silence, VOL 1 was a true D.I.Y. effort from start to finish. No great ambition, no target audience, no press support. Just a collection of songs for anyone who would listen. With its mix of budget horror lyrics, Everly Brothers obsessed harmonies, downer rock riffs, overly long guitar solos and bizarre high pitched vocals, Vol 1 had very limited appeal outside a small group of underground fanatics.


    In the years following, The album became something of a cult curiosity. Despite the shoddy work of bootleggers and impatient collectors, Starrs refused to re release the album until he could work on its remix and oversee the mastering. "It was a D.I.Y project from the beginning so I wasn't going to give it up and let someone else mess with it. I Also wasn't going to cash in on something for the sake of it. I wanted it to sound the best that it possibly could. The record deserves my full attention, so with no new album to distract anyone in 2017, it was the perfect time to work on it and release it on vinyl. It can stand on its own...flaws included."


    So here it is, Vol 1 in all its ragged glory...finally mastered and mixed for this release.

    1. Crystal Spiders
    2. Witches Garden
    3. Dead Eyes of London
    4. Lonely and Strange
    5. Vampire Circus
    6. Do What Your Love Tells You
    7. I Don't Know
    8. Wind Up Toys
    Uncle Acid & the Deadbeats
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Rocka Rolla Rocka Rolla Quick View

    $37.99
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    Rocka Rolla

    Clear Vinyl


    Rocka Rolla is the debut album by the British heavy metal group Judas Priest, released in 1974. It was produced by Rodger Bain, who had made a name for himself as the producer of Black Sabbath's first three albums. This album was played entirely live (i.e. all musicians playing simultaneously as in a concert, vs. the more popular method of each musician's parts being recorded separately and then mixing them)

    Side A:

    1. One For The Road

    2. Rocka Rolla

    3. Winter Deep Freeze

    4. Winter Retreat

    5. Cheater

    6. Never Satisfied


    Side B:

    7. Run Of The Mill

    8. Dying To Meet You

    9. Caviar And Meths

    10. Diamonds And Rust

    Judas Priest
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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