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Judas Priest Vinyl'
Turbo 30Remastered 30th Anniversary Edition1. Turbo Lover (Remastered)
2. Locked In (Remastered)
3. Private Property (Remastered)
4. Parental Guidance (Remastered)
5. Rock You All Around the World (Remastered)
6. Out in the Cold (Remastered)
7. Wild Nights, Hot & Crazy Days (Remastered)
8. Hot for Love (Remastered)
9. Reckless (Remastered)$19.99Vinyl LP - Sealed Buy Now
Stained Class (On Sale)Stained Class on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Pioneering 1978 Record Planted Flag for Speed Metal, Features Crisp and Clean Production Unlike Any Other Heavy Album of its Era
Band's Razor-Blade Logo and Studs-and-Metal Image Begin Here
Deemed The Heaviest Heavy Metal Album of All Time: Last Priest Set to Feature Songwriting By All Five Members
Includes Exciter, Better By You, Better Than Me, Beyond the Realms of Death
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
Judas Priest's namesake razor-blade logo is recognized the world over. So, too, is the band's leather-and-studs look, the roughness and rebelliousness seamlessly meshing with the group's no-nonsense music. Both trademarks arrived with 1978's Stained Class, a benchmark not only for the British quintet but for the international hard-rock community. Boasting cleaner, crisper, and more refined production than its previous efforts, the record became an archetype of the style that ultimately became speed metal.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP opens up the sound and spectacle contained within Stained Class like never before. Immeasurably more dynamic than the 2001 CD remasters and more transparent, extended, and immediate than the original vinyl pressings, the reissue brings the metal gods to life. Rob Halford's piercing falsetto reaches untold heights, and the crunch-and-burn of the dual-guitar interplay boasts realistic weight, balance, and tension. There's nothing like the sound of metal on vinyl.
The last Judas Priest effort to feature songwriting by all five members, Stained Class briefly attained infamous status during the early 1990s after it became the subject of a legal case involving two misguided youths. Yet Priest's unanimous victory in court further reaffirmed the LP's purist, no-frills appeal and, moreover, drew attention to the symphonic precision and cleaver-sharp melodies within what Metal Hammer magazine declared "the heaviest heavy metal album of all time."
At once visceral, complex, aggressive, sinister, and focused, Stained Class addresses topics such as death, victory, and the alien unknown with combustible relentlessness and instinctual passion. While the turbo-thrust gallop of "Exciter" and blaring momentum on "White Heat, Red Hot" rank as straight-ahead shots of adrenaline, the band displays a still-underappreciated lyrical intelligence on "Savages," the title track, and "Heroes End," all owing to long-view perspectives and Biblical imagery. And with "Better By You, Better Than Me" and "Beyond the Realms of Death," Priest cut two songs whose influence on the likes of Metallica, Megadeth, and countless others remains today.
As metal journalist Martin Popoff wrote in his book The Top 500 Heavy Metal Albums of All Time: "The album was first and foremost a spot of production crumpet proposing that this kind of music could exist and thrive within the realm of armchair audiophile fidelity. This was applied nowhere with more force than within the tom-tom sound of drummer Les Binks, who holds the philosophical line to the briefly sparked Simon Phillips' version of the band, one record previous."
This title is not eligible for further discount.1. Exciter
2. White Heat, Red Hot
3. Better By You, Better Than Me
4. Stained Class
6. Saints in Hell
8. Beyond the Realms of Death
9. Heroes End$24.99 $22.49 Save $2.50 (10%)Vinyl LP - Sealed Buy Now
Killing Machine (On Sale)Killing Machine on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Smoking-Hot 1978 Set Released as Hell Bent For Leather in the United States
Produced by Pink Floyd The Wall Engineer James Guthrie: Uncompromising Album and Exacting Performances Remain Hard Rock and Metal Bedrocks
Marries Streetwise Aggression to Commercial Accessibility, Overflows With Confidence, Boldness, and Diversity
Includes Metal Standards Hell Bent for Leather, Evening Star, and Delivering the Goods
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
Released the same year as the equally pivotal Stained Class, Killing Machine cemented Judas Priest's standing and reputation as the world's foremost metal band of the late 1970s. Further diversifying its music and sporting increased confidence, boldness, and full-bodied songwriting, the album managed a then-unprecedented task of appealing to mainstream tastes via its impeccably solid production, creative prowess, and staggering melodies. Known in the United States as Hell Bent for Leather, Killing Machine remains a titanic release no matter the name.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP broadens the scope of the original production, helmed by none other than Pink Floyd The Wall producer James Guthrie. Besting those on all previous editions, the low-end thrust, high-frequency dynamics, and all-important midrange now come alive with unsurpassed detail and accuracy. Soundstaging and imaging positively explode before your eyes and ears, and instrumental separation allows insight into band's tight-fisted interplay.
Recognizing the era's potential and pushing to expand metal's horizons, Priest created music that at the time hadn't any peer. With proto-metal luminaries Black Sabbath, Deep Purple, and Led Zeppelin experiencing career low points, and campy hard rockers following a softer path, the English quintet married street-bruising intensity to commercial accessibility without compromising any aggression, volatility, rawness, or ruggedness. Part of the success owes to Guthrie's expert hand. A majority, however, lies with the group's unrelenting ambition and variety-not to mention masterful performances.
Exemplified in the breakthrough "Hell Bent for Leather," as tough-as-nails resilient as any metal song and delivered by vocalist Rob Halford with a pronounced ruffian attitude as guitars blaze behind him, Killing Machine sparks with high-powered muscle and concise, exact rhythmic structures. Halford comes into his own throughout, sending his falsetto into another universe on the wide-open highway-driving anthem "Evening Star," evoking deep loss on the ballad "Before the Dawn," and attacking "Delivering the Goods" as if he's a mercenary. There's not a wasted note or moment of doubt on the album.
To author and metal expert Martin Popoff, music doesn't get any better. "To my mind, Killing Machine was the apex, the hallowed halls of heavy metal which Priest summarily occupied alone at this particular juncture in time," writes Popoff in his The Top 500 Heavy Metal Albums of All Time. "The songs on this record sweat the corners and creases of all of metal's characteristics, Priest firing on and off all speeds, from quick and note-dense to positively glacial."
This title is not eligible for further discount.1. Delivering the Goods
2. Rock Forever
3. Evening Star
4. Hell Bent for Leather
5. Take on the World
6. Burnin' Up
7. Killing Machine
8. Running Wild
9. Before the Dawn
10. Evil Fantasies$24.99 $22.49 Save $2.50 (10%)Vinyl LP - Sealed Buy Now
Screaming For Vengeance (On Sale)Screaming for Vengeance on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Double-Platinum 1982 Blockbuster Remains Judas Priest's Most Commercially Successful LP
Includes Electric Eye, Screaming for Vengeance, You've Got Another Thing Comin'
Dual Magnesium-Burn Guitars, Leather-Tough Percussion, Molten-Hot Melodies Help Form Triangular Equilibrium of Speed, Accessibility, and Attitude
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
You've got another thing comin'! Distinguished by dual magnesium-burn guitars, leather-tough percussion, molten-hot melodies, and the unmistakable piercing falsetto of operatic vocalist, Screaming for Vengeance became the soundtrack to millions of music lovers' lives in the early 1980s as Judas Priest continued to lay waste to its contemporaries' softer, cheesier hard-rock styles. An effort on which precision-based speed, mainstream accessibility, and resilient attitude meet in triangular equilibrium, the 1982 set remains the British metal legends' top-selling record.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP shows off the grand intersection of daring adventure and commercial purpose achieved via ironclad production values and entrenched grooves. The latter particularly benefit from this analog pressing, as the group never overlooks the importance of rhythm and pace even when stoking tempos to engine-combusting levels. Leagues ahead of the sonics gracing its peers' albums from the time, the sense of balance, separation, and realism is on par with that of big-budget rock creations.
Staked by the breakout "You've Got Another Thing Comin'," which burns white-hot with foot-pounding riffs, prize-fighting percussion, and singer Rob Halford's gun-for-hire blare, Screaming for Vengeance clutches hold of the jugular and doesn't let go. A return to the band's gritty, purist roots, the record revisits the themes of darkness, menace, and the unknown firmly established on the pioneering Stained Class and Killing Machine. Along with those albums, and British Steel, Screaming for Vengeance is the template for the catchy albeit uncompromisingly heavy crossover success Metallica, Megadeth, and Anthrax enjoyed years later.
With the one-two opening tandem of the instrumental "The Hellion" and stomping "Electric Eye," overseen by Halford as if he's embodying the persona of a wicked James Bond villain, Priest sounds utterly futuristic and terrifying, the instruments seemingly on a swivel and the sawed-off tones flooding the guitar solos with intimidation. A classic head-out-to-the highway anthem ("Riding on the Wind"), a racing proto-thrash banger ("Screaming for Vengeance"), and a scorching exorcism ("Devil's Child") function as the metal-hued bolts that hold the foundations of this Top 20-charting benchmark in place.
Perhaps more so here than on any other record, Priest spit-shines hooks and collusive six-string harmonic leads to perfection, giving listeners ying-yang doses of pain and pleasure, sweet and bitter. Songs at once invite sing-a-longs and fist-pumping responses. Screaming for Vengeance marked the last time Priest would sound this heavy in the 80s. No wonder it was voted the 12th best metal album of all time in Martin Popoff's definitive book of the same name.
This title is not eligible for further discount.1. The Hellion
2. Electric Eye
3. Riding on the Wind
5. (Take These) Chains
6. Pain and Pleasure
7. Screaming for Vengeance
8. You've Got Another Thing Comin'
10. Devil's Child$24.99 $22.49 Save $2.50 (10%)Vinyl LP - Sealed Buy Now
Screaming For Vengeance (Picture Disc)30th Anniversary - Picture Disc Edition!
The album was recorded at Ibiza Sound Studios, Ibiza, Spain and mixed at Beejay Recording Studios and Bayshore Recording Studios in Florida. It was first released on July 17, 1982. The album reached #11 in the UK and #17 on Billboard 200 Pop Albums and made Judas Priest much more popular than they were after their British Steel album. It went Gold (RIAA) on October 29, 1982, Platinum on April 18, 1983 and Double Platinum on October 16, 2001, being their first album to achieve the two latter awards.1. The Hellion
2. Electric Eye
3. Riding On The Wind
5. (Take These) Chains
6. Pain And Pleasure
7. Screaming For Vengeance
8. Youv'e Got Another Thing Coming
10. Devils Child$24.99Vinyl LP Picture Disc - Sealed Buy Now
Rocka RollaClear 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
6. Never Satisfied
7. Run Of The Mill
8. Dying To Meet You
9. Caviar And Meths
10. Diamonds And Rust$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Rocka RollaRocka Rolla is a precise and powerful debut that displays the earliest incarnations of Judas Priest's signature blues-based riff attack and hints at the potential and originality that they would turn into heavy metal superstardom.1. One For The Road
2. Rocka Rolla
6. Never Satisfied
7. Run Of The Mill
8. Dying To Meet You
9. Caviar And Meths$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sad Wings Of DestinyOrange Colored Vinyl
Sad Wings of Destiny is the second album by the British heavy metal group Judas Priest, released in 1976. The cover art for the album, titled Fallen Angels, was illustrated by Patrick Woodroffe. It is best known for introducing the pitchfork-like symbol known as the Judas Priest Cross, as worn by the angel. Sad Wings of Destiny was Judas Priest's second and final studio record made while under contract with Gull Records, an independent UK company. Despite critical acclaim, the band was struggling financially due to lack of support from the label. Shortly after changing management, the band severed their ties with Gull and signed with Columbia Records.Side A:
1. Victim Of Changes
2. The Ripper
3. Dreamer Deceiver
9. Island Of Domination$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Redeemer Of SoulsCLASSIC JUDAS PRIEST METAL ON THE WAY WITH THEIR 17TH ALBUM 'REDEEMER OF SOULS'
There are only a select number of bands that have accomplished what Judas Priest has throughout their career (as well as having served as a stylistic influence on such a wide variety of bands). Soon the group - singer Rob Halford, guitarists Glenn Tipton and Richie Faulkner, bassist Ian Hill and drummer Scott Travis - will be offering up more classic Judas Priest metal with the release of 'Redeemer of Souls'
'Redeemer of Souls' is Judas Priest's latest collection of epic metal - raising the bar is consistent for us and 'Redeemer' hits the ground running - it matches up perfectly to earlier Priest classics as evidenced by the album's leadoff single 'March of the Damned'
(we are forging ahead, slamming the pedal to the metal!) - the band mean business once again.
We feel 'Redeemer of Souls' reinforces our passion for what we believe in from the Judas Priest style heavy metal. The album also marks Richie Faulkner's studio debut with Priest and is the co-writer of the material along with Glenn Tipton and Rob Halford.
First bursting onto the scene with 1974's 'Rocka Rolla' Judas Priest is responsible for some of heavy metal's all-time great albums - 1980's 'British Steel', 1982's 'Screaming for Vengeance', 1990's 'Painkiller' etc - and anthems 'Breaking the Law', 'Living After Midnight', 'You've Got Another Thing Coming' etc - as well as trailblazing metal's now instantly identifiable look - leather and studs - 2014 marks the 40th anniversary of the band.
And while fans are undoubtedly starved for more Priest (their last studio album 'Nostradamus' was released in 2008) the band themselves are eager for the world to hear their latest studio triumph. Classic combination of all the statements we love to create with raging guitar riffs and solos, thundering drums, thick grooves of bass and vocals tearing it all up!LP 1
2. Redeemer of Souls
3. Halls of Valhalla
4. Sword of Damocles
5. March of the Damned
6. Down in Flames
7. Hell & Back
1. Cold Blooded
4. Secrets of the Dead
5. Battle Cry
6. Beginning of the End$33.99Vinyl LP - 2 LPs Sealed Buy Now
Now And ForeverSister Sin's leather lunged style is raw and powerful... tuneful and utterly captivating. - Outburn
An abundance of chugging, libidinous riffs, blazing leads and shrill, attitude-socked vocals reminiscent of early Motley Crue. - Revolver
Swedish mob SISTER SIN are once again storming the scene with their potent mix of classic metal and punk attitude on their latest album, Now and Forever. The band continue to bang heads around the world with a consistent formula of raw and dirty Rock N' Roll guitar riffs, stomping rhythm section, and anthemic , instantly-singable, choruses from the outstanding front-woman, Liv. SISTER SIN's tight musicianship and crisp production deliver memorable gems that are a true testament to the spirit of old-school heavy metal.
Having collaborated with and performed alongside Rock N' Roll icons MOTÖRHEAD and DORO, SISTER SIN now look to carry the torch from the glory days of MÖTLEY CRÜE and JUDAS PRIEST to a new generation of modern metalheads on Now and Forever.1. MMXII
2. End Of The Line
3. Fight Song
4. In It For Life
5. Hearts Of Cold
6. The Chosen Few
7. Hang 'Em High
8. I'm Not You
9. Running Low
10. Shades Of Black
11. Morning After$15.99Vinyl LP - Sealed Buy Now
Battle CryBattle Cry was recorded live on August 1, 2015 at the Wacken Festival in Germany.
JUDAS PRIEST's tour in support of their 17th studio album overall, Redeemer Of Souls, was one of the most extensive of the group's entire career - consisting of 130 shows in 33 countries, and offering a setlist that touched upon selections from nearly all of their classic albums. And now, fans can relive the live PRIEST experience once more, with the release of the 2 LP, Battle Cry, via Epic Records.LP 1
1. (Intro) Battle Cry (Live from Battle Cry)
2. Dragonaut (Live from Battle Cry)
3. Metal Gods (Live from Battle Cry)
4. Devil's Child (Live from Battle Cry)
5. Victim of Changes (Live from Battle Cry)
6. Halls of Valhalla (Live from Battle Cry)
7. Redeemer of Souls (Live from Battle Cry)
8. Beyond the Realms of Death (Live from Battle Cry)
1. Jawbreaker (Live from Battle Cry)
2. Breaking the Law (Live from Battle Cry)
3. Hell Bent for Leather (Live from Battle Cry)
4. The Hellion (Live from Battle Cry)
5. Electric Eye (Live from Battle Cry)
6. You've Got Another Thing Comin' (Live from Battle Cry)
7. Painkiller (Live from Battle Cry)$35.99Vinyl LP - 2 LPs Sealed Buy Now
The Grinding Wheel (Yellow And Black Vinyl) (Pre-Order)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$31.99Colored Vinyl LP - Sealed PRE-ORDER Buy Now
Sad Wings Of DestinyThe groundbreaking Sad Wings of Destiny was the first great Judas Priest album, simultaneously taking the entire heavy metal genre to new depths of darkness and new heights of technical precision and musicality. The album was an important milestone in the eventual development of the progressive metal subgenre, and established a standard of excellence to which Judas Priest would adhere through the remainder of the '70s.1. Victim Of Changes
2. The Ripper
3. Dreamer Deceiver
9. Island Of Dominatio$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Thrash In Texas - Dallas 1987
180 Gram Red Colored Vinyl
Limited To 1000
The power-charged recording heard on this release is from a live FM radio broadcast transmitted in July 1987 from the Arcadia Theatre in Dallas, Texas, just a few weeks after the release of Anthrax' third LP, when the group were at the very pinnacle of their success and creativity. Featuring a dynamic set-list which includes cuts from the group's every albums to date plus inspired covers of The Sex Pistols' "God Save The Queen" and Judas Priest's "Living After Midnight", this live broadcast recording is the sound of a band on the cusp of greatness.LP 1
1.Among The Living
2.Caught In A Mosh
3.Metal Thrashing Mad
4.I Am The Law
6.Indians / Guitar Solo
7.Armed And Dangerous
1.Drum Solo / A.I.R.
2.God Save The Queen
3.Imitation Of Life / Gung-Ho
4.Living After Midnight$32.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
LiveThirty years ago this lineup stormed across the U.S. like a Blizzard, leaving audiences in complete awe! This live LP showcases the power and intensity of an Ozzy Osbourne performance from 1981, with legendary guitarist Randy Rhoads at his side and the solid rhythm section of Tommy Aldridge (drums) and Rudy Sarzo (bass).
Though many bands have succeeded in earning the hatred of parents and media worldwide throughout the past few decades, arguably only such acts as Alice Cooper, Judas Priest, and Marilyn Manson have tied the controversial record of Ozzy Osbourne.
The former Black Sabbath frontman has been ridiculed over his career, mostly due to rumors denouncing him as a psychopath and Satanist. Despite his outlandish reputation, however, one cannot deny that Osbourne has had an immeasurable effect on heavy metal.1. I Don't Know
2. Crazy Train
4. Mr. Crowley
5. Flying High Again
6. Revelation (Mother Earth)
7. Steal Away (The Night)
8. Suicide Solution
9. Iron Man
10. Children Of The Grave
12. Goodbye to Romance*
*Bonus tracks$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Songs From The Garage (Pink Vinyl)Pink Colored Vinyl
Features AC/DC Lead Vocalist Brian Johnson
Guitars And Production Duties Handled By Rob Caggiano (Anthrax, Volbeat, Bleeding Through, Cradle Of Filth And More)
Whether it's Spinal Tap gloriously losing the plot, the escapades of Tenacious D getting them into trouble, or the phenomenon that is Dethklok tearing up the album charts, comedy and heavy music have long made for great bedfellows. Jim Breuer is a man who understands this, and with Songs From The Garage, his first full-length with longtime backing band The Regulators, he delivers both in his inimitable style. "I basically want the crowd to have a blast, and I write what I feel that I would love if I was in the crowd. So, going into the record the music had to be killer and have great hooks, that was most important, and I wanted to balance that with something that's funny," he enthuses. "I wanted to bring the smile back to hard rock that has a nice punch to it - and in doing so hopefully bridge the gap so my generation and their kids will come see this live together!"
In realizing this, Breuer has delivered a record that is pure, unadulterated fun, and yes, it rocks. From crunchy opening romp "Thrash" through the swaggering "Who Better Than Us?" to the gloriously deranged excitement suffusing "Sugar Rush", his exuberance is infectious, and he challenges you to keep your ass from shaking and the corners of your mouth twitching while it thunders from the speakers. Throughout, his influences bleed through, comfortably blurring the line between hard rock and metal while every anthemic chorus lodges irrevocably in the hippocampus. While a great many 'comedy rock' records are ultimately pretty throwaway and last as long as the joke stays funny, this is not the case with Songs From The Garage. True to his game plan, Breuer has made great songs, ones that persistently draw a smile and will fit comfortably when shuffled among the likes of Megadeth, AC/DC, Judas Priest and more contemporary bands, such as Avenged Sevenfold and Halestorm.
Having finally made the album that has been burning to get out of him since his teens, Breuer couldn't be happier with the result. Though he has fulfilled one rock and roll dream with its completion, it certainly does not mean he's about to kick back and leave it at that. "I plan on making great, funny videos for every song and have videos up during the concerts. I want pure entertainment when you come see this live, and now my rock and roll dream is to play this not only here in America, but anywhere else in the world that will accept it! I'm taking it one day at a time, living the dream."1. Thrash
2. Raising Teenage Girls
3. Old School
4. Be a Dick 2nite
5. My Rock n Roll Dream
6. Mr. Rock n Roll
7. Who's Better Than Us?!
8. Family Warrior
9. Sugar Rush
11. The Unexplained$25.99Colored Vinyl LP - Sealed Buy Now
Kill 'Em AllMetallica's debut album--originally released in 1983--is a masterpiece of thrash metal, and as good a marker as any for the debut of the genre. Fusing the rapid-fire attack of bands like Motorhead with a guitar style reminiscent of such British heavy metal bands as Iron Maiden and Judas Priest, Metallica essentially created a new kind of metal. Several of the songs from this 1983 album have since become classics, including Seek & Destroy, The Four Horsemen, and Jump in the Fire. Essential for any heavy metal fan.1. Hit The Lights
2. The Four Horsemen
4. Jump In The Fire
5. (Anesthesia) - Pulling Teeth
7. Phantom Lord
8. No Remorse
9. Seek And Destroy
10. Metal Militia$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Show No Mercy1983's Show No Mercy was the album that started it all for the thrash mercanaries and the album ultimately helped inaugerate in the speed and thrash metal movement of the '80s and the extreme metal underground of the '90s. Slayer incorporated the faster, darker elements of Judas Priest and melded it with the punk brutality of Motorhead and its apparent from the the all out assault of the opener Evil Has No Boundaries to the last note of the title track closer that they were a band to be reckoned with. Available here on Limited Edition Splattered Red Colored Vinyl!1. Evil Has No Boundaries
2. The Antichrist
3. Die by the Sword
4. Fight till Death
5. Metal Storm / Face The Slayer
6. Black Magic
8. The Final Command
10. Show No Mercy$24.99Colored Vinyl LP - Sealed Buy Now
BathoryLimited Edition Reissue of Bathorys Debut Album!
Bathory was formed in Stockholm in 1983. Founder Quorthon, a seventeen-year-old guitarist, was joined by bassist Hanoi and drummer Vans. After various name changes (beginning with Nosferatu, then Natas, Mephisto, Elizabeth Bathory and Countess Bathory) they finally settled on Bathory. Their first recording deal came that same year, when Quorthon managed to secure the consent of Tyfon Grammofon's boss to record two tracks for the compilation Scandinavian Metal Attack. The tracks which he recorded gained unexpected attention by fans. Soon afterward, Tyfon Grammofon contacted Quorthon and asked him to record a full-length album. Although Venom's Black Metal, released in 1982, was the first record to coin the term, it was Bathory's early albums, featuring Satanic lyrics, low-fi production and an inhuman vocal style, that defined the genre. Many fans have speculated Venom was an influence on Bathory; however, Quorthon has said in an interview with Kick Ass magazine in 1985 he only heard of Venom after the first Bathory album was released. He also expressed dislike for many influential and popular heavy metal bands at the time, such as Iron Maiden and Judas Priest. He has also stated the band's early work was influenced primarily by Black Sabbath, Motörhead, and punk rock. Bathory's self-titled debut album, and the subsequent releases The Return and Under the Sign of the Black Mark, are now regarded as major influences on the Norwegian bands which extended black metal's musical progression and popularity in the beginning of the 1990s.Side A
1. Storm Of Damnation
6. In Conspiracy With Satan
8. Raise The Dead
10. Outro$32.99Vinyl LP Picture Disc - Sealed Buy Now
Melissa (Awaiting Repress)
Limited To 1500 Copies
Mercyful Fate's debut album, Melissa, took Black Sabbath's dark occult obsessions to an extreme, fusing them with the speed and tightened, twin-guitar riffing attack of British metal bands like Judas Priest and Iron Maiden. But the band had a distinctive sound of its own, thanks to the neo-classical flourishes of guitarists Hank Shermann and Michael Denner and the unpredictable vocal leaps of King Diamond, who could jump from a deathly growl to an unearthly falsetto wail in the next line.
- Steve Huey (All Music Guide)1. Evil
2. Curse Of The Pharaohs
3. Into The Coven
4. At The Sound Of The Demon Bell
5. Black Funeral
6. Satan's Fall
7. Melissa$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Queensryche (Awaiting Repress)The group's brand new album, with a brand new singer, Todd La Torre.
Drummer Scott Rockenfield says, Century Media has been extremely enthusiastic ever since they came into the equation with us, and for what it's worth it's hard to find enthusiasm like that. After 35 years I guess I'm gracious and honored that we have people that are that enthusiastic about the band, so we're really happy about moving forward with them.
They've approached recording their 12th studio album with that open anything goes mindset. At the same time, the group hearkens back to the heavy metal side that defined classics such as The Warning, Empire, and Operation: Mindcrime - which KERRANG! ranked #34 on their 100 Greatest Heavy Metal Albums of All-Time list and is often uttered in the same breath alongside classic concept records such as Pink Floyd's The Wall and The Who's Tommy.
It's a return to form, Wilton says of the new music. We're rebuilding the architecture and setting it back on course. We have the energy I felt when writing 'Speak' and 'The Needle Lies' from Operation: Mindcrime. There was an excitement in knowing we were clicking on all cylinders at the top of our game. That chemistry and our passion for metal and hard rock has kept us together. We're keeping things fresh, while maintaining that thread that got us here in the first place. It may have gone astray, but it's a key element. You'll feel it on the next album. It'll be from the blood of the band more than ever.
Jackson echoes that sentiment, We want to bring back the sound we started with. As kids, we bonded over listening to Iron Maiden, Judas Priest and Rush. That heavier element is a major part of this band. We're revisiting that, and we're having a great time doing it. This is for the fans. We're so blessed to have them, and they're going to love this.1. X2
2. Where Dreams Go To Die
3. Don't Look Back
4. In This Light
7. A World Without
10. Open Road$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
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
3. The Wilde Flowers
4. Will O The Wisp
6. Sorceress 2
7. The Seventh Sojourn
8. Strange Brew
9. A Fleeting Glance
11. Persephone (Slight Return)
12. The Ward
13. Spring MCMLXXIV$29.99Vinyl LP - 2 LPs Sealed Buy Now
Forces of the Northern Night (Olive Green Vinyl)Pressed On Olive Green Vinyl
To imagine a metal world without Norway´s legendary DIMMU BORGIR, seems quite unfathomable. Founded in 1993 by Shagrath, Silenoz and Tjodalv, the Oslo trio infernale quickly gained momentum in the underground scene with their debut EP »Inn I Evighetens Mørke«. The band released two albums, »For All Tid« (1994) and »Stormblåst« (1996) before they signed to Nuclear Blast and released »Enthrone Darkness Triumphant« (1997). This was a major step forwards for the band, and an album that helped change the way the world acknowledged extreme metal in a massive way.
DIMMU BORGIR might have started as a pitch-black pioneer of the Norwegian black metal scene, but quickly evolved into a hybrid of a beast, incorporating symphonic elements and other musical influences where few other bands dared to wander.
The band evolved, both musically and lineup-wise, over the years, and DIMMU BORGIR increased their status as a massive audience-draw with classic albums like »Spiritual Black Dimensions« (1999), »Puritanical Euphoric Misanthropia« (2001) and »Death Cult Armageddon« (2003). The band has headlined tours and performed on big festivals worldwide, and toured together with non-typical peers as KORN, DEVILDRIVER and JUDAS PRIEST, to mention a few.
After a re-recording of the classic »Stormblåst« album in 2005, entitled »Stormblåst MMV«, and the critically acclaimed »In Sorte Diaboli« (2007) and »Abrahadabra« (2010), both albums that were musically challenging both the band and their audience, DIMMU BORGIR topped it all with a sold-out performance in their hometown of Oslo, performing with the Norwegian Radio Orchestra and a full-scale choir.
The band has been on a hiatus for some years, but last year, they announced that the cooperation with Nuclear Blast Records was extended, and the first release in 2017 will be the highly anticipated 2xLP of this magnificent show, »Forces Of The Northern Night«.
The band is also working on a brand new studio effort, and one can only wonder what kind of dark sorcery the band has in store for us this time around. One thing is certain: it won´t be for the faint-hearted.LP 1
1. Xibir (Orchestra)
2. Born Treacherous
4. Dimmu Borgir (Orchestra)
5. Dimmu Borgir
6. Chess With The Abyss
8. A Jewel Traced Through Coal
9. Eradication Instincts Defined (Orchestra)
2. Progenies Of The Great Apocalypse
3. The Serpentine Offering
4. Fear And Wonder (Orchestra)
5. Kings Of The Carnival Creation
7. Mourning Palace
8. Perfection Or Vanity (Orchestra)$29.99Colored Vinyl LP - 2 LPs Sealed Buy Now
REDD-MET-8914xCharred Walls Of The Damned
Charred Walls Of The DamnedCharred Walls of the Damned was produced and recorded by Jason Suecof at his Orlando, FL based studio, Audiohammer Studios, and boasts an all-star lineup of some of metal's most talented musicians. Included in this musical collective are: Richard Christy, former drummer for Death and Iced Earth, comedian, and radio personality on the Howard Stern Show on drums; famed producer Jason Suecof who has produced and/or mixed some of the most prominent albums from metal's leading bands on guitars; Tim Ripper Owens, who fronted heavy metal legends Judas Priest from 1996 to 2002 and currently performs with Beyond Fear and Yngwie Malmsteen's Rising Force on vocals; and one of metal's most heralded bassists, Steve Digiorgio, who has performed with Control Denied, Iced Earth Death, Autopsy, Testament, Vintersorg, and is a founding member of technical thrash pioneers Sadus.1. Ghost Town
2. From The Abyss
3. Creating Our Machine
4. Blood on Wood
5. In a World So Cruel
7. Voices Within the Walls
8. The Darkest Eyes
9. Fear in the Sky$19.99Vinyl LP - Sealed Buy Now