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On The Rocks (Pre-Order)Midland intentionally nods to the wild west with Country music reminiscent of the 1970s and 80s, channeling idols Dwight Yoakam and Willie Nelson, both legends whom they previously opened for on the road. Their 2016 self-titled debut EP was featured in Rolling Stone, Entertainment Weekly, and Billboard and their music video earned them their first CMT Music Awards nomination for Group Video of the Year. ON THE ROCKS is Midland's anticipated first full-length release on Big Machine Records.1. Lonely For You Only
2. Make A Little
3. Drinkin' Problem
4. At Least You Cried
5. Burn Out
6. Out Of Sight
7. More Than A Fever
8. Check Cashin' Country
9. Nothin' New Under The Neon
10. This Old Heart
11. Altitude Adjustment
12. Electric Rodeo
13. Somewhere On The Wind$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
NaiveRed, White, And Blue Colored Vinyl
Limited repressing of a long lost Killjoys mini album which originally came out on DG back in 1991, this time it's on red, white and blue vinyl! Before Kevin Rowland launched Dexys Midnight Runners he was the lead singer in this great punk band from the Midlands. Classic amphetamine punk. They were supposed to be making tapes for an album but they split before anything happened and a supposed deal with Bronze was scuppered by Mr Rowland. Around mid 77 they lost Heather and Joe 90 (on Kevin's insistence probably) and acquired a new drummer, Bob Peach, and guitarist Keith Rimell and became virtually a different band as Mr Rowland again sought to jump ship.. And lastly from Rowland himself these words from Mojo October 2001. "There was no doubt in my mind that I was at least as passionate and angry and as from the street as any punk rock singer you could name. But it was wrong for me to try to be part of someone else's thing."1. At Night
4. Johnny Won't Get To Heaven
5. Johnny Won't Get To Heaven (Edit)
6. Johnny Won't Get To Heaven + Interview + At Night
7. Trevors Sob$20.99Colored Vinyl LP - Sealed Buy Now
!K7 are proud to announce the forthcoming album of Will Saul's moniker CLOSE. Within the world of electronic music, Will Saul is perhaps best known for Aus Music and Simple Records, Getting Closer will be Will's first full-length album since 'Space Between', released under his given name back in 2005.
Within the world of electronic music, Will Saul is perhaps best known for Aus Music and Simple Records, the labels he set up and has A&Red for over a decade. Between them there have been over 100 vinyl releases from the inuential likes of Joy Orbison, Carl Craig, Pearson Sound, Scuba and Actress, as well as EPs that helped to break upcoming talents like Bicep, Dusky, Midland and George FitzGerald.
Getting Closer will be Will's first full-length album since 'Space Between', released under his given name back in 2005. He has slowly and anonymously leaked CLOSE material into the public sphere over the last 12 months; including remixes of Fink, Little Dragon and Hotush boss Scuba. The alias was initially conceived in order to release music that would be judged on merit alone, rather than on the name to which it was attached, but following great reactions was increasingly difcult to keep secret.
Proceeded mid April by first single 'Beam Me Up' Feat. Charlene Soraia and Scuba (with remixes by George FitzGerald, Hercules and Love Affair and Scuba) the album marks a big evolution in Saul's sound, leaning away from bass and house and more toward a world of dark yet idyllic pop.
The album's title 'Getting Closer' refers quite literally to its creation process, which was distilled through a number of collaborative layers1. I Died 1000 Times Feat. Charlene Soraia & October
3. My Way Feat. Joe Dukie (Tanner Ross & Slow Hands Remix)
5. Born In A Rolling Barrel Feat. Tikiman, October & Appleblim
6. Time Fades
7. Wallflower Feat. Fink
8. Future Love
9. Beam Me Up Feat. Charlene Soraia & Scuba
10. Inside$24.99Vinyl LP + CD - 2 LPs Sealed Buy Now
The Lost TapesThe discovery of WITCHFYNDE's Lost Tapes illuminates a fascinating missing link in the history of British heavy metal. In the lull between the Purple/Zeppelin/Sabbath revolution and the angry charge of punk rock and NWOBHM, in the East Midlands county town of Derby, four lads came together to create a tentatively progressive and intriguing new sound, and get heads banging in boozers all over the Peak District. Recording a 40-minute demo of original material in 1975, WITCHFYNDE were the unwitting spearhead of the movement that was still a long way off being dubbed the New Wave Of British Heavy Metal, and from the plaintive, spacey opening of Grimoire, this earliest of artefacts is rather more nuanced and versatile than the hallowed acronym NWOBHM traditionally suggests.
Even though they raised many tavern roofs in the mid-late 70s, this isn't your standard thick-eared pub metal. On this recording you can hear these young musicians enjoying playing their first songs together, sharing varied influences and building mystical atmospheres out of extended jams with quirky interplay and a relaxed delivery. Behind the odd forgivable bum note, missed beat or overstretched solo you sense the exploratory zeal of four music-obsessed friends casting their net wide: from the sprightly power-pop groove of Madam Noname to the creepy proto-doom of Halfway, with Pastiche somehow English gothic country rock and Slow Down having the feel of an epic melancholy folk ballad.
WITCHFYNDE released four albums from 1980-84, but split up due to line-up and label instability. Reactivated for the millennium, they continue to record and gig sporadically. Andro formed ZXY in 2010, and has announced that he'll be back on the road in 2014 on the Andro Coulton Gives 'Em Hell: Witchfynde Revisited 1975-1980 And Beyond! Tour.LP 1
2. Madam Noname'
5. Slow Down
1. Valkyrian Ride
2. Tetelestai$37.99Vinyl LP - 2 LPs Sealed Buy Now
The Beat Greatest
180 Gram Picture Disc Vinyl
Limited To 500
12 Of Their Original Classic Hits
Transparent PVC Cover With Sticker
This collection features 12 of The Beat's (known as The English Beat in the U.S.) greatest hits. Featuring classic hits such as 'Mirror in the Bathroom', 'Hands Off...She's Mine', 'Can't Get Used to Losing You', 'Too Nice to Talk To', 'Best Friend' and many more.
The Beat was formed in Birmingham in 1979, with members Dave Wakeling (vocals, guitar), Ranking Roger (vocals, toasting), Andy Cox (guitar), Everett Morton (drums), veteran Jamaican saxophonist Saxa, and from the Isle of Wight, David Steele on bass. The band was part of the West Midlands ska revival scene that also produced The Specials and The Selecter, whilst London saw the formation of Madness and The Bodysnatchers.
The Beat's first single was an arresting version of Smokey Robinson's ''Tears Of A Clown'', given a completely new feel, and was backed with their own composition ''Ranking Full Stop''. Released in a one-off deal on Jerry Dammers' Chrysalis-backed 2-Tone label, the single stormed into the Top 10 in December 1979, and saw the band appear twice on Top Of The Pops.
Backed by Arista, the band formed their own label Go-Feet Records, with its own distinctive art direction and design provided by Hunt Emerson. The first release in February 1980 was another Top 10 hit, ''Hands Off... She's Mine'', and was the first of twelve chart singles for the band on Go-Feet, a list that includes permanent favourites like ''Mirror In The Bathroom'', ''Too Nice To Talk To'', ''Best Friend'', ''All Out To Get You'', ''Doors Of Your Heart'', ''Save It For Later'' (later covered by both The Who and Pearl Jam!), ''Jeanette'', ''I Confess'' and their Top 3 hit cover of ''Can't Get Used To Losing You''.
The band released three albums ''I Just Can't Stop It'' (1980, # 3), ''Wha'ppen?'' (1981, # 3) and ''Special Beat Service'' (1982, # 21), which contained many tracks that demonstrated their more politicised and socially-conscious leanings in songs like ''Stand Down Margaret'', ''Get-A-Job'', ''Big Shot'' and ''Click Click''. The band broke up in 1983, Dave Wakeling and Ranking Roger going on to form General Public, and Andy Cox and David Steele forming Fine Young Cannibals.1. Mirror in the Bathroom
2. Hands Off...She's Mine
3. Can't Get Used to Losing You
4. Too Nice To Talk To
5. Best Friend
6. Twist And Crawl
8. All Out to Get You
9. Doors of Your Heart
10. Save it For Later
12. I Confess$31.99180 Gram Picture Disc Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
The Migration (Awaiting Repress)The Migration, the new album from progressive instrumentalists SCALE THE SUMMIT, will be released in North America on June 11 via Prosthetic Records. Recorded earlier this year at North Carolina's Basement Studios with producer Jamie King (BETWEEN THE BURIED AND ME, HE IS LEGEND, FOR TODAY), the album will feature cover artwork by illustrator Duncan Storr (HAWKWIND, EDGE OF SANITY).
The Migration marks the recording debut of new SCALE THE SUMMIT bassist Mark Michell. The album will be released just days after SCALE THE SUMMIT hits the road with INTRONAUT on a summer North American tour.
SCALE THE SUMMIT's 2011 effort, The Collective, saw the band tour alongside the likes of PERIPHERY, CYNIC, FAIR TO MIDLAND, THE CONTORTIONIST, THE HUMAN ABSTRACT, PROTEST THE HERO and TRIOSCAPES. Since that album's touring cycle ended late last year, the band has kept busy, with guitarist Chris Letchford launching his own signature series Strandberg guitar and bassist Mark Michell releasing an instructional book.
The follow-up to 2009's Carving Desert Canyons, The Collective was recorded at Paint It Black Studios in Orlando, Florida with producer Mark Lewis (DEVILDRIVER, ALL THAT REMAINS, THE BLACK DAHLIA MURDER).1. Odyssey
2. Atlas Novus
3. The Olive Tree
4. Narrow Salient
7. The Dark Horse
10. The Traveler$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Grime 2.0Not "nu grime", "post-grime", "grimestep", "funky grime" or "retro grime." Just grime. Somehow, where other sounds died or dissolved, this grassroots electronic music movement has grown organically for over ten years now. In an era when information acceleration was supposed to grind any new idea up in the hype machine before it had time to find its feet, grime resisted all appropriation, retaining the qualities that made it exciting, fresh and subversive in the first place.
It wasn't easy by any means, and it's survived a lot in that time. It has seen its own MCs become superstars, frequently eclipsing the genre that raised them, then watched as its suburban first cousin dubstep snuck out from the shadows to world domination. It's been through beefs, bans and brawls; been held back by internal and external politics; struggled for recognition while flimsier, flightier sounds have been hyped to oblivion.
Through all that, though, throbbed the warped beats, hollow-sounding bass and preset synth sounds of the scene's uniquely inventive producers, in many ways the keepers of the true flame, while its vocalists searched for as many ways to sell out as they could find. Sometimes as sparse, freaky and out-there as anything else in the electronic continuum, sometimes so far up in your face that you feel like you're going to be spitting teeth. Sucking up influences from garage, techno, jungle, dirty south hip hop, funky house, trance, and anything else that stumbles into its path, but bending it all into its own contorted shapes, grime production remains a brilliantly uncompromising and bloody-minded strand in British underground music - and further abroad too. Journalist and talent scout Joe Muggs, who compiled the CD with Big Dada's Will Ashon, has been working with a number of grime producers on their own digital labels, and began to realize there was a vast untapped reservoir of talent.
So here we are with grime still alive and very much kicking. And here is the most comprehensive survey of grime production the scene has ever had - thirty five exclusive tracks from across the world and across the spectrum of grime, demonstrating it to be some of the most powerful and brilliant electronic music in the world today. We've got new tracks from the originators (the godfather Wiley, Manchester's dubstep/grime originator MRK1, the elusive Youngstar whose 'Pulse X' was the first ever released grime record). We've got the new stars of the scene (Royal T, Preditah, Faze Miyake), and the up-and-comers snapping at their heels (Midlanders Swifta Beater and TC4, Brighton's Moony, Southeast Londoner Mr. Mitch). We've got tracks from Japan (Prettybwoy), Australia (Juzlo), the Netherlands (Gumnaam), Ireland (Major Grave), the US (Starkey and Matt Shadetek) and Canada (Tre Mission). We've got bangers and bubblers, haunting melodies and psychotic grooves, dead-eyed threat and cantankerous joy - and all the way through we've got evidence that this is a scene whose creativity can't be held back and shows no signs of stopping.1. Oh My Gosh - Footsie
2. Dollar Bill - Tre Mission
3. Rum and Coke - Teeza
4. Dem Times - Visionist
5. 5000 - Faze Miyake
6. Cartwheel - TRC
7. Logan's Mind - Chaos & Order
8. Vinyls VIP - Preditah
9. Loop 29 - Youngstar
10. Codeine and Dragon Stout - Chimpo
11. Bend - DECiBEL
12. 927 - Shy One
13. L-O-K - Inkke
14. Shotta Krew - J Beatz
15. Battery Charge - Matt Shadetek
16. Nail Thrower - Juzlo
17. Like A G - Major Grave
18. Trojan - Darq E Freaker
19. Winner - Moony
20. Frosty Lake - Mr SnoWman
21. Viking - Mr Mitch
22. Logic Pro - Wiley
23. Smash It Up Hard - MRK1
24. Kissin U - Prettybwoy
25. Numb VIP - Swifta Beater
26. Mongrel - SNK
27. Space Cowboy VIP - Royal-T
28. Machine Molester - Stenchman
29. Arcane - Sinden
30. Spray - Slackk
31. Moonlight - Spooky
32. Tunnel - Starkey
33. Lazer Riddem - TC4
34. Desi Bullet - Gumnaam
35. Emergency - Threnody$28.99Vinyl LP - 4 LPs Sealed Buy Now
Cloven Hoof (Awaiting Repress)Includes A Full-Color Insert Featuring Several Previously-Unpublished Photos From The Original 1983 Album Photo Shoot As Well As Full Lyrics
Extensive Liner Notes By Bassist And Founding Member, Lee Payne
Album Has Been Restored From Original Masters And Remastered By Anders Peterson @ GS Mastering & Post, Sweden
For the first time since its original release in 1984, Wax Maniax is very proud to bring the essential debut album from NWOBHM cult-metal legends CLOVEN HOOF back to vinyl!
Originally formed in the heart of the industrial West Midlands, England in 1979, CLOVEN HOOF went through various line up changes until Spring 1982 when the band line up consisted of Lee Payne bass guitar, David Potter vocals, Steve Rounds lead guitar and Kevin Pountney drums. The band's first demo tape was given the thumbs up from no lesser than Robert Plant (Led Zeppelin) who took a copy of the tape into national Radio One, and Rob Halford (Judas Priest) who got it played on a radio station in Phoenix, Arizona. The band self-released "The Opening Ritual", a four track mini album in July of 1982, and the EP stayed in the "Sounds" and "Kerrang!" heavy metal charts for six weeks peaking at number 18. Articles in "Kerrang!" and "Noise" magazine were followed by renkown Sounds writer and Kerrang! Magazine founder Geoff Barton putting the band atop his prestigious "Breaking through in '82" feature and play list.
"The Opening Ritual" attained extensive radio air play worldwide but it wasn't until Tommy Vance played tracks off the EP on his legendary "Friday Rock Show" program on Radio One in the UK that interest in Cloven Hoof began to soar. 1983 saw Cloven Hoof touring throughout the United Kingdom, earning themselves a sizeable underground cult following. Soon afterwards the group were taken under the wing of ex-Judas Priest manager David Hemmings and an offer to sign the band from CBS Records soon followed.
Personality conflicts within the band, followed by the untimely death of manager David Hemmings put a strain on relations with CBS and the offer was withdrawn. In order to keep the momentum built by the band's live appearances and radio play going, the band instead looked to leading UK independent heavy metal label Neat Records where a deal was quickly struck. The band entered the label's Impulse Studio with reknown producer Keith Nichol (Venom, Satan, Raven, etc..) to record their self-titled debut album which was met with great adulation by the heavy metal press. Shortly thereafter, frontman Dave Potter left the band to join French metal unit "H-Bomb". Cloven Hoof soldiered on, releasing a live album in 1986 with new frontman Rob Kendrick (Trapeze, Budgie) followed by a second studio album in 1988 featuring an all-new lineup including Russ North of post-Budgie group Tredegar on vocals. Three more full-length studio albums would follow, the most recent released in 2014. The band continues to soldier on to this day with Lee Payne at the helm, enjoying a strong cult following both young and old, ushered in by the internet age that has seen their 1984 debut album topping lists of the best and most influential heavy metal albums of all time.1. Cloven Hoof
3. March of the Damned
4. The Gates of Gehenna
5. Crack the Whip
6. Laying Down the Law
7. Return of the Passover$22.99Vinyl LP - Sealed AWAITING REPRESS Buy Now