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  • Raising Hell Raising Hell Quick View

    $22.99
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    Raising Hell

    Up until Raising Hell, the rap juggernaut we know as Run-DMC was still in its building and breaking-down- doors phase. In 1986 that
    changed, and in a dramatic way. With their third long-player, the group had reached the mountaintop. It was THE record that proved
    hip-hop wasn't a fad.


    Raising Hell marked an important and significant new era for the group. Leaving producer Larry Smith for up-and- coming sonic
    innovator Rick Rubin (still co-produced by Run's brother Russell Simmons), they began to fully transition not only their own sound, but
    the sound of the entire genre. Less live playing - with some exceptions - and a slicker, tighter sonic attack. Musical aesthetics aside,
    though, at their core they stayed true to the essence of hip-hop: two turntables and a microphone, or two.


    It's impossible to talk about the album without its worldwide smash, "Walk This Way," which hit #4 on the Billboard pop charts and saw
    the group digging in the rock crates to summon Aerosmith in the flesh, combining Steven Tyler's and Joe Perry's musicianship with the
    group's own take on the '70s classic. The song's video cemented Run-DMC as legit MTV
    idols, and both groups rode its wave to new heights.


    Beyond "Walk This Way," the platter is full to the hilt with undeniable classic singles: "You Be Illin'"; "It's Tricky"; "Peter Piper" and the
    fashion-world shifting "My Adidas." Each song was new proof that Run-DMC's sound was indeed new, but still familiar, and full of the
    energy, charisma and innovation that drew fans to their first two LPs.


    Aside from the singles, the reason the album stands up so well is the fact that there is virtually no filler. "Proud To Be Black" remains a
    pioneering and underrated cut when people talk about "conscious" hip-hop. And to make sure they never lost the streets that gave them
    their start, "Hit It Run," "Son Of Byford," "Is It Live" and "Perfection" all bring it back to the group's early days in the park.
    Besides the triple platinum status the album achieved, it was more than just a pop smash. It signaled a new era for rap music, and it was
    the no-turning- back point for the entire genre. This was the beginning of what we now call the Golden Era, and it still sounds as fresh
    today as it did three decades ago.

    1. Peter Piper
    2. It's Tricky
    3. My Adidas
    4. Walk This Way
    5. Is It Live
    6. Perfection
    7. Hit It Run
    8. Raising Hell
    9. You Be Illin'
    10. Dumb Girl
    11. Son Of Byford
    12. Proud To Be Black
    RUN DMC
    $22.99
    Vinyl LP - Sealed Buy Now
  • Raising Hell Raising Hell Quick View

    $34.99
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    Raising Hell

    Following the success of King Of Rock, Raising Hell (1986) raised more than just a massive revenue stream by selling over three million albums worldwide. It's a well known fact that the record, produced by Rock/ Hip Hop production pioneer Rick Rubin, raised the bar for Hip Hop albums in general. Musically it indeed raises hell, being crammed to the brim with hard-hitting hooks, loops, samples, scratches, inventive tong-twisting braggadocio and catchy choruses. Too many classics on this one: Peter Piper with the massive Bob James bell drum sample It's Tricky (putting The Knack's My Sharona sample to extremely good use) and the song that popularized a certain brand of shoes in the Hip Hop community, My Adidas.


    However the album's flag bearer is undoubtedly Walk This Way which literally rendered Aerosmith's original version obsolete. Viewing from an eighties Hip Hop perspective, the collaboration with Aerosmith seemed rather unusual to say the least, but at the same time it proved that Hip Hop and Rock are merely next door neighbours. The album's timeless quality surfaces in its ability to bring together masses of fans of both genres.

    1. Peter Piper
    2. It's Tricky
    3. My Adidas
    4. Walk This Way
    5. Is It Live
    6. Perfection
    7. Hit It Run
    8. Raising Hell
    9. You Be Illin'
    10. Dumb Girl
    11. Son Of Byford
    12. Proud To Be Black
    RUN DMC
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Raising Hell (Picture Disc) Raising Hell (Picture Disc) Quick View

    $25.99
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    Raising Hell (Picture Disc)

    'Legacy Celebrates presents the 30th Anniversary of Run-D.M.C.'s classic 3rd album, Raising Hell, on a 180-gram picture disc vinyl featuring the Raising Hell album cover image. Includes the hit songs Walk This Way, My Adidas, It s Tricky, Peter Piper and many more.
    1. Peter Piper
    2. It's Tricky
    3. My Adidas
    4. Walk This Way (feat. Aerosmith)
    5. Is It Live
    6. Perfection
    7. Hit It Run
    8. Raising Hell
    9. You Be Illin'
    10. Dumb Girl
    11. Son Of Byford
    12. Proud to Be Black
    Run DMC
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Picture Disc - Sealed Buy Now
  • Raise A Little Hell Raise A Little Hell Quick View

    $23.99
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    Raise A Little Hell

    Rock 'N Roll's fuel are larger-than-life riffs,
    unforgettable melodies and the distinct smell of beer
    cans and the Route 66: at least when your name is The
    Answer and the Route 66 leads to Northern Ireland!
    On 'Raise A Little Hell' (what an understatement!) you
    get gritty guitar work, smoky vocals - and the spirit
    of AC/DC and Thin Lizzy is in the air! 12 soundtrack
    anthems for your next road trip that don't give a rat's
    ass about trends.
    1. Long Live The Renegades
    2. The Other Side
    3. Aristocrat
    4. Cigarettes & Regret
    5. Last Days Of Summer
    6. Strange Kinda' Nothing
    7. I Am What I Am
    8. Whiplash
    9. Gone Too Long
    10. Red Lips
    11. I Am Cured
    12. Raise A Little Hell
    13. Feel Like I'm On My Way*
    14. Flying*
    15. I Will Follow On*
    16. The Other Side (Acoustic Version)*
    17. Gone Too Long (Acoustic Version)*
    18. Strange Kinda' Nothing (Unplugged Version)*


    * Bonus Tracks

    The Answer
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Wrong Side Of Heaven And The Righteous Side Of Hell Volume 1 The Wrong Side Of Heaven And The Righteous Side Of Hell Volume 1 Quick View

    $25.99
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    The Wrong Side Of Heaven And The Righteous Side Of Hell Volume 1

    Five Finger Death Punch didn't take the easy road on their fourth and fifth albums, The Wrong Side of Heaven and The Righteous Side of Hell Vol. 1
    [Prospect Park/EMI]. The gold-selling, chart-topping Las Vegas quintet-Ivan Moody [vocals], Zoltan Bathory [guitar], Jeremy Spencer [drums], Jason
    Hook [guitar], and Chris Kael [bass]-fire off their most enigmatic, engaging, and empowering salvos yet.


    Open up your mind, raise your fist, and dive into
    The Wrong Side of Heaven and The Righteous Side of Hell Vol. 1.

    1. Lift Me Up featuring Rob Halford of Judas Priest
    2. Watch You Bleed
    3. You
    4. Wrong Side of Heaven
    5. Burn MF
    6. I.M.Sin
    7. Anywhere But Here featuring Maria Brink of In This Moment
    8. Dot Your Eyes
    9. M.I.N.E (End This Way)
    10. Mama Said Knock You Out featuring Tech N9ne
    11. Diary of a Deadman
    12. I.M.Sin featuring Max Cavalera
    13. Anywhere But Here Duet with Maria Brink of In This Moment
    14. Dot Your Eyes featuring Jamey Jasta
    Five Finger Death Punch
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Wrong Side Of Heaven And The Righteous Side Of Hell Volume 2 The Wrong Side Of Heaven And The Righteous Side Of Hell Volume 2 Quick View

    $25.99
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    The Wrong Side Of Heaven And The Righteous Side Of Hell Volume 2

    Coming on the heels of the massive global #1 success of THE WRONG SIDE OF HEAVEN AND THE RIGHTEOUS SIDE OF HELL Volume 1 earlier this summer, FIVE FINGER DEATH PUNCH will release the second installment, VOLUME 2 via Prospect Park. Five Finger Death Punch didn't take the easy road on their fourth and fifth albums, The Wrong Side Of Heaven and the Righteous Side of Hell Vol 1 & 2. The gold-selling, chart-topping Las Vegas quintet- Ivan Moody (vocals), Zoltan Bathory (guitar), Jeremy Spencer (drums), Jason Hook (guitar), and Chris Kael (bass)- fire off their most enigmatic, engaging, and empowering salvos yet. Open up your mind, raise your fist, and dive into The Wrong Side of Heaven and The Righteous Side Of Hell Vol 1 & 2.
    1. Here To Die
    2. Weight Beneath My Sin
    3. Wrecking Ball
    4. Battle Born
    5. Cradle To the Grave
    6. Matter Of Time
    7. The Agony Of Regret
    8. Cold
    9. Let This Go
    10. My Heart Lied
    11. A Day In My Life
    12. House Of The Rising Sun
    Five Finger Death Punch
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Tougher Than Leather Tougher Than Leather Quick View

    $34.99
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    Tougher Than Leather

    Released in 1988, Tougher Than Leather was the culmination of the Rap/Rock road that Run-DMC travelled in since their earlier albums King Of Rock and Raising Hell. Its superb production, booming 808 beats combined with guitar samples, catchy choruses and smart rhymes made Tougher Than Leather undoubtedly the best Hip Hop record that came out in 1988.


    Great tracks include "Mary, Mary", "Run's House" and "I'm Not Going Out Like That". Its equal appeal to Hip Hop as well as Rock fans made the album a million seller, and underlined Run-DMC's stature as living Hip Hop legends all over the world.

    1. Run's House
    2. Mary, Mary
    3. They Call Us Run-D.M.C.
    4. Beats To The Rhyme
    5. Radio Station
    6. Papa Crazy
    7. Tougher Than Leather
    8. I'm Not Going Out Like That
    9. How'd Ya Do It Dee
    10. Miss Elaine
    11. Soul To Rock And Roll
    12. Ragtime
    RUN DMC
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Groovehammer Groovehammer Quick View

    $19.99
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    Groovehammer

    Lauded as the most exciting band of 2014 via Front Magazine, UK's THE HELL have been raising eyebrows and
    wrecking havoc in the hardcore scene with the release of their critically acclaimed and despised debut album You're
    Listening to The Hell. Love them or hate them, THE HELL are here to stay as they've signed a worldwide deal with
    PROSTHETIC RECORDS to release their sophomore offering Groovehammer.


    Featuring "big riffs, memorable hooks and enough shout-along moments to guarantee pandemonium at any gig,"(Metal
    Hammer) Groovehammer was self-recorded, mixed and mastered at Titan Studios in Watford, UK and features thirteen
    venomous, in-your-face hardcore anthems. The band will proceed to decimate audiences at several of the year's top
    European festivals including Sonisphere, Copenhell & Hevy Fest!

    1. Take Me Out
    2. New Jacks, Old Jacks
    3. Groovehammer
    4. Everybody Dies
    5. Bangers & Mosh
    6. We Love Dicks
    7. Deal With It
    8. Check This Out
    9. Speed Shit Up 2
    10. We Handle Shit
    11. Battleship
    12. Snakes
    13. I'll Snap Your Fucking Head Clean Off
    The Hell
    $19.99
    Vinyl LP - Sealed Buy Now
  • TCR TCR Quick View

    $14.99
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    TCR


    Limited To 1000


    Equal parts classic-era punk, casio minimalism, slam poetry,
    growling protest chant, and poison ivy rash, Sleaford Mods are
    singular, and always powerful. And with their TCR 12",
    particularly its title track, named for the 1970s auto toy "Total
    Control Racing," the Mods are surprisingly tuneful?


    The 12" leads into the duo's Rough Trade debut, planned for next
    year, which showcases a softer side of the
    perennially-aggressive heh. Nah, that's not the case. They raise
    as much hell and throw as many punches here as they have ever.
    Thank god. Sleafords for President.

    1. TCR
    2. I Can Tell
    3. Britain Thirst
    4. Dad's Corner
    5. You're A Nottshead
    Sleaford Mods
    $14.99
    12 Vinyl EP - Sealed Buy Now
  • Garage Rock! A Collection Of Lost Songs From 1996-1998 Garage Rock! A Collection Of Lost Songs From 1996-1998 Quick View

    $17.99
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    Garage Rock! A Collection Of Lost Songs From 1996-1998

    One day I'm gonna write a book and let everybody know how to do it; seems there's a lot of people around who want to see if I can prove it! I've been a rock prodigy since the age of 20 and my proof, my proof is RIGHT NOW! Danko Jones have never been a band that sounded the least bit short on confidence, and those lines from Make You Mine confirm these guys had the sweat and the attitude years before they landed a record deal. Garage Rock! A Collection of Lost Songs from 1996-1998 consists of rough demos Danko Jones cut during their first two years of existence, before making their debut album, Born a Lion, in 1999. If this stuff sounds raw and scrappy -- especially the nine tunes from a four-track session somewhere in Toronto -- the trio already feels tight and boasts attitude to spare, with namesake guitarist and vocalist Jones spitting fire and laying out a potent array of downstrokes, while bassist John Calabrese and drummer Atom Willard hold down the beats while keeping the songs in fourth gear at all times. Ultimately, Garage Rock! sounds like a less precise version of Danko Jones as we know them today, but despite the lower fidelity and relatively simpler attack (which is still pretty furious by the standards of most bands), it sounds like they knew what they wanted and how to do it on day one, and the real task was getting their skills on par with their ambitions. Danko Jones are as tough and forceful as they want to be in 2014, but Garage Rock! confirms they could write great songs and raise hell long before that, and they were a blast right out of the gate.


    - Mark Deming (All Music Guide)

    1. Who Got It?
    2. Make You Mine
    3. I'm Your Man
    4. She's Got A Bomb
    5. Rock And Roll Is Black And Blue
    6. Dirty Mind Too
    7. I'm Drinking Alcohol?
    8. Love Travel Demo
    9. Bounce Demo
    10. Sexual Interlude
    11. I Stand Accused
    12. Best Good Looking Girl In Town
    13. Payback
    14. Lowdown
    15. One Night Stand
    16. Instrumental
    17. Move On
    Danko Jones
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Rose (On Sale) The Rose (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    The Rose (On Sale)

    1979 Soundtrack Contains Multiple Smash Hits: When a Man Loves a Woman, Stay With Me Among Them


    Midler Steps Into Persona of Janis Joplin on Record Steeped in Rock n Roll, Pounding R&B, and Memphis Blues


    Contagious Sound That Spotlights Midlers Potent Voice: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI


    Bette Midlers first leading role in a musical remains her best. As the soundtrack for that film, The Rose spotlights The Divine Miss Ms outstanding performance as a character in the persona of Janis Joplin. Midler received an Oscar nomination for Best Actress, and while the record contains no visuals, it punctuates the raw emotion and show-stopping persuasion that the singer brings to upbeat, rollicking fare composed in tribute to the late Joplin. Her reading of When A Man Loves a Woman remains definitive and unique for being sung from a females perspective.


    Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this Silver Label LP allows listeners to hone in on Midlers voice like never before. Kernels of previously unheard tonalities, richer hues of her bluesy timbre, and better-defined contours of her phrasing come to foreas do the contributions of guitarist Steve Hunter and drummer Whitey Glan, both members of Lou Reeds Rock n Roll Animal tour. No, The Rose isnt your conventional adult-contemporary pop offering from Midler. Its much more.


    Always a natural-born theatrical star, Midler demonstrates these abilities to wondrous effect throughout, pouring herself into the painful sentiments of Stay With Me and raising hell on raucous numbers such as Sold My Soul to Rock N Roll and Keep On Rockin. Muscle Shoals sounds and Memphis-birthed shuffles keep Midler balanced and engaged. Producer Paul Rothchild, who helmed Joplins final salvo, matches the headliners zest by keeping tight-fisted control over the material selection and sonics. Never does Midler seem as if shes merely paying tribute or playing a part; she makes listeners feel every note.


    Its apt, then, that shes afforded carte blanche on the title track, a gorgeous and career-defining moment of immense proportions and the only song here not performed in the persona of Joplin. Theres no better way to wrap up an album of nearly shamanic power, and an effort that, along with The Divine Miss M, remains Midlers peak.


    This title is not eligible for further discount.

    1. Whose Side Are You On
    2. Midnight In Memphis
    3. Concert Monologue
    4. When a Man Loves a Woman
    5. Sold My Soul to Rock N Roll
    6. Keep on Rockin
    7. Love Me With a Feeling
    8. Camelia
    9. Homecoming Monologue
    10. Stay With Me
    11. Let Me Call You Sweetheart
    12. The Rose
    Bette Midler
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed Buy Now
  • Tougher Than Leather Tougher Than Leather Quick View

    $22.99
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    Tougher Than Leather

    Too many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP.


    By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl, and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] - get lost in their crates.


    For starters, the album's first single, "Run's House" b/w "Beats To The Rhyme" is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called "turntablism" a decade later. Both songs show a musical telepathy between all three that has rarely been equaled.


    The second single, "Mary, Mary," driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like "Walk This Way," the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. "Papa Crazy," driven in concept and by a sample from the Temptations' "Papa Was A Rolling Stone," followed a similar pop-leaning path.


    Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like "Radio Station," they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. "Tougher Than Leather" reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And "They Call Us Run-DMC" and "Soul To Rock And Roll" both bring things back to their early days, with sure-fire park jam rhymes and killer cuts.


    Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl, and Jay!

    1. Run's House
    2. Mary, Mary
    3. They Call Us Run DMC
    4. Beats To The Rhyme
    5. Radio Station
    6. Papa Crazy
    7. Tougher Than Leather
    8. I'm Not Going Out Like That
    9. How'd Ya Do It Dee
    10. Miss Elaine
    11. Soul To Rock And Roll
    12. Ragtime
    RUN DMC
    $22.99
    Vinyl LP - Sealed Buy Now
  • Solas Solas Quick View

    $23.99
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    Solas


    Highly Anticipated Follow Up Album To 2015's "Raise A Little Hell"


    Include Three Exclusive Bonus Tracks


    "They are going to be huge" British magazine Kerrang once predicted - oh, how awfully right
    they were! Meanwhile, Northern Irish hard rockers The Answer gave us five fine, diversified
    albums only to now blow everyone away with the lush beauty that is Solas - a bold step
    in evolution for the band and past genre boundaries. This is not your typical The Answer
    classic rock album, musically and lyrically the band have progressed and have delivered a
    contemporary rock album with Gaelic influences.


    Solas is the Gaelic word for "light" - and how could this not be an omen? The Answer`s songwriting has an unchained quality to it:
    epic arrangements, airy folk melodies, and guitar sound walls build a timeless and thrilling
    masterpiece which embodies the crowning of the whole career of the Irish!

    LP 1
    1. Solas
    2. Beautiful World
    3. Battle Cry
    4. Untrue Colour
    5. In This Land
    6. Thief Of Light
    7. Being Begotten


    LP 2
    1. Left Me Standing
    2. Demon Driven Man
    3. Real Life Dreamers
    4. Tunnel
    5. In This Land (Acoustic)*
    6. Light In Darkness (Demo)*
    7. Money (Pink Floyd Cover)*


    * bonus tracks

    The Answer
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Fear And Saturday Night Fear And Saturday Night Quick View

    $23.99
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    Fear And Saturday Night

    Recorded mostly live with a brand new backing band 'FEAR AND SATURDAY NIGHT' shows Bingham facing down his past with a poetic grace throughout. The lead single "Radio" is about coping with a darkness that doesn't want to let go, searching for a safe place to make sense of your life and the strength to stay on the right track through it all. Some of the most affecting moments on the album are in the harmonica-driven
    wistful waltz "Broken Heart Tattoos", a song written to an unborn child, and in the title track, when he sings, "I don't fear nothin' except for myself / So I'm gonna go out and raise me some hell."


    "Certain things aren't going to change," he explains of the song. "You can't run away or hide from the past. You have to live in it and deal with stuff and find your own way to overcome. Those hard-learned lessons, through both good times and bad, helped make Bingham the man he is today. 'FEAR AND SATURDAY NIGHT' is the most authentic, personal, and deeply moving portrait of that man we've heard yet.

    1. Nobody Knows My Trouble
    2. Broken Heart Tattoos
    3. Top Shelf Drug
    4. Island In The Sky
    5. Adventures Of You And Me
    6. Fear And Saturday Night
    7. My Diamond Is Too Rough
    8. Radio
    9. Snow Falls In June
    10. Darlin
    11. Hands Of Time
    12. Gun Fightin Man
    13. Cryin On The Streets Of LA
    Ryan Bingham
    $23.99
    Vinyl LP - Sealed Buy Now
  • Deep Trout - 25th Anniversary Edition Deep Trout - 25th Anniversary Edition Quick View

    $42.99
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    Deep Trout - 25th Anniversary Edition

    To celebrate 25 years as a solo artist, Provogue Records is releasing 10 original albums from Walter Trout on vinyl.


    The 25th Anniversary Series is very limited high quality vinyl releases of some of the best Walter Trout catalogue released in special packaging. Each release is very limited to only 2,000 copies worldwide and produced on high quality 180g vinyl and a maximum of 20 minutes per side. These are a must for Walter's fans and collectors of vinyl alike. Most have never been available on vinyl. Once they are gone, they are gone! They will be released regularly throughout 2014 as part of a campaign honoring this special anniversary milestone year.


    The albums getting this special treatment are No More Fish Jokes, Transition, Prisoner Of A Dream, Deep Trout, Face The Music Live, Positively Beal Street, Breakin' The Rules, Life In The Jungle, The Outsider and Unspoiled by Progress.


    With five decades as a guitarist and songwriter under his belt including being a member of Canned Heat and John Mayall's Bluesbreakers, 1989 was the year he stepped into the spotlight and has gone on to release 22 solo albums in the last 25 years. Still constantly touring, gathering new fans and respected as one of the world's finest rock/blues guitarist there is no stopping Walter as he prepares for a busy year ahead. This will include a brand new album, more live shows and his official biography. Currently being written by Henry Yates and will lift the lid on Walter's hell raising life on the road, and guaranteed to be a page turner of epic proportions.


    A lesser artist might rest on such laurels. As Walter Trout powers into his quarter decade as a solo star, there's no whiff of the ennui or creative autopilot that hobbles the later output of most veterans. On the contrary, there's a sense of growing momentum, perhaps even of a little surprise. "It's hard to believe I'm still alive, to be honest," he smiles. "I should have been dead by 30, with the life I was leading. But I still have a career, and at 62, I'm still climbing the ladder, which keeps it exciting, instead of trying to rekindle past glories. I feel like I play with more fire than when I was 25. I'm still reaching, y'know ?"

    LP1
    1. Put It Right Back
    2. The Love That We Once Knew
    3. How Much Do You Want
    4. Sweet As A Flower
    5. Victor The Cajun
    6. Kill The Monkey
    7. Earrings On The Table
    8. Fast Moving Traffic
    9. Motivation Of Love


    LP2
    1. Love In Vain
    2. If You Just Try
    3. Tribute To Muddy Waters
    4. Life In The Jungle (Acoustic)
    5. Big Chain
    6. So Sad To Be Lonely

    Walter Trout
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • A Fiendish Threat (Awaiting Repress) A Fiendish Threat (Awaiting Repress) Quick View

    $24.99
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    A Fiendish Threat (Awaiting Repress)

    The king of Hellbilly, Mr. Hank3 himself, is pleased to announce a triple-threat of new releases. Hank3 will release a brand new DOUBLE country album, entitled Brothers of the 4x4, and a single punk album, entitled A Fiendish Threat, with his new project "3".


    Recording in his own home and releasing music on his own label, the Megaforce distributed Hank3 Records, allowed Williams complete creative control during the four month period it took to make both records.


    Besides living the songs subject matter first, Hank3 sang and played both guitar and drums on the records. As if pulling triple duty wasn't enough, he engineered, produced, mixed and mastered all the tunes as well. Not bad for someone who in his own words is dyslexic and has ADD, according to Hank3 "my mind is all over the place". But even a man talented and driven enough to do (count 'em) seven jobs at once has his limits, so Hank3 has once again assembled a top-notch ensemble of pickers and pluckers for Brothers Of The 4x4 and A Fiendish Threat.


    The required stand-up bass holds the low end down at the deft hands of Zach Shedd, with David McElfresh and Billy Contreras whipping razor sharp bows across the fiddle. Daniel Mason handles banjo, with a special guest appearance on Possum In A Tree by former National Old-Time Banjo Champion Leroy Troy working his banjo in the old school clawhammer style, while Andy Gibson wrings the sweetest of notes out his stand up steel guitar. Finally, long-time collaborator and fellow multi-instrumentalist extraordinaire Johnny Hiland rips his chicken pickin' guitar to feathers and shreds.


    With the release of Brothers of the 4x4 and A Fiendish Threat, Williams is ready to hit the road, and when he hits the road, he hits it much harder than most. Hank3 shows are legendary for their length and intensity, averaging three hours a night, starting with a country set and ending with whatever his latest musical experiment happens to be. For this touring cycle, fans will get to taste the hardcore punk horror rock of A Fiendish Threat, a rippingly fast blast of sounds reminiscent of The Misfits, Minor Threat, 7 Seconds, The Ramones and other punk rock greats that are as much a part of Hank 3's musical identity as his country roots. But A Fiendish Threat, like all of the man's musical output, is anything but a formulaic, by-the-numbers rehash of what has been previously done by others. Stand up bass, fiddle, and banjo are not exactly standard instruments in punk rock, but they are on this record, riding beneath 3's howling distorted vocals. Perhaps this is the birth of rebelcore punk? Whatever you want to call it, Williams has left his own touch on the genre, even utilizing a bizarrely beautiful Hula-music-on-acid sounding Hawaiian guitar at times. Some of the songs can make the listener feel like someone dropped LSD in their cheap draft beer at a CBGB matinee show headlined by a ghoulish Hawaiian punk band. A Fiendish Threat is yet another of Williams already numerous signature sounds, and he's excited to put it in front of the audience for the first time. You know when you do a new record, you just want to play it for all your friends. That's what I'm excited for with this punk record, I get use a voice that doesn't get used that often, and pay respects to some of my influences at the same time. Doing this record made feel like I was growing stronger- it took some of the years off me, to tell you the truth. Playing it makes me feel young again, he laughs, How long I will be able to pull it off all depends on the voice, man."


    With these dual releases, Brothers Of The 4x4 and A Fiendish Threat added to his already huge and varied arsenal of music, Hank3 will be raising all sorts of hell on stage while the fans raise their glasses in the audience once again, and you can bet your last dollar a damn good time will be had by all. The man goes full throttle all the time, every time, as anyone who has ever been to one of his innumerable shows will attest.


    Listen to Brothers of the 4x4 and A Fiendish Threat, go to a show, and find out for yourself. Just remember the next day, after a few aspirins, a dinner at your own table, and a sleep in your own bed, that Hank3 will be down the road doing his thing again, and for that rebel, "doing the best I can" means something a little different than it does for the average man.

    1. Can I Rip U
    2. Different From the Rest
    3. There's Another Road
    4. Broke Jaw
    5. Watchin U Suffer
    6. Breakin Free
    7. Face Down
    8. New Identity
    9. Feel the Sting
    10. Fight My Way
    11. Full On
    12. Your Floor
    13. A Fiendish Threat
    Hank3
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Brothers Of The 4x4 Brothers Of The 4x4 Quick View

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    Brothers Of The 4x4

    The king of Hellbilly, Mr. Hank3 himself, is pleased to announce a triple-threat of new releases. Hank3 will release a brand new DOUBLE country album, entitled Brothers of the 4x4, and a single punk album, entitled A Fiendish Threat, with his new project "3".


    Recording in his own home and releasing music on his own label, the Megaforce distributed Hank3 Records, allowed Williams complete creative control during the four month period it took to make both records.


    Besides living the songs subject matter first, Hank3 sang and played both guitar and drums on the records. As if pulling triple duty wasn't enough, he engineered, produced, mixed and mastered all the tunes as well. Not bad for someone who in his own words is dyslexic and has ADD, according to Hank3 "my mind is all over the place". But even a man talented and driven enough to do (count 'em) seven jobs at once has his limits, so Hank3 has once again assembled a top-notch ensemble of pickers and pluckers for Brothers Of The 4x4 and A Fiendish Threat.


    The required stand-up bass holds the low end down at the deft hands of Zach Shedd, with David McElfresh and Billy Contreras whipping razor sharp bows across the fiddle. Daniel Mason handles banjo, with a special guest appearance on Possum In A Tree by former National Old-Time Banjo Champion Leroy Troy working his banjo in the old school clawhammer style, while Andy Gibson wrings the sweetest of notes out his stand up steel guitar. Finally, long-time collaborator and fellow multi-instrumentalist extraordinaire Johnny Hiland rips his chicken pickin' guitar to feathers and shreds.


    Hank3's latest country record is just that- country, and the realness of it shines throughout the record like moonlight hitting a mason jar of corn liquor- it ain't always the smoothest, and it doesn't come wrapped in a fancy package, but it's 100% pure whoop-ass in a bottle that gets the job done quicker and better and reminds you of where you originally came from once you figure out what just hit you. On Outdoor Plan he sings of fishing and hunting as a way of life, and it's a fact that more than one deer and turkey has met its maker at the end of Hank3's gun's barrel. The title track, Brothers of the 4x4 celebrates the wide open full throttle love of off roadin' and rootin' in a four wheel drive - the cover of the record shows Williams mud bogging in a custom 4x4, and it's not some redneck rental - that's his ride. And because life ain't always happy, when the heartbreak and hard times cracks through the sonic celebration on songs like Loners 4 Life and Ain't Broken Down, it's because Hank3 is well acquainted with the darker side of life, and not as some tourist. The album is a rich and gritty sounding mixture of sadness, pride, hope- in other words, it's a great country record.


    With the release of Brothers of the 4x4 and A Fiendish Threat, Williams is ready to hit the road, and when he hits the road, he hits it much harder than most. Hank3 shows are legendary for their length and intensity, averaging three hours a night, starting with a country set and ending with whatever his latest musical experiment happens to be.


    With these dual releases, Brothers Of The 4x4 and A Fiendish Threat added to his already huge and varied arsenal of music, Hank3 will be raising all sorts of hell on stage while the fans raise their glasses in the audience once again, and you can bet your last dollar a damn good time will be had by all. The man goes full throttle all the time, every time, as anyone who has ever been to one of his innumerable shows will attest.


    Listen to Brothers of the 4x4 and A Fiendish Threat, go to a show, and find out for yourself. Just remember the next day, after a few aspirins, a dinner at your own table, and a sleep in your own bed, that Hank3 will be down the road doing his thing again, and for that rebel, "doing the best I can" means something a little different than it does for the average man.

    1. Nearly Gone
    2. Hurtin' For Certin
    3. Brothers of the 4×4
    4. Farthest Away
    5. Held Up
    6. Outdoor Plan
    7. Deep Scars
    8. Lookey Yonder Commin
    9. Ain't Broken Down
    10. Overdrive
    11. Loners 4 Life
    12. Dreadfull Drive
    13. Getting Dim
    14. Possum in a Tree
    15. Broken Boogie
    16. Toothpickin
    Hank3
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dua Lipa Dua Lipa Quick View

    $21.99
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    Dua Lipa

    Born and raised in London to Kosovar-Albanian parents, the sultry-voiced Lipa attended Sylvia Young Theater School (Rita Ora, Amy Winehouse) until the age of 13, when she relocated to Kosovo with her family. However, the move wouldn't last very long, and she was back in London by age 15, living on her own and pursuing a singing career. Her shimmery debut single, New Love, was followed up with the soulful Be the One. Longlisted for the prestigious BBC's Sound of 2016, Dua Lipa released Hotter Than Hell and Blow Your Mind (Mwah) in 2016, coinciding with a tour throughout the spring and summer. While Hotter Than Hell went on to break the Top 20 in the U.K., in 2017, she earned the distinction of having three simultaneously-charting singles in the U.K. Top 15 with Be the One, Scared to Be Lonely with Martin Garrix, and No Lie with Sean Paul.
    1. Genesis
    2. Lost In Your Light (feat. Miguel)
    3. Hotter Than Hell
    4. Be The One
    5. IDGAF
    6. Blow Your Mind (Mwah)
    7. Garden
    8. No Goodbyes
    9. Thinking 'Bout You
    10. New Rules
    11. Begging
    12. Homesick
    Dua Lipa
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Satanist (Awaiting Repress) The Satanist (Awaiting Repress) Quick View

    $44.99
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    The Satanist (Awaiting Repress)


    Exclusive Bonus Track


    Double Gatefold Jacket


    24-Page LP Sized Book


    "The Satanist is magic. It's dangerous. It's adventurous, and it's organic," states Nergal, the driving force behind Behemoth since their inception in 1991, and brief exposure to the band's tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing, densely layered, brutally violent and sinister record, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention, offering ever greater sonic and emotional depths with every listen. "You may hear the title and think it's very primitive and one-dimensional, and yes it is, but when you look beyond that it's as primitive as it is complex and multidimensional, and that applies to everything about the record."


    It has been a rocky road leading to the realization of the album. Having dropped 2009s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world, and playing some of the best shows of their lives the band seemed truly unstoppable. But, in August 2010 Nergal was diagnosed with leukemia, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation. "I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can't control. The sooner you realize which is which it's going to make your life so much easier, and since then I started to focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference."


    Rather than immediately getting down to working on a new album, the band - also comprised of drummer Inferno, bassist Orion, and guitarist Seth - set out to complete the abandoned touring cycle for Evangelion, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal's mind. "I was a fucking wreck, and I almost didn't make it to the end of the set. The venue was really smoky, and that was stuffing my nose and my lungs, and physically I felt that I couldn't pull it off. I did, but I was close to passing out on stage. I was literally shocked by this, I remember thinking while we were playing shit, what if I can't do this anymore? I'm just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident, and aware of the fact that yes, we will do this."


    Having returned to full force the band were ready to once more move forward, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful - and successful - as Evangelion Nergal faced no such doubts. "I don't race myself, and I don't need to prove anything to anyone. Evangelion was a very important record to us, and yes, it was very successful too, but in making The Satanist it wasn't a point of beating that. The point was to do what was organic, and make a natural and honest and sincere album, and that's it. Now the record is finished I like to think of it as an album that is just so different that you can't really compare it to our previous works, which is the best outcome I could hope for." One thing is inarguable, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density, but there is intricacy to this, and nothing is forced or contrived. "I don't have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them, but there's never a one hundred percent guarantee he's going to become a lawyer and not a serial killer. It's the same story with the records - we supply the elements but we just don't know how these elements mixed together are going to come out, and I think it's fortunate that we don't have one hundred percent control over it! It makes for something special."


    The title of the record itself is undeniable in its power, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. "To me it's not pretentious at all. It's very straight up, very sincere, and a devastating, conquering statement. There's no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it's a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you're going to hear a hundred different opinions, which they can then discuss and fight over." Likewise, Nergal views the lyrical content of the record as similarly open to interpretation, encouraging this. "There's a lot of symbolism and reflections and impressions in there, and it's using millions of metaphors to express a certain very sinister and very captivating atmosphere, but there are no answers. People always like to have a deeper insight into what we do, but that's not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire, but what we're doing is just giving you the matches, giving you the spark, what you want to do with it is up to you. Personally, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts, it's a never ending process, and that's exciting to me."


    Twenty-three years and ten albums into their career, that Behemoth is still in the ascendant is a statement to their commitment, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song, but don't expect them to disappear any time soon. "I remember before we we had a record deal I was having a conversation with Baal, the band's original drummer, and we said okay, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more, and there was something about that that had an appeal, but y'know what, it doesn't work like that for individuals like myself. Hunger has always driven me through life, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now, over two decades later it's the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art - but then again, I remember that conversation with Baal, and I know it doesn't work like that, so I know there will probably be other incarnations of our artistic identity, one way or another. All I know is I love being here and now, and I just want to underline that I couldn't be more proud and happy with my own music. It really drives me through the day, and now I just want to sit back and hear any and all opinions of it."

    1. Blow Your Trumpets Gabriel
    2. Furor Divinus
    3. Messe Noire
    4. Ora Pro Nobis Lucifer
    5. Amen
    6. The Satanist
    7. Ben Sahar
    8. In the Absence ov Light
    9. O Father O Satan O Sun!
    Behemoth
    $44.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Dan Dyer Dan Dyer Quick View

    $24.99
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    Dan Dyer

    It may be generalizing. Hopefully it isn't offensive. But let's face it: Dan Dyer has one hell of a soulful voice for a white guy. It's a soulful voice for anybody. But for a white guy?! Close your eyes and you're likely to picture something more along the lines of Al Green or Stevie Wonder or Sly Stone than some east Texan around 40 years old. But this is Dan Dyer's gift - a voice oozing soul along with deeply introspective, serious songwriting.


    Dyer was born and raised in the small east Texas town of Tool. He was given a guitar at age 5 but didn't learn to play until he was 18 and had moved to Austin, Texas. It was there that he began to study music seriously, attacking the guitar, and exploring his until-then untapped singing and songwriting powers.


    While attending Texas State in San Marcos, Texas, Dyer formed a band, Breedlove, with guitarist Tyrone Vaughan (son of Jimmie Vaughan), drummer Jason White, keyboardist Ezra Reynolds and bassist Josh Dawkins. The group developed a dedicated following and released Reach Out in 1996 before disbanding in 1998.


    From there, Dyer moved to New York City and began writing commercial music jingles, having songs placed in marketing campaigns for Budweiser, Chevrolet, Dr. Pepper and Campbell's Soup. While there, Lenny Kravitz, who had just begun a Warner Bros. imprint called Roxie Records, signed Dyer and produced his What Lies Beneath record in 2004, the first release on the label. Kravitz co-wrote four of the songs with Dyer and also played guitar on the record.


    After touring for a year behind What Lies Beneath, Dyer moved to St. Louis and started a family. In 2007, he returned to Austin where he'd reunited with friend David Boyle, who recorded and produced Dyer in his converted-church studio for the self-titled Dan Dyer. The record was released in 2008 on Fat Caddy Records. From the chain gang-inspired sound of Love Chain to the gospel-tinged I Walk On Gilded Splinters and Stewart Copeland-esque syncopations of Play On Little Children, Dyer and Boyle weave a diverse fabric that extends beyond conventional musical boundaries.

    1. Prisoner Of Fear
    2. Howling Wind
    3. Come Home
    4. Come Home Pt. 2
    5. Reach Out
    Dan Dyer
    $24.99
    180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
  • Like A Rose Like A Rose Quick View

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    Like A Rose

    Ashley Monroe, a member of the critically acclaimed trio Pistol Annies, presents her first Warner Nashville solo album, Like A Rose. Most folks, as soon as they hear Ashley Monroe, instantly recognize one thing: she's the real deal. Her songs resonate so profoundly because they reflect the experiences of an artist who, although she is just 26, has already seen both the best and worst that life has to offer.


    Like a Rose has been a long time coming. Monroe has been creating music for more than half of her life-attracting along the way kudos from such music world giants as Dolly Parton, Guy Clark, Vince Gill and Jack White. Her new, full-length album release serves both to fill in the back-story and impart to us who she is today. At times her songs are dead serious, at others utterly hilarious, but always Monroe is an original with a compelling story to share.


    Monroe spent her childhood in Knoxville, Tennessee, where she immersed herself in all varieties of music ranging from country-she's not-too-distantly related to members of the legendary Carter Family-to rock, pop, rap and even opera. When she was 11, Monroe won a talent contest singing "I Want To Be a Cowboy's Sweetheart" and two years later her father gave Ashley her first guitar. She developed a passion for writing songs, discovering that she could easily communicate her thoughts and sentiments through a six-string and her dynamic, exceptional voice.


    One of the most rewarding artistic adventures for Ashley to date has been the Pistol Annies, a trio she co-formed in 2011 with her friend Miranda Lambert, whose chart-topping hit "Heart Like Mine" Ashley co-penned, and newcomer Angaleena Presley. Pistol Annies have provided Monroe with yet another outlet for her music. Their album, Hell on Heels, garnered rave reviews. The All Music Guide called the trio "a remarkably democratic supergroup" while veteran music critic Robert Christgau gave the album an A grade, citing its "expertly executed tunes."


    Despite her list of previous accomplishments, everything she's done so far feels like it's been pointing the way toward Like a Rose. With songs that run the gamut from feel-good to controversial to contemplative, the album, produced by country music titan Vince Gill, offers the full range of Ashley Monroe's songwriting and performing skills. To maintain the honesty of Ashley's songs, Gill and the singer chose to record the album the way most of the greatest albums ever were made: sans gimmickry. "We just got the band in a circle and started playing the songs," Ashley says, "and once we felt like we had a feel for it, I'd do my vocal live-I never went back in to do a second vocal. Everyone put everything we had into the songs. There was a buzz in the room. We all had fun-it felt like a big old family, the way records used to be made."


    Some of the songs were newly written for the album; others date back several years and felt right to revisit. The semi-autobiographical title track, one of the uncontestable highlights of the set, was co-written about six years ago with another totem of the American song-crafting community, Texan legend Guy Clark.


    One song that is bound to raise some eyebrows refers to the same favored flower of the title tune, but in a much different sense: "Weed Instead of Roses" tells of a woman's desire to get a gift she actually desires from her beau, not just something that smells good.


    "You Got Me" was co-written by Monroe and Karen Fairchild. Says Ashley, "It's about an addiction to something-one thing or another, whether you're stuck in a bad relationship or alcohol or whatever it is-and you try to hide it and fight it but you're kind of saying, 'Alright, you got me.'


    On a more light-hearted note is "Monroe Suede," based on "a slick character that tries to get away all the time." Another is the self-explanatory "You Ain't Dolly (And You Ain't Porter)," a duet featuring Lambert's husband, CMA Entertainer of the Year Blake Shelton. "Morning After" confronts that uneasy feeling that often follows a too-good time and "She's Driving Me Out Of Your Mind," written with Jon Randall Stewart, comes straight from one of Ashley's many journals. "Two Weeks Late" was suggested by singer-songwriter Shane McAnally, who co-wrote it with Monroe. "He came in and said, 'I heard this phrase at the ATM: I'm a dollar short and two weeks late.' That was another one that just fell out. I grabbed the guitar and we started writing it up.


    "Used," another standout, is an update of a song that appeared on Monroe's Satisfied album. "It came to me when I was about 17 and my manager at the time had just bought me this old 1950s Gibson guitar," she says. It came into my mind that things are worth more used, and I thought about my mom, who had lost my dad when she was 38. I was thinking, she had two kids, she's been through a lot, and, bless her heart, it's all gonna be worth it. Vince and I worked up this new version, which made it fresh for me."


    And fresh it all is. Like a Rose avoids the trappings of too much contemporary music by sticking to the basics: memorable songs, incredible musicians, a superb voice, all of it captured honestly and without frills. As the saying goes, sometimes we need to stop and smell the roses. Take a whiff of Like a Rose and you'll find it smells pretty darn sweet.

    1. Like A Rose
    2. Two Weeks Late
    3. Used
    4. Weed Instead of Roses
    5. You Got Me
    6. The Morning After
    7. Monroe Suede
    8. She's Driving Me Out Of Your Mind
    9. You Ain't Dolly (And You Ain't Porter) ft. Blake Shelton
    Ashley Monroe
    $15.99
    Vinyl LP - Sealed Buy Now
  • The Lost Tapes The Lost Tapes Quick View

    $37.99
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    The Lost Tapes

    The 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
    1. Grimoire
    2. Madam Noname'
    3. Halfway
    4. Pastiche
    5. Slow Down


    LP 2
    1. Valkyrian Ride
    2. Tetelestai

    Witchfynde
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) (Pre-Order) The Grinding Wheel (Yellow And Black Vinyl) (Pre-Order) Quick View

    $31.99
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    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
    Overkill
    $31.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • The Grinding Wheel (Awaiting Repress) The Grinding Wheel (Awaiting Repress) Quick View

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    The Grinding Wheel (Awaiting Repress)

    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."

    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
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
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