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  • The Queen Is Dead The Queen Is Dead Quick View

    $37.99
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    The Queen Is Dead

    Import


    Remastered 180 Gram Vinyl


    Ranked 216/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    1. The Queen Is Dead (Take Me Back to Dear Old Blighty)
    2. Frankly, Mr. Shankly
    3. I Know It's Over
    4. Never Had No One Ever
    5. Cemetry Gate
    6. Bigmouth Strikes Again
    7. The Boy With the Thorn in His Side
    8. Vicar in a Tutu
    9. There Is a Light That Never Goes Out
    10. Some Girls Are Bigger Than Others
    The Smiths
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Queen Is Dead (Box Set) (Pre-Order) The Queen Is Dead (Box Set) (Pre-Order) Quick View

    $99.99
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    The Queen Is Dead (Box Set) (Pre-Order)

    Ranked 216/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Widely considered to be both The Smiths' finest work and one of the greatest albums ever made, 'The Queen Is Dead' has cast a significant influence over subsequent generations since it was first released in the summer of 1986. Now Warner Bros. Records can confirms the details of a newly mastered and expanded version of the album.

    The album features several of the band's finest moments including the title track and 'There Is A Light That Never Goes Out', as well as the iconic singles 'The Boy With The Thorn In His Side' and 'Bigmouth Strikes Again'.

    You cannot continue to record and simply hope that your audience will approve, or that average critics will approve, or that radio will approve, says Morrissey. You progress only when you wonder if an abnormally scientific genius would approve - and this is the leap The Smiths took with The Queen Is Dead.

    Johnny Marr adds, The Queen Is Dead was epic to make and epic to live.

    5LP Vinyl Boxset - featuring the 2017 master of the album, additional recordings and the 'Live In Boston' recording. Housed in lift off box with 2 double gatefolds and 1 single.

    Original Album - 2017 Remaster
    1. The Queen Is Dead
    2. Frankly, Mr. Shankly
    3. I Know It's Over
    4. Never Had No One Ever
    5. Cemetry Gates
    6. Bigmouth Strikes Again
    7. The Boy With The Thorn In His Side
    8. Vicar In A Tutu
    9. There Is A Light That Never Goes Out
    10. Some Girls Are Bigger Than Others


    Additional Recordings
    1. The Queen Is Dead (Full Version)
    2. Frankly, Mr. Shankly (Demo)
    3. I Know It's Over (Demo)
    4. Never Had No One Ever (Demo)
    5. Cemetry Gates (Demo)
    6. Bigmouth Strikes Again (Demo)
    7. Some Girls Are Bigger Than Others (Demo)
    8. The Boy With The Thorn In His Side (Demo Mix)
    9. There Is A Light That Never Goes Out (Take 1)
    10. Rubber Ring (B-side)
    11. Asleep (B-side)
    12. Money Changes Everything (B-side)
    13. Unloveable (B-side)


    Live In Boston (Previously Unreleased)
    1. How Soon Is Now?
    2. Hand In Glove
    3. I Want The One I Can't Have
    4. Never Had No One Ever
    5. Stretch Out And Wait
    6. The Boy With The Thorn In His Side
    7. Cemetry Gates
    8. Rubber Ring/What She Said/Rubber Ring
    9. Is It Really So Strange?
    10. There Is A Light That Never Goes Out
    11. That Joke Isn't Funny Anymore
    12. The Queen Is Dead
    13. I Know It's Over

    The Smiths
    $99.99
    Vinyl LP Box Set - 5 LPs Sealed PRE-ORDER Buy Now
  • The Beat Is Dead The Beat Is Dead Quick View

    $18.99
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    The Beat Is Dead

    Nina Diaz, lead singer of popular punk trio Girl In A Coma, debuts her solo record The Beat Is Dead. This interpersonal album shows a varied attack from what her fans have been used to. From Electro Rock Trick Candle to 80's John Hughes movie anthem Queen Beats King, to singer-songwriter introspection January 9th, Diaz shows a range of emotions and influences not heard before.
    1. Trick Candle
    2. Queen Beats King
    3. Rebirth

    4. January 9th

    5. Fall In Love

    6. Young Man
    7. Screaming Without A Sound
    8. Down

    9. Dig

    10. Star

    11. For You
    Nina Diaz
    $18.99
    Vinyl LP - Sealed Buy Now
  • The World Won't Listen The World Won't Listen Quick View

    $42.99
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    The World Won't Listen

    Import


    Rough Trade released two compilations of early singles and B-sides from The Smiths in 1987, the 24-track U.S.-only Louder Than Bombs and the 16-track U.K.-only The World Won't Listen. The two collections share 12-tracks, however, The World Won't Listen features four additional cuts in the singles The Boy With the Thorn in His Side and That Joke Isn't Funny Anymore as well as The Queen is Dead songs Bigmouth Strikes Again and There Is a Light That Never Goes Out. Reissued here on double 180g audiophile vinyl.

    LP1
    1. Panic (single)
    2. Ask (single)
    3. London (B-side)
    4. Bigmouth Strikes Again (The Queen Is Dead)
    5. Shakespeare's Sister (single)
    6. There Is a Light That Never Goes Out (The Queen Is Dead)
    7. Shoplifters of the World Unite (single)
    8. The Boy With the Thorn in His Side (single)


    LP2
    1. Asleep (B-side)
    2. Unloveable (B-side)
    3. Half a Person (B-side)
    4. Stretch Out and Wait (B-side)
    5. That Joke Isn't Funny Anymore (single)
    6. Oscillate Wildly (B-side)
    7. You Just Haven't Earned It Yet, Baby (remix)
    8. Rubber Ring (B-side)

    The Smiths
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dead To The World Dead To The World Quick View

    $24.99
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    Dead To The World

    Helmet's First Studio Album In 7 Years


    Helmet was formed in New York City in 1989 by founding members Page Hamilton, Henry Bogdan, Peter Mengede and John Stanier. They have had a large impact on many heavy metal, hard rock, nu metal, post-hardcore and metalcore acts, with bands such as Tool, Pantera, Mastodon, Converge, Meshuggah, The Dillinger Escape Plan, Queens of the Stone Age, Sepultura, At the Drive In, System of a Down, Nine Inch Nails, Rammstein, Korn, Marilyn Manson, Silverchair, Limp Bizkit, Papa Roach, Slipknot, Staind and many others crediting Helmet as an influence.


    The group released their first full length album Strap It On, in 1991. The band found mainstream success with their follow up album Meantime which debuted at number 68 on the Billboard 200 and spawned the hits Unsung and In the Meantime. In 1994, Helmet explored new sonic territories with the fan favorite and critically acclaimed Betty, which incorporated elements of jazz and blues into their thinking man's metal. Following an additional album, Helmet broke up in 1998, while Hamilton explored other projects, including various collaborations and film scores.


    In 2004, Hamilton reformed Helmet with a new lineup, releasing the album Size Matters that same year. In 2006, they released Monochrome and then released their most recent album, Seeing Eye Dog, via in 2010.


    Since the 2004 revival, Helmet has toured extensively all over the world. In 2012, they toured Europe in light of the 20th anniversary of Meantime and, most recently, embarked on a similar tour for the 20th anniversary of Betty.


    Dead to the World is the first studio album in 7 years by HELMET and is available on VINYL.

    1. Life Or Death
    2. I <3 My Guru
    3. Bad News
    4. Red Scare
    5. Dead To The World
    6. Green Shirt
    7. Expect The World
    8. Die Alone
    9. Drunk In The Afternoon
    10. Look Alive
    11. Life Or Death (Slow)
    12. Move On
    Helmet
    $24.99
    Vinyl LP - Sealed Buy Now
  • Deep Dead Blue - Live At Meltdown Deep Dead Blue - Live At Meltdown Quick View

    $34.99
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    Deep Dead Blue - Live At Meltdown

    180 Gram Vinyl


    Available on Vinyl For The First Time


    A lovely, understated exercise in minimalism, Deep Dead Blue documents a set of otherwise unaccompanied guitar/vocal duets between Bill Frisell and Elvis Costello, recorded live at the Meltdown Festival in London's Queen Elizabeth Hall on June 25, 1995.


    Frisell co-wrote the title track, one of the five songs bearing a Costello credit; the others are underexposed items from Costello's mid- to late-'80s catalog, plus selections by Charles Mingus (Weird Nightmare) and Lerner & Loewe (Gigi).


    Costello is once again the refined, mature vocal stylist of Painted From Memory, but Frisell expertly controls the dynamics of each piece, often stripping his part down to single-note lines, which lends surprising emotional impact when he allows full chords to wash over Costello's voice.

    1. Weird Nightmare
    2. Love Field
    3. Shamed Into Love
    4. Gigi
    5. Poor Napoleon
    6. Baby Plays Around
    7. Deep Dead Blue
    Elvis Costello & Bill Frisell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • ...And You Will Know Us By The Trail Of Dead (Awaiting Repress) ...And You Will Know Us By The Trail Of Dead (Awaiting Repress) Quick View

    $19.99
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    ...And You Will Know Us By The Trail Of Dead (Awaiting Repress)

    Labeled as anti-musicians, named after a prayer to Mayan corn gods, and cause for press releases describing it as set upon by rednecks, ...And You Will Know Us by the Trail of Dead vies for that piece of scarred, post-punk real estate somewhere between the Who and chucking a whirring blender full of bolts straight into a jet engine. With this self-titled debut, the band will probably horrify the realtors.


    From moments of diversionary electronic tweaks to ones of shambolic, guitar-thrashed screeches (and sometimes both), the album realizes the importance of not trying to be important. The sound of bashing out unconventional we hate something that we'll make sure to mumble punk rock without parroting any one musical thing is what -- if anything -- ties these eight songs together. And for good reason. Few bands can sound like such a rightful mess.


    The band has been lumped in with fellow rock unapologists Queens of the Stone Age and At the Drive-In, but this self-titled debut album is a caustic, fidgety yelp that almost belies its out-and-out intelligence. One of the band's news stories might have said it best: The band defended themselves with their instruments, which are now destroyed.


    - Dean Carlson (All Music Guide)

    1. Richter Scale Madness
    2. Novena Without Faith
    3. Fake Fake Eyes
    4. Half of What
    5. Gargoyle Waiting
    6. Prince With a Thousand Enemies
    7. Ounce of Prevention
    8. When We Begin to Steal...
    And You Will Know Us By The Trail Of Dead
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The World Won't Listen The World Won't Listen Quick View

    $31.99
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    The World Won't Listen

    Remastered On 180 Gram Vinyl


    Rough Trade released two compilations of early singles and B-sides from The Smiths in 1987, the 24-track U.S.-only Louder Than Bombs and the 16-track U.K.-only The World Won't Listen. The two collections share 12-tracks, however, The World Won't Listen features four additional cuts in the singles The Boy With the Thorn in His Side and That Joke Isn't Funny Anymore as well as The Queen is Dead songs Bigmouth Strikes Again and There Is a Light That Never Goes Out. Reissued here on double 180 Gram audiophile vinyl.

    LP 1
    1. Panic (single)
    2. Ask (single)
    3. London (B-side)
    4. Bigmouth Strikes Again (The Queen Is Dead)
    5. Shakespeare's Sister (single)
    6. There Is a Light That Never Goes Out (The Queen Is Dead)
    7. Shoplifters of the World Unite (single)
    8. The Boy With the Thorn in His Side (single)


    LP 2
    1. Asleep (B-side)
    2. Unloveable (B-side)
    3. Half a Person (B-side)
    4. Stretch Out and Wait (B-side)
    5. That Joke Isn't Funny Anymore (single)
    6. Oscillate Wildly (B-side)
    7. You Just Haven't Earned It Yet, Baby (remix)
    8. Rubber Ring (B-side)

    The Smiths
    $31.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • News of the World News of the World Quick View

    $29.99
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    News of the World

    If Day at the Races was a sleek, streamlined album, its 1977 successor, News of the World, was its polar opposite, an explosion of styles that didn't seem to hold to any particular center. It's front-loaded with two of Queen's biggest anthems -- the stomping, stadium-filling chant We Will Rock You and its triumphant companion, We Are the Champions -- which are quickly followed by the ferocious Sheer Heart Attack, a frenzied rocker that hits harder than anything on the album that shares its name (a remarkable achievement in itself). Three songs, three quick shifts in mood, but that's hardly the end of it. As the News rolls on, you're treated to the arch, campy crooning of My Melancholy Blues, a shticky blues shuffle in Sleeping on the Sidewalk, and breezy Latin rhythms on Who Needs You. Then there's the neo-disco of Fight from the Inside, which is eclipsed by the mechanical funk of Get Down, Make Love, a dirty grind that's stripped of sensuality. That cold streak on Get Down, Make Love runs through the album as a whole. Despite the explosion of sounds and rhythms, this album doesn't add up to party thanks to that slightly distancing chilly vibe that hangs over the album. Nevertheless, many of these songs work well on their own as entities, so there is plenty to savor here, especially from Brian May. Whether he's doing the strangely subdued eccentric English pop All Dead, All Dead or especially the majestic yet nimble rocker It's Late, he turns in work that gives this album some lightness, which it needs. And that's the reason News of the World was a monster hit despite its coldness -- when it works, it's massive, earth-shaking rock & roll, the sound of a band beginning to revel in its superstardom.

    - All Music
    1. We Will Rock You
    2. We Are The Champions
    3. Sheer Heart Attack
    4. All Dead, All Dead
    5. Spread Your Wings
    6. Fight From The Inside
    7. Get Down, Make Love
    8. Sleeping On The Sidewalk
    9. Who Needs You
    10. It's Late
    11. My Melancholy Blues
    Queen
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hang You From The Heavens/Are Friends Electric? Hang You From The Heavens/Are Friends Electric? Quick View

    $6.99
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    Hang You From The Heavens/Are Friends Electric?

    The debut release from both the Dead Weather and Third Man Records is two songs of dark, mysterious rock and roll with a violent edge. Alison Mosshart's vocals coupled with Dean Fertita's slashing guitar work wreak havoc on top of Jack White's vicious back-beat. Little Jack Lawrence's bass blows holes through your mind. Prepare to be spooked cause this record is scary good.


    Jack White has formed a new group called The Dead Weather with The Kills frontwoman Alison Mosshart. White takes drum and vocal duties, while The Raconteurs bassist Jack Lawrence and Queens of the Stoneage guitarist Dean Fertita round the four piece out.


    First release from Jack White's imprint Third Man Records

    First release by the Dead Weather

    Band features members of the White Stripes, the Kills, Queens of the Stone Age, the Raconteurs


    B-side is a cover of the classic Gary Numan song exclusive to this release

    Full-length 'Horehound' due from Third Man in July

    Hang You Up From the Heavens
    Are Friends Electric? (Gary Numan cover)
    The Dead Weather
    $6.99
    Vinyl LP 7'' Single - Sealed Buy Now
  • Sea Of Cowards (Awaiting Repress) Sea Of Cowards (Awaiting Repress) Quick View

    $19.99
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    Sea Of Cowards (Awaiting Repress)

    The latest musical adventure by Jack White (The White Stripes, The Raconteurs), epitomizes the alt-rock ethic: do the music you love, do it yourself, and do it fast. The Dead Weather brings together lead singer Alison Mosshart (half of the London-based lo-fi post-punk duo The Kills), Queens Of The Stone Age guitarist Dean Fertita, The Raconteurs' bassist Jack Lawrence, and White on drums and vocals. White also produced the group's debut album, Horehound, recorded in just three weeks earlier this year at his newly constructed Nashville studio. An exhilarating mix of punchy blues singing from Mosshart and garage rock with arena ambitions, Horehound introduces the musical whirlwind that is The Dead Weather.
    1. Blue Blood Blues
    2. Hustle And Cuss
    3. The Difference Between Us
    4. I'm Mad
    5. Die By The Drop
    6. I Can't Hear You
    7. Gasoline
    8. No Horse
    9. Looking At The Invisible Man
    10. Jawbreaker
    11. Old Mary
    The Dead Weather
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Mt. St. Helen's Vietnam Band Mt. St. Helen's Vietnam Band Quick View

    $14.99
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    Mt. St. Helen's Vietnam Band

    At first blush, this album recalls Wolf Parade with the band's frayed melodic sensibilities and urgent, driven vocals in particular. Of course, Wolf Parade borrowed a few ideas from Modest Mouse, whose beginnings were indebted to the Pixies. This is the sort of musical lineage that creates the foundation for this group's debut. But dig a little deeper and strains of Queen's epic rock peer through, while exhilarating guitar work that nods towards Thin Lizzy appears in more than a few songs.
    1. Who's Asking
    2. Masquerade
    3. Cheer for Fate
    4. Anchors Dropped
    5. Going on a Hunt
    6. Year or Two, A
    7. Albatross, Albatross, Albatross
    8. Dull Reason
    9. Little Red Shoes
    10. En Fuego
    11. On the Collar
    Mt. St. Helen's Vietnam Band
    $14.99
    Vinyl LP - Sealed Buy Now
  • Horehound Horehound Quick View

    $24.99
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    Horehound

    White Stripes and Raconteurs leader Jack White won¹t rest. Pairing with
    Kills vocalist Alison Mosshart, the analog champion¹s latest quartet plays
    psychedelic blues and stark rock that¹s moody, atmospheric, and hypnotic. Tinged with swampy vibes and ominous emotions, this is a supergroup that lives up to the names and pedigrees of its impressive roster of members.

    In addition to White and Mosshart, The Dead Weather brings together Queens Of The Stone Age guitarist Dean Fertita and Raconteurs bassist Jack Lawrence. A veritable jack of all trades, White has turned his attention to the drums, leaving the guitar fireworks to Fertita. Most importantly, the quartet's iniitial batch of songs leaves nothing to be desired.


    Steeped in mythology, dripping with trashy promise, and soaked in an aptly humid atmospherics, Horehound is a modern marvel--a full-band effort that pools the best of White's other bands into an utterly distinctive whole. The push-pull interplay between White and Mosshart is alone worth exploring; such tension, drive, and edginess inform the proceedings, which span funk, sleazy blues, greasy boogies, and fuzz-drenched rock. Call it an update on not only blues' traditions but those of film noir, where White is ensared by Mosshart's femme-fatale allure and the band plays the soundtrack while the devil marches in and takes control.


    Recorded in just three weeks at White's newly constructed Nashville studio, Horehound has the sonics to match the excellent tunesmithship. Quickly becoming renown as one of the most analog-minded producers around, White worked to capture every nuance, texture, and note on this richly detailed album, which like the White Stripes' work, was intended to be heard on vinyl. Fertita's organ work and Lawrence's melodically distorted bass lines are not only heard but felt as they contribute to an ambience that's at once haunted and mesmerizing. You will not be disappointed at the results.


    Maybe the guy keeps such an insane work schedule because he's afraid idle hands are the devil's workshop. So while Meg White prepares to become Patti Smith's daughter-in-law, Jack keeps busy with this brilliant new band, tangling with Alison Mosshart of the Kills for an excellent album of sex sweat, bourbon breath, gun smoke and guitar sleaze. Advantage: devil! --Rob Sheffield, Rolling Stone, July 13, 2009

    1. 60 Feet Tall
    2. Hang You from the Heavens
    3. I Cut Like a Buffalo
    4. So Far from Your Weapon
    5. Treat Me Like Your Mother
    6. Rocking Horse
    7. New Pony
    8. Bone House
    9. Three Birds
    10. No Hassle Night
    11. Will There Be Enough Water?
    The Dead Weather
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Treat Me LIke Your Mother/You Just Can't Win Treat Me LIke Your Mother/You Just Can't Win Quick View

    $6.99
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    Treat Me LIke Your Mother/You Just Can't Win

    Produced, engineered and mixed by Jack White III at Third Man Studios


    7'' vinyl single with picture sleeve


    The 2nd single from the Dead Weather rock and roll juggernaut is more amplified terror riffing and slithery vocals. Alison Mosshart (the Kills) spits polite venom while Dean Fertita (Queens of the Stone Age) lurches on a twisted guitar/organ spell. The stuttered back-beat courtesy of Jack White (the White Stripes) locks down with bombastic bass from Jack Lawrence (the Raconteurs) and the end result is quite likely the breakout hit of the summer of 2009. B-side is exclusive to the release and is a brooding cover of Thems forgotten 'You Just Cant Win' penned by pre-solo fame Van Morrison that finds White taking lead vocal duties and accurately replicating Vans forlorn delivery.

    Side One

    1. Treat Me Like Your Mother

     

    Side Two

    1. You Just Can't Win
    The Dead Weather
    $6.99
    Vinyl LP 7'' Single - Sealed Buy Now
  • Thunder On The Mountain/ Dust On The Bible Thunder On The Mountain/ Dust On The Bible Quick View

    $6.99
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    Thunder On The Mountain/ Dust On The Bible

    Third Man and Nonesuch Records announced the release of the new album, The Party Aint Over, from Rock and Roll Hall of Famer Wanda Jackson earlier this fall. They are now proud to bring you the single Thunder On The Mountain b/w Dust On The Bible.



    Known around the globe as ''The Queen Of Rock'' and ''The First Lady Of Rockabilly,'' Wanda Jackson has joined with friend and producer Jack White, to bring you this latest taste of her signature flavor. The tracks feature Jack White. Jack Lawrence (The Dead Weather/The Greenhornes/The Raconteurs), Carl Broemel (My Morning Jacket), Patrick Keeler (The Greenhornes, Raconteurs), Ashley Monroe, Jackson Smith and Karen Elson, to name just a few.



    ''Thunder On The Mountain'' is a particularly exceptional track. Originally penned by Bob Dylan and chosen for Mrs. Jackson by the poet himself, his rockabilly fever dream is given new life by the songstress.

    Side One

    1. Thunder On The Mountain

     

    Side Two

    1. Dust On The Bible
    Wanda Jackson
    $6.99
    7 Vinyl LP - Sealed Buy Now
  • Post Pop Depression Post Pop Depression Quick View

    $21.99
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    Post Pop Depression

    A lot of geezers my age don't work out of their comfort zone anymore because once you become legendary you don't want people challenging you." - Iggy Pop


    Post Pop Depression is IGGY POP's new, studio album, produced by Joshua Homme (Queens of the Stone Age and Eagles of Death Metal). The 17th Iggy Pop album, and a worthy addition to the 22 album legacy spawned with the immortal trilogy of The Stooges, Fun House and Raw Power, spanning massively influential solo outings including 1977's opening 1-2 combo of The Idiot and Lust For Life, and 1990's gold-certified Brick By Brick.


    The first Iggy Pop album co-created with producer Homme, Post Pop Depression began with a succinctly worded text from Iggy to Joshua, and was realized in seclusion with Homme's enlisted aid of his Queens Of The Stone Age bandmate and Dead Weather-man Dean Fertitia and Arctic Monkeys drummer Matt Helders.


    Post Pop Depression is a singular work that stands proudly alongside the best works of either of its principles, from The Stooges to Queens Of The Stone Age, bearing its creators' undeniable sonic DNA while sounding like nothing they've done before. It's a record that wouldn't exist without either Pop or Homme-and one that probably shouldn't in theory if you really think about it-but it does, and we and rock n roll are all the better for it.

    1. Break Into Your Heart
    2. Gardenia
    3. American Valhalla
    4. In The Lobby
    5. Sunday
    6. Vulture
    7. German Days
    8. Chocolate Drops
    9. Paraguay
    Iggy Pop
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Post Pop Depression (Deluxe) Post Pop Depression (Deluxe) Quick View

    $34.99
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    Post Pop Depression (Deluxe)


    Includes 16 Page Booklet


    A lot of geezers my age don't work out of their comfort zone anymore because once you become legendary you don't want people challenging you." - Iggy Pop


    Post Pop Depression is IGGY POP's new, studio album, produced by Joshua Homme (Queens of the Stone Age and Eagles of Death Metal). The 17th Iggy Pop album, and a worthy addition to the 22 album legacy spawned with the immortal trilogy of The Stooges, Fun House and Raw Power, spanning massively influential solo outings including 1977's opening 1-2 combo of The Idiot and Lust For Life, and 1990's gold-certified Brick By Brick.


    The first Iggy Pop album co-created with producer Homme, Post Pop Depression began with a succinctly worded text from Iggy to Joshua, and was realized in seclusion with Homme's enlisted aid of his Queens Of The Stone Age bandmate and Dead Weather-man Dean Fertitia and Arctic Monkeys drummer Matt Helders.


    Post Pop Depression is a singular work that stands proudly alongside the best works of either of its principles, from The Stooges to Queens Of The Stone Age, bearing its creators' undeniable sonic DNA while sounding like nothing they've done before. It's a record that wouldn't exist without either Pop or Homme-and one that probably shouldn't in theory if you really think about it-but it does, and we and rock n roll are all the better for it.

    1. Break Into Your Heart
    2. Gardenia
    3. American Valhalla
    4. In The Lobby
    5. Sunday
    6. Vulture
    7. German Days
    8. Chocolate Drops
    9. Paraguay
    Iggy Pop
    $34.99
    180 Gram Audiophile Virgin Vinyl LP + Booklet - Sealed Buy Now
  • Ultima II Massage Ultima II Massage Quick View

    $22.99
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    Ultima II Massage

    TOBACCO can't have nice things.


    On his third album, the Pennsylvania snake-synth-charmer deepens his approach
    to aural depravity. Ultima II Massage widens a jagged swath through the dude's
    own weird catalog, each disparate track damaged to the point of contributing to
    some sort of greater, lurching Frankenstein-like state. "I spent a lot of time
    breaking it in all the right places," says TOBACCO. "It ends up making the whole
    thing breathe - sometimes gasp for air. It feels more alive." Immediately after
    nishing 2010's Maniac Meat, he went to work on the beat-addled series begun
    with Fucked Up Friends in 2008. There were notable breaks en route to now - a
    surprising commission to remix White Zombie's "Thunder Kiss '65," a new BMSR
    record (Cobra Juicy), and producing Demon Queen's Exorcise Tape with vocalist
    Zackey Force Funk - but he saved the worst for last, amassing the most
    misanthropic material for Ultima. To wit, SPIN dubbed early share "Lipstick
    Destroyer" a "junkyard takedown of Daft Punk's beloved, pristine electro."
    TOBACCO explains his modied approach: "I wanted to push each song just
    enough, so that even when the album's at its wildest, it's something you can zone
    out to. It feels like a denitive end to a concept I've been trying to perfect forever.
    Maniac Meat was linear. This time I wanted to do a lot of di!erent things and have
    them come together as one meditative piece. At least for myself."


    Which, oddly enough, makes sense. This is easily TOBACCO's most diverse set to
    date - his own Stereopathetic Soulmanure, but about that 1-900 hotline life:
    massage parlors, plasticized sleaze, fake tans, old dial-ups to the fan clubs of
    dead B-actors. Fittingly, the album's only contributor is Beck music director Brian
    LeBarton who shrieks as Notrabel on the grimy freak-out "Streaker." At 17 tracks,
    Ultima is stacked with beautifully perverse hits - from the sickly sticky "Eruption,"
    to the wobbly demon swaggerer "Face Breakout," to the distorted punk spazz of
    "Dipsmack," to the apocalyptic sepia ambience of "Spitlord." You may hear
    disembodied bits of Boards of Canada, early Def Jam records, and Gary Numan,
    or maybe just public-access TV and bad VHS dubs of '80s horror icks. Or the sun
    exploding and everything you've ever loved melting. Again, TOBACCO was just
    trying to make meditation music.


    But to nd that rotted sweet spot, as always, he had to subvert his pop urges.
    TOBACCO went back to the cassette decks he started o! with - analog weapons
    of distortion to compliment his hissing vocoder and blown rhythms. Any moment
    that felt "just right" was brutally assaulted until ugly again. All to accomplish one
    end: "This might be my most purposely difcult album yet, but I promise if you let
    it in, it can fuck you up."


    Ultima II Massage. No happy ending.

    1. Streaker (ft. Notrabel)
    2. Good Complexion
    3. Video Warning Attempts
    4. Eruption
    5. Lipstick Destroyer
    6. Self Tanner
    7. Face Breakout
    8. Blow Your Heart
    9. Beast Sting
    10. Dipsmack
    11. Creaming for Beginners
    12. Omen Classic
    13. Pool City, McKnight Road
    14. Spitlord
    15. Father Sister Berzerker
    16. The Touch from Within
    Tobacco
    $22.99
    Colored Vinyl LP - Sealed Buy Now
  • Splinter (Songs From A Broken Mind) Splinter (Songs From A Broken Mind) Quick View

    $24.99
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    Splinter (Songs From A Broken Mind)

    'Splinter' (Songs From A Broken Mind) is the inspired new album by pioneer, chart-topper and influential artist Gary Numan.'Splinter' features guitarist Robin Finck (Nine Inch Nails, Guns N Roses), is produced by long-standing collaborator Ade Fenton, and will be followed by a full national headline tour in November.


    The album finds Gary on fine dark electronic form; sounding both cutting-edge and classic Numan, it marks his best work since the late 70s, early 80s heyday.'Splinter''s opening gambit 'I Am Dust' is a statement of intent, combining heavy grind with his archetypal anthemic pop skills. The unsettling whispered verses, crunchy guitars and Hans Zimmer-esque strings on 'Here In The Black' create a sense of menace and drama, whilst more orchestral work adorns the cinematic 'The Calling'. Slower-burning ballads 'Lost', 'Where I Can Never Be' and 'My Last Day', highlight the album's broad palate, adding elements of subtlety and even beauty in contrast to the album's more aggressive moments.


    Gary's knack for sexy, idiosyncratic dancefloor killers is strongly evident on the pounding, growling throb of 'Love Hurt Bleed', whilst 'Who Are You' carries equal clout as-body-music-Numan-style - infectious, but sounding unlike anything else you might hear blasting from a soundsystem.
    Although Numan released a straight-to-the-fanbase album 'Dead Son Rising' in 2011, this is his first self-penned full album since 'Jagged' in 2006.


    In recent years he's been quoted as an influence by everyone from Lady Gaga to Kanye West, Matthew Dear to Queens Of The Stone Age, The Foo Fighters, Nine Inch Nails, Prince and J Dilla, to Boyz Noise, Richie Hawtin and Battles (they released a single 'My Machines' on Warp Records with Numan in 2011).
    But while Numan's unique style continues to connect with fans from the worlds of metal, hip hop, electronica, industrial and indie, he remains as focussed as ever in pursuing his own singular vision. 'Splinter' sounds unique, while also utilising new sounds and ideas.


    Perhaps it's the voice - one of the most distinctive in music and often associated with machines and icy alienation, but for those who are drawn to Numan's songs, his singing is strangely emotional, almost soulful in places. And if you like that side of his writing, you certainly won't be disappointed with the new album, where there are several tracks that set Numan's vocals against moody, atmospheric torch songs to stunning effect.


    - Contact Music

    1. I Am Dust
    2. Here in the Black
    3. Everything Comes Down to This
    4. The Calling
    5. Splinter
    6. Lost
    7. Love Hurt Bleed
    8. A Shadow Falls on Me
    9. Where I Can Never Be
    10. We're the Unforgiven
    11. Who Are You
    12. My Last Day
    Gary Numan
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Daughters (Awaiting Repress) Daughters (Awaiting Repress) Quick View

    $18.99
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    Daughters (Awaiting Repress)

    This isn't technically Daughters' final album, but after recording, half the band quit, and whatever the remaining members (vocalist Alexis Marshall and drummer Jonathan Syverson) come up with in the future probably won't sound much like this. In a February 2010 interview with Noisecreep.com, Marshall all but says so while discussing the new album: [Former guitarist] Nick [Sadler] wrote a lot of the stuff on there, and he was really looking to make it accessible, and see how it fared... There are definitely parts of the record that were written to see how people will respond, which is kind of disappointing.


    If Sadler's name sounds familiar, it's probably from the decidedly non-Daughters-like charms of his other group, Fang Island. While he's not officially credited as a songwriter-- the songs on Daughters are attributed to the entire group-- Sadler is listed as a co-producer, which might explain the album's relatively less abrasive sound. Relative to other Daughters records, at least: Those hoping for the abrupt spasms from the group's 11-minute debut, or the slightly less abstract math essayed on Hell Songs, are going to be sorely disappointed when they drop the needle on The Virgin. Most of the song's elements-- the frantic double-timed drumming, the insect-like chatter of the guitars-- are familiar from older Daughters' tracks. Its verse-chorus structure, on the other hand, isn't. And neither is Marshall's vocal transformation into a smooth and confident David Yow impersonator. Even the song titles are streamlined. While these moves might seem like capitulations of some sort, the band doesn't pull any punches because of them.


    In fact, this refinement actually serves to focus Daughters' energies. There's still room for flashes of the manic fretwork and double-bass drum damage of old in tracks like the thick and brutal The Dead Singer, or Our Queens, a song that's equal parts fractured mathcore and fist-pumping punk anthem. That said, pummeling hook-filled songs like the The Hit or Sweet Georgia Brown are the new norm. The moves made here are no different than the recent pop moves made by equally uncompromising bands like the Dillinger Escape Plan, Converge, and Torche-- each of those bands still sound like themselves, but they're also open to change and wholly willing to evolve into something else, fan backlash be damned. It's just a shame Daughters couldn't survive this transformation. As I said earlier, hardcore Daughters lovers will probably have plenty of bones to pick with this album. For everyone else, Daughters is a feast to be savored.


    - David Raposa (Pitchfork)

    1. The Virgin
    2. The First Supper
    3. The Hit
    4. The Theatre Goer
    5. Our Queens (One Is Many, Many Are One)
    6. The Dead Singer
    7. Sweet Georgia Brown
    8. The Unattractive, Portable Head
    Daughters
    $18.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    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, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
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