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Tracks on A side are new, previously unreleased. Tracks B3, B4 recorded live at Moni Lazariston 2/9/2013. 180gr black vinyl, Limited to 160 numbered copies. (Smash Records) -
The complete sessions the mighty Butthole Surfers recorded on 12 August 1987 and 20 September 1988 for John Peel's show on BBC's Radio 1. A full on assault on the senses by the kings of Psychedelic Noise Punk weirdness that will leave fans in a state of confused bliss. Hate them or love them (we sure love them to death!), there's no middle ground when it comes to the Texas madmen, and this beautiful, fucked up, slice of magic wax is a perfect proof of that. Tune in, tune out and drop the fuck out! Tracks A1 to A3 recorded September 1988 for the John Peel show on BBC Radio 1 and broadcast on the 27th of that month. Tracks B1 to B4 recorded live in concert at an unknown location on an unknown dates for the John Peel show on BBC Radio 1, first broadcast on 12 August 1987 and repeated on 8 September 1987. (Vatican Radio Records) -
The Hole Truth... and Nothing Butt is the first compilation album by American punk band Butthole Surfers, officially released in March 1995. All songs were written by Butthole Surfers, except for "Come Together" and "Hurdy Gurdy Man". The album was originally released on CD in 1994 by bootleg label Totonka Records. A collection of previously un-bootlegged material put together by a fan, it offers a mix of studio demos and live recordings, as well as a portion of a radio interview. The band liked the compilation enough that they reissued it through Trance Syndicate in 1995, also packaging a Butthole Surfers sticker along with it. The two demos, "Butthole Surfer" and "Something," were recorded in 1983. Of the live tracks, four were taped in 1985, three in 1986, two in 1988, one each in 1989 and 1991, and three in 1993. Track listing All songs written by Butthole Surfers, except for "Come Together" and "Hurdy Gurdy Man". The song titles listed below match those used on the back cover of The Hole Truth... and Nothing Butt. Some differ from the official titles used on Butthole Surfers' studio albums. Side A 1. "Butthole Surfer" – 3:10 1 2. "Something" – 5:00 1 3. "Moving to Florida" – 4:02 2 4. "Hurdy Gurdy Man" – 2:43 2 5. "Come Together" – 0:52 2 6. "Graveyard" – 3:03 3 7. "USSA" (a.k.a. "U.S.S.A.") – 4:46 3 Side B 1. "Lady Sniff" – 3:32 3 2. "John E. Smoke" – 7:09 4 3. "1401" (a.k.a. "The Colored F.B.I. Guy") – 2:43 4 4. "Psychedelic" (a.k.a. "P.S.Y." and "Psychedelic Jam") – 9:57 5 5. "Bon Song" (a.k.a. "Bong Song") – 3:15 6 1 1983 demo 2 Live at San Antonio, TX's The Cameo Club, September 21, 1985 3 Live at San Francisco, CA's Mabuhay Gardens, January 18, 1986 4 Live at San Francisco, CA's The I-Beam, October 24, 1988 5 Live at Phoenix, AZ's The Underground, February 4, 1989 6 Live at Lollopalooza in Irvine, CA, July 23, 1991 (Waste Management)
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Calexico is no stranger to negotiating borders. For the better part of two decades, eight albums, and countless trips around the globe, Joey Burns and John Convertino have crossed musical barriers with their band, embracing a multitude of diverse styles. For Edge of the Sun, the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, Convertino, and longtime associate Craig Schumacher: It was Mendoza who suggested that Calexico physically cross an actual border for a songwriting retreat to the historic Mexico City borough of Coyoacán. In view of the fresh creative perspective provided by the band's journey to New Orleans to make its previous album, Algiers, Edge of the Sun's Mexican origins would seem destined to have a major impact on the album. The writing here shows Burns and Convertino's ongoing pursuit of the profound melody, creating music at once hauntingly accessible and rich in instrumental texture. With guests including Sam Beam of Iron and Wine, Ben Bridwell from Band of Horses, Nick Urata from Devotchka, Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, as well as Neko Case, Edge of the Sun weaves a dense tapestry from its international roster. "Madrid, Nashville, Tucson, El Paso, Berlin; it's an eclectic mix," says Burns. "This album is about pushing through the blue to brighter days. Calexico has always had that element of hope, going back and forth between a positive outlook and embracing desperate or dark themes that I think we all share." Limited to 2500 worldwide. Comes with mp3 download code. Vinyl colors officially described as "blue/turquoise". A very limited run available directly from the label was signed by the band. Some mailorder copies also came with a large band logo sticker. (City Slang/2015)
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Unlike the ever-experimenting Lambchop, to whom they are often compared, Calexico stick to their niche. Since Calexico don't spring as many stylistic surprises on us as the sprawling Nashville ensemble, their track record is also less erratic. While Feast of Wireis a bit quieter than its three full-length predecessors, it also fits neatly into an ever-impressive body of work. John Convertino and Joey Burns--the Tucson band's core--only confirm their status as folk storytellers, their songs as irreducibly American as Cormac McCarthy novels, and their trademark Southwestern, sun-baked Ennio Morricone sound continues to be ambitiously timeless. "Black Heart," for instance, begins like a Portishead outtake before swelling majestically. Even when they shuffle styles ("Close Behind" marries '60s western grace with assured melodic chops, and "Attack El Robot! Attack!" goes off in an almost Devo-like direction before smoothly segueing into the full-on mariachi extravaganza of "Across the Wire"), they retain an immediately identifiable personality. Calexico may not make headlines, but this album solidifies their standing as one of the most endearingly idiosyncratic bands on the American scene. --Elisabeth Vincentelli Reissue, 180gr. 2013 Quarterstick Records und exclusive license to City Slang. (City Slang/2013)
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Neo-Mod act the Carpettes began as a Stones-influenced school band, formed in the small northeast Norman town of Houghton-le-Spring in the mid-l97Os, the trio of frontman Neil Thompson, bassist George Maddison, and drummer Kevin Heard shifting to punk before signing to Small Wonder as a Mod revival act. By the time they joined the Beggar’s Banquet roster in 1978, Heard was replaced by Tim Wilder (with Simon Smith of the Merton Parkas briefly in the fold). Sophomore album Fight Amongst Yourselves is arguably their best, the appealing material ranging from the socially-relevant power-pop of the title track and the pop-punk of ‘The Reason I’m Lonely’ to the reggae cadences of ‘The Last Lone Ranger’. Label: Radiation Records Barcode: 8055515232677
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Caspar Brötzmann Massaker’s masterful second album from 1989 – remastered. The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations mixed with hard German industrial atmosphere. (Southern Lord Records)
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Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin- based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedbackand droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving. Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats, ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling. Originally released in 1992, Der Abend der Schwarzen Folklore is the third Massaker album, released byRough Trade Germany. According to Caspar Brötzmann, the title track and Bass Totem are the band’s most accomplished songs. It’s certainly the most sonicly refined of their albums, recorded during a residencyover several weeks at the pastoral site of Conny Plank’s studio near Cologne, and produced by Ingo Kraussand Bruno Gebhard, who had worked with the famed Krautrock producer until his death in 1987. Not least, ...Schwarzen Folklore also features their new drummer Danny Lommen, whom Caspar and bassist Eduardo Delgado had headhunted at a concert with Lommen’s Dutch prog-core band Gore. Lommen shared their tastes in sheer volume and presence, and “has a completely unique sound to his drumming“, as Caspar marvels, “he plays ultrahard and clear, with authority and no compromise, nothing, not even the mostturbulent and speedy beats, sound fuzzy - a statement.“ This, he adds with a smile, would sometimes lead tointense moods during rehearsals, when he overpowered - no small feat - competing with the sounds of Caspar’s guitar. The Tribe and Black Axis were still if very loosely rooted in some kind of heavy rock. Der Abend der Schwarzen Folklore erases these residues from their genetic make-up - evolving into a free-form noise, strangely motionless like an earthquake rumble, that sounded like nothing else at the time. The opening title song gives the best example with its densely shifting chunk of howling and screaming guitar shreds and grimly determined rumbles from the bass, accented by heavy single beats or massively rattling, yet transparent outbursts from the drums. An impenetrable sense of threat fills the sound, interrupted only by breaks of skinny brooding, giving way to Caspar’s throaty growl evoking a lonely march through hostilewastelands under flaming sunsets. Culminating in an archaic choir chanting about black walls rising - a monstrous cloud of thick high-voltage tension. Label: Southern Lord Records Barcode: 808720026214
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Originally recorded in 1994 and released in 1995, Home is characterised by Massaker’s ultra-refined riffs of shrieking, screeching feedback and rattling machine gun staccatos. Exuding confidence, authority and a natural rapport that the musicians clearly had with one another. Certain songs from earlier records were revisited on Home including “The Tribe” and “Massaker” from The Tribe, and “Templehof”, “Hunter Song” and “Böhmen” from Black Axis. These particular pieces had evolved following years of rethinking, rehearsing and reshaping them on stage, as well as playing with Danny Lommen, who had replaced Frank Neumeier on drums after Black Axis. These refined versions on Home raise the level of density and tension, the ominous evocations of impending doom, booming threat, and the grim determination that’s always driven Massaker. The 1994 recording of Home at the Steinschlag Studio (of FM Einheit) features the following musicians, Caspar Brötzmann (guitar), Danny Mommen (drums) and Eduardo Delgado Lopez (bass). (Southern Lord Records)
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Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin- based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting fromsounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving. Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats,ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling. Koksofen (which translates as blast furnace), originally released in 1993, has become one of Massaker’s most popular albums. Like it’s predecessor, ...Schwarzen Folklore, the album took shape in Massaker’s rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank’s studio near Cologne, with Plank’s former associates Ingo Krauss and Bruno Gephard producing. There’s a different kind of intensity to Koksofen. The features of Massaker’s sound are in full bloom. Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire song-scape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by Caspar’s guttural growls of war, suffering and death. Caspar recalls one anecdote from shortly after the original release whereby Bassist Edu Delgado called him asking to turn on the TV, thus discovering that Hymne was being used as background music to a reportabout the death penalty in the US. A different kind of intensity indeed. Reflecting on the album to this day Caspar remarks “Koksofen is still a mystery to me,'' he continues “I can still feel the troubled times in these songs.” - the effects are certainly potent for the listener too. And the album undoubtedly affirms Massaker as the fiercely original and compellingly raw musicians that they are. Label: Southern Lord Records Barcode: 808720026313
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Caspar Brötzmann Massaker’s masterful debut album from 1988 – remastered. The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations mixed with hard German industrial atmosphere Label: Southern Lord Records Barcode: 808720025910
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The 2009 debut album from the chain gang led by Ian Svenonius (Nation of Ulysses, The Make-Up, Weird War) is a masterpiece of primitivism. From dazzling set pieces of R&B and rock'n'roll, the band forms highly melodic songs full of call-and-response chants ("What Is A Dollar"), or invites you to take a walk through the cemetery ("Cemetry Map"), which sounds so spooky as if voodoo master Dr. John had thought it up. Sometimes Svenonius just grabs a wooden guitar to make fun of conspiracy theories like in "Deathbed Confessions": "I faked the moon landing, I saved Hitler's brain. Yeah, it's in Argentina but it controls the USA." Calvin Johnson produced the album at his Dub Narcotic studio and also did a bit of background vocals. The beat lurches and sways as confidently and surely as an old sea dog's gait in a breeze of doppelkorn. The somewhat odd album title is explained by the always conceptually thinking singer as follows: "Everywhere freedom goes, it leaves a path of destruction. Fast food, bad architecture, materialism, unbridled greed, destroyed environment, imperial conquests, class struggle; combined, these phenomena are seemingly synonymous with freedom." When big words often hide only capitalist greed and imperialist war, Svenonius & Co. prefer to slip into the role of dissidents. "Ian Svenonius is an inadvertent pioneer. His career has been a studied attempt to advance the history of punk rock, using influences as tools to build with rather than styles to flaunt and discard." - The Wire (Sounds Of Subterrania}
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FIRST VINYL REISSUE FOR THE CHARLOTTES' FIRST 12" WHICH ALSO INCLUDES THEIR FIRST 7" AND THE 'LOVE IN THE EMPTINESS' 12" AS BONUS. LIMITED 500 COPIES ON 180GR VINYL. Hailing from the small, conservative market town of Huntingdon in Cambridgeshire, The Charlottes rose from the ashes of a short-lived band called The Giant Polar Bears; before that, bassist David Fletcher had been in Red Over White, guitarist Graham Gargiulo had played in Mithrandir while drummer Simon Scott would eventually end up in Slowdive; early vocalist John Lindsell was replaced by Petra Roddis. Their debut single, “Are You Happy Now,” issued on the short-lived local independent, Moleworth Records, was in melodic power-pop mode; debut album Lovehappy was recorded in Bristol and released by Martin Whitehead’s Subway Organization in August 1989, to rave reviews. Championed by John Peel, it showcased their evolving “Wall of Guitar” sound, moving away from the tamer pop beginnings. Follow-up EP “Love In The Emptinesss” showed continued growth, the song constructions becoming more complex and layered, and when the group signed to Cherry Red in 1990, the single “Liar” began making waves in America, though the group somehow split right at this high-water mark; thankfully, the EP and single are both included on our expanded Lovehappy reissue. TRACKLIST: Are You Happy Now Cold Keep Me Down Stubborn See The Danger Shine Everything To Me In My Hair Love Happy Liar Blue Venus Love In The Emptiness Be My Release Could There Ever Be (Radiation Deluxe/RSD)
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Survival Research present a reissue of Chico Magnetic Band's self-titled album, originally released in 1971. Lyon-based freakers Chico Magnetic Band began as Chico & the Slow Death, its front man a wild Tunisian-born singer otherwise known as Mahmoud Ayari, with drummer Patrick Garel, bassist Alain Mazet, and guitarist Bernard Lloret, later replaced by Bernard Monneri. Conjuring a dark, excessive sound with unfettered guitar, pummeling drum rolls and Ayari growling and grumbling over the top, this sole LP is culled from different permutating sessions, with plenty of audio freakery and extreme effects from Jean-Pierre Massiera; Hendrix cover "Cross Town Traffic" is rendered with love, despite Ayari's hefty accent. (Survival Research – SVVRCH030)
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14 track compilation from Swiss punk and bubblegum indie pop band Chin-Chin. This compilation features the unreleased four track Janice Long Session recorded for the BBC from 1988 which includes songs only heard on the broadcast plus tracks from the Stop Your Crying! 12” from 1986 a selection from the classic Sound of the Westway LP from 1985 and two tracks from the We Don’t Wanna Be Prisoners 7” from 1984. Formed in 1982 in Biel Switzerland Chin-Chin are a group that sits perfectly next to the Ramones, 60’s Girl Groups, The Shop Assistants and Blondie. The sound is instant urgent and with choruses that stick in your head for days, weeks and years. The songs are perfectly produced and have aged like a fine wine. The LP comes with an insert featuring photos handouts and archive. Label: Sealed Records
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Vinyl reissue of the debut album by art rock pioneers Chrome painstakingly restored to it’s original 1976 glory! The Visitation is the debut studio album by American band Chrome. It was released in 1976 by Siren Records. Unlike Chrome's later albums, The Visitation is in a psychedelic vein with progressive rock leanings. AllMusic described its style as "early Brian Eno meets Santana". Label: Cleopatra Records Barcode: 0889466467813
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Victorialand, Cocteau Twins’ fourth album, was released in spring 1986. The largely acoustic, non-percussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil's second album. Dif Juz label mate Richard Thomas guested on tabla and saxophone. The Guardian said "It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice." 140g black vinyl, audio remastered from the original analogue tapes and with art faithful to their original 23 Envelope designs. Download code. (4AD/2020)
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The group features Ian MacKaye, his Fugazi bandmate Joe Lally, and his Evens bandmate Amy Farina. On this self-titled debut each of the musicians share singing responsibilities. The lead track, Clean Kill, is a deceptively warm-sounding song about political corruption. It’s a clean kill, but it’s not clean, the band members sing in unison on the chorus. It’s unmistakably the work of Ian MacKaye, probably closer to The Evens than to any of his other projects, but with a bit more of that Fugazi-esque grit in the mix. It’s a very cool first track. (Dischord Records) https://coriky.bandcamp.com/album/coriky
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“Cougs,” the third full-length album by the band Cougars, showcases the group’s evolution while staying true to their primary sonic direction. This record picks up where the band left off with their previous recordings but also introduces some exciting innovations in their sound. One notable change in Cougars’ sound is the exclusion of keyboards and horn section. By stripping away these elements, Cougars created a more focused and stripped-down sound, allowing other aspects of their music to shine. This decision reflects the band’s growth and willingness to experiment with its established formula. The album also presents an upgraded approach to songwriting, composing, arranging, and producing music. Fans of Cougars, both old and new, will be delighted by the evolution in these areas. The band’s attention to detail is apparent throughout the album, enhancing the listener’s experience. For those unfamiliar with Cougars, the band explores a variety of complementary music genres such as post-punk, post-hardcore, noise rock, and math-rock. However, it’s worth mentioning that the band incorporates elements from other genres as well. These additions serve as necessary enhancements, accentuations, and decorations that elevate Cougars’ music to an entirely new level. Despite the incorporation of various genres, the band remains loyal to its primary sonic directions, creating a cohesive and unique sound. One of the most striking aspects of “Cougs” is the cleverly assembled, complex patterns that form the basis of each song. Cougars expertly craft intricate chord progressions, riffs, melodies, and themes, which immediately capture the listeners’ attention. These catchy and often noisy elements create a captivating sonic landscape that engages the audience from start to finish. The basslines on this album deserve special recognition. They provide a sense of heaviness, depth, and clarity to the ambiance. These warm-sounding notes complement the complex patterns and serve as a solid foundation for the other sonic maneuvers at play. The drumming sequences on “Cougs” are nothing short of mind-blowing. Energetic, groovy, and well-accentuated beats, breaks, fills, and other percussive acrobatics drive the songs forward. The intricate drumming adds an extra layer of complexity to the music, demonstrating the band’s exceptional musicianship. The vocalist delivers a range of vocal styles, including articulate screams, shouts, and clean vocals. These vocal techniques and arrangements further accentuate the intricate orchestrations and guide listeners through the exceptional compositions with precision. Cougars has once again delivered a standout album. With its cleverly assembled post-hardcore, post-punk, noise rock, and math-rock elements, the album is a treat for fans who appreciate flawlessly crafted music. The band’s exclusion of keyboards and horn section, their upgraded approach to songwriting, composing, arranging, and producing music demonstrate their growth and willingness to push boundaries. “Cougs” exemplifies Cougars’ continued dedication to their primary sonic direction while exploring new and exciting territories. It’s also good to mention that Expert Work Records did an incredible job by picking maroon/gold opaque galaxy and standard black vinyl for this release. These colors perfectly match the outstanding artwork that decorates the packaging. The jaw-dropping watercolor paint of the cougar on the front matches the Cougars’ abstract, intense, powerful sound, and gives an entirely new dimension to this release. - 180gram - Black vinyl - Spot varnish cover - Limited to 150 copies Label: Expert Work Records
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Crabber are a pure punk pop band from Hamburg. They have already release two albums on CD through Jigsaw records. Their members are: Oli on bass and vocals Uli on guitar Jens on guitar and Peter on Drums Oli, Uli and Peter were all members of Dr König Arthus, while Jens was member of The Legendary Bang and Kristallin, both on the magnificent Marsh Mariglod Records. The EP includes a punk pop tune inspired by a classic seventies composer, the Austrian Udo Jürgens, dedicated to Greek sun and wine. A faster version of Climb Into My Mind, included in their second album, and a cover of an Edward Ball, of the Times, legendary tune. Don't miss this release, a must have for underground Indie fans! Label: Old Bad Habits Label
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In the Land of Grey and Pink is the third album by English progressive rock band Caravan, released in April 1971 on Deram Records. It was produced by David Hitchcock and was the last album to feature the original lineup of Richard Coughlan, Pye Hastings, Richard Sinclair and Dave Sinclair until 1982’s Back to Front. The album was written and recorded during late 1970 and early 1971, and featured more material from Richard Sinclair. Hastings, who had been the main songwriter on the previous two releases, contributed only one track. Instrumentally, the music is dominated by David Sinclair’s keyboard solos, and side two is taken up by a 22-minute suite of songs, “Nine Feet Underground”. The cover features a Tolkien-influenced painting. Label: Klimt Records Barcode: 889397272913
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Dubbed as ‘alt hip-hop’ by their iconic label Ipecac Records we can’t agree more to the implication of this honorific as the New Jersey tone evangelists are indeed an alternative, if not thee alternative: being Hip Hop for those who don’t pigeon-hole themselves as typical Hip Hop diehards, attracting those who keep listening outside the box. Subversive. Paradigm-changing. Mindblowing. Dälek do not have a message, they are the message: with focusing both on tone and content while staying true to the roots of HipHop but bringing in the love for monolithic sound arrangements as well as dream-like haze of sheer volume they combine both the powers of sound and words solely and undisputable. For us at Exile On Mainstream it’s nothing less than a long dream coming true to release a strictly limited, one-off vinyl-only EP called “Respect To The Authors” in time for the EU tour in March/ April 2019. The EP features 6 tracks and 30 mins of playing time. (Exile On Mainstream Records Records)
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Danzig 4, also titled Danzig 4P, is the fourth studio album by American heavy metal band Danzig. Released in 1994, it was the band's final album on American Recordings, and the last to feature the original lineup of John Christ (guitar), Eerie Von (bass), and Chuck Biscuits (drums). Danzig 4 followed 1993's highly successful Thrall: Demonsweatlive EP and singer Glenn Danzig's 1992 instrumental solo effort, Black Aria. Issued in a gatefold sleeve. Label: Def American Recordings/Unofficial Release
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Danzig III: How the Gods Kill is the third album by American heavy metal band Danzig, and the highest to chart at the time of its release in 1992 on Def American Recordings. Gatefold picture sleeve. Label: Def American Recordings/Unofficial Release
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Danzig is the debut studio album by American heavy metal band Danzig, released in August 1988. The album was the first release on producer Rick Rubin's new label Def American Recordings. Danzig debuts with a record of simple, pounding, bluesy metal featuring lead singer Glenn Danzig’s trademark Elvis-meets-Jim Morrison bellow and outlandishly dark, evil lyrics. There isn’t a great deal of musical variety or complexity here, but the band powers its way through such signature tunes as Twist of Cain, Am I Demon, and the (future) hit Mother with a primal energy. Plus, Danzig’s tongue-in-cheek posturing as the ultimate unholier-than-thou heavy metal frontman gives the record a definite appeal, even if one is not inclined to view his theatrics as dangerous or threatening. With James Hetfield from Metallica on backing vocals. Inner bag with lyrics printed on one side and Def American Recordings logo on other side. Label: Def American Recordings/Unofficial Release
