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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) -
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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Released in 2011, Chain & The Gang’s second album, like its predecessor, was once again produced by Calvin Johnson at Dub Narcotic Studio. The lineup is also mostly the same, with the small difference that there are now five background singers who answer (in different songs) the calls of Ian Svenonius: Tara Jane O’Neil, Veronica Ortuño, Susanna Patten, Sarah Pedal and Katy Davidson. “Why Not” challenges everyday common sense and the established rules to an energetic blues shuffle. “Detroit Music” sounds like dirty jabs and the Dirtbombs, “Detroit Music II” plays the ball on, towards a heavy monster jam. Brilliant! The title track is then again in a class of its own: to psychedelic laments familiar from the Stooges’ “We Will Fail,” Svenonius mocks the tastes of the naïve “I actually listen to everything” consumer: “I know you wanna share. But don’t!” he spits contemptuously at their feet. In the era of Spotify & Co., Svenonius accepts the accusation of snobbery: “Does a moth know a flame, just because it’s drawn to it? “Svenonius sells it all with conviction and a devilish twinkle in his eye. He means what he says, and also knows how absurd it all is. These 12 tracks serve as a bombastic backdrop for Svenonius’ treatises on living the life of an anti-capitalist svengali; they’re a guerrilla garage rock manifesto imbued with fever, fervour and soul.” – The Quietus (Sounds Of Subterrania}
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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
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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
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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
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Danzig II: Lucifuge is the second album by American heavy metal band Danzig. It was released in 1990 on Def American Recordings (Def American Recordings/Unofficial Release)
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Collection of studio cuts, covers and live tracks from the junkie guitar anti-hero. The B side features Revere Sound Studio acoustic recordings from Boston, in January 1982 and 'Give Me More', recorded in a New York City apartment in 1982. (Easy Action Records)
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On Led Zeppelin's second album, guitarist Jimmy Page showed the world that he knew how to perform riff rock. Notable tracks include the epic 'Whole Lotta Love' constructed around a simple, head-banging-friendly guitar riff and the louder, more percussion-heavy 'Moby Dick'. On their second album the band learnt how to raise rock and roll excess into an art form. (Atlantic – 8122796640/ 2020)
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In Through the Out Door is the eighth and final studio album by the English rock band Led Zeppelin. It was recorded over a three-week period in November and December 1978 at ABBA's Polar Studios in Stockholm, Sweden, and released by Swan Song Records on 15 August 1979. This is the final album released prior to the death of drummer John Bonham in 1980, shortly after which the group decided to disband. The original album had an outer sleeve which was made to look like a plain brown paper bag. Each cover showed an alternate angle of a man in a bar. The scenario has been photographed from 6 different viewpoints within the bar and then 6 different sleeve variations have been created (with the letters A - F at the top of the spine denoting each variation). The inner sleeve features a 'magic' ink in different colours which appear on the design when gently wetting. Comes in a brown paper bag. (Swan Song – 8122796574)
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The untitled fourth studio album by the English rock band Led Zeppelin, commonly known as Led Zeppelin IV, was released on 8 November 1971 by Atlantic Records. It was produced by guitarist Jimmy Page and recorded between December 1970 and February 1971, mostly in the country house Headley Grange. The album is notable for featuring "Stairway to Heaven", which has been described as the band's signature song. 180gr vinyl in gatefold sleeve with insert. (Atlantic – 8122-79657-7)
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On their classic 1969 debut album, Led Zeppelin pumped up blues classics such as Otis Rush's 'I Can't Quit You Baby' and Howlin' Wolf's 'How Many More Times' and introduced the world to their manic and exaggerated blues-rock. 2020 reissue. Hype sticker is affixed directly to sleeve and reads: The Classic 1969 Debut Album on 180g Vinyl Includes Good Times Bad Times & Dazed And Confused Remastered by Jimmy Page (Atlantic – 8122796641, Atlantic – R1 535224)
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Messa play obscure and evoking doom with deliciously haunting female vocals, influenced by Pentagram, Bellwitch, Windhand, Jex Thoth, Sabbath Assembly, Bathory. Their debut album titled "Belfry" mix dark ambient drones with vintage heavy occult doom and mesmerizing female vocals that will drive you through a scarlet velvet trip. DLP with "Enoch" bonus track on side D - white labels. Label: Aural Music Barcode: 8033622535294
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Messa play obscure and evoking doom with deliciously haunting female vocals, influenced by Pentagram, Bellwitch, Windhand, Jex Thoth, Sabbath Assembly, Bathory. Their debut album titled "Belfry" mix dark ambient drones with vintage heavy occult doom and mesmerizing female vocals that will drive you through a scarlet velvet trip. DLP with "Enoch" bonus track on side D - white labels. Label: Aural Music Barcode: 8033622534853
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2LP gatefold, heavy booklet, black vinyl. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time. (Svart Records)
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Very limited 3rd pressing on blue vinyl! Gatefold, double LP, insert Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time. Label: Svart Records
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Digipak CD with a heavy booklet Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time. (Svart Records)
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Messa play evoking doom metal with a dark jazz twist. Deliciously haunting female vocals, rhodes piano and 70’s fuzz guitars combine to conjure a sound that is all of their own. With influences as diverse as Windhand, Bohren Und Der Club Of Gore, The Devil’s Blood, Jex Thoth, Angelo Badalamenti, Bellwitch, Urfaust, John Coltrane and Aluk Todolo, the band has moved from the droning occult doom of their first LP ‘Belfry’ to a new, darker and more atmospheric approach clearly showcased in their new record ‘Feast for Water’, a concept album centered on the introspective, symbolic and ritual features of the liquid element. Label: Aural Music Barcode: 8033622535904
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Messa play evoking doom metal with a dark jazz twist. Deliciously haunting female vocals, rhodes piano and 70’s fuzz guitars combine to conjure a sound that is all of their own. With influences as diverse as Windhand, Bohren Und Der Club Of Gore, The Devil’s Blood, Jex Thoth, Angelo Badalamenti, Bellwitch, Urfaust, John Coltrane and Aluk Todolo, the band has moved from the droning occult doom of their first LP ‘Belfry’ to a new, darker and more atmospheric approach clearly showcased in their new record ‘Feast for Water’, a concept album centered on the introspective, symbolic and ritual features of the liquid element. Label: Aural Music Barcode: 8033622535911
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Svart Records offers up Messa’s extraordinary live show from Roadburn Festival 2022. Italian Doom trailblazers, Messa captured live at the Roadburn Festival 2022 with a special extended lineup, immortalised on LP, CD and digital via Svart Records. Relive Messa’s main-stage Roadburn Festival triumph, featuring songs from album CLOSE, and joined by a unique constellation of musicians and instruments that give their massive new album its distinctive sound. This stunning new live album presents select cuts from the band's critically acclaimed album CLOSE, which the critics have called "the sound of a band fleshing out their place in doom metal's past, present and future"(Metal Injection) and "If you’ve ever longed for an album that could reconcile Stevie Nicks at her witchiest with the sublime gloom of How the Gods Kill–era Danzig, this is the LP of your dreams" (Spin). Messa’s packed out Roadburn set was one of the most talked about of the 2022 edition and left the audience gob-smacked in their wake. Invisible Oranges said it best when they described Messa live as “Captivating from the start, the band meld doom and Mediterranean influences to create a sound that inspires devotion, not least through vocalist Sara’s powerful voice and commanding presence.” Of their Roadburn set Messa said: “Our appearance at Roadburn 2022 saw us performing a specially dedicated and one of a kind set. We played songs from our new record CLOSE with a unique line-up that included other fellow musicians within our project. We involved Giorgio Trombino (Oud, Duduk, Saxophone), Alex Fernet (Mandolin, Acoustic Guitar) and Blak Saagan (Synthesizers) to recreate the sounds of CLOSE in their true form. Our aim with Messa’s performance was to embrace a musical wandering that could allow all of us – on and off stage – to drift away into another place. We couldn't wait to be on Roadburn’s stage again and we were very excited to be part of the 2022 edition.” Seeming to both embrace and defy everything it means to be a metal band, Messa mesh Mediterranean sounds with crushing doom riffs, with an emphasis on atmosphere and unusual use of instrumentation. Messa are one of the leading lights in the heavy underground, and this performance at Roadburn saw the band shine forth with a brilliant and dominating presence. Get closer than CLOSE and witness for yourself what the bottled magic of Messa’s live alchemy can bring Label: Svart Records
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THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND EARLY SEPTEMBER, THANKS! Svart Records offers up Messa’s extraordinary live show from Roadburn Festival 2022. Italian Doom trailblazers, Messa captured live at the Roadburn Festival 2022 with a special extended lineup, immortalised on LP, CD and digital via Svart Records. Relive Messa’s main-stage Roadburn Festival triumph, featuring songs from album CLOSE, and joined by a unique constellation of musicians and instruments that give their massive new album its distinctive sound. This stunning new live album presents select cuts from the band's critically acclaimed album CLOSE, which the critics have called "the sound of a band fleshing out their place in doom metal's past, present and future"(Metal Injection) and "If you’ve ever longed for an album that could reconcile Stevie Nicks at her witchiest with the sublime gloom of How the Gods Kill–era Danzig, this is the LP of your dreams" (Spin). Messa’s packed out Roadburn set was one of the most talked about of the 2022 edition and left the audience gob-smacked in their wake. Invisible Oranges said it best when they described Messa live as “Captivating from the start, the band meld doom and Mediterranean influences to create a sound that inspires devotion, not least through vocalist Sara’s powerful voice and commanding presence.” Of their Roadburn set Messa said: “Our appearance at Roadburn 2022 saw us performing a specially dedicated and one of a kind set. We played songs from our new record CLOSE with a unique line-up that included other fellow musicians within our project. We involved Giorgio Trombino (Oud, Duduk, Saxophone), Alex Fernet (Mandolin, Acoustic Guitar) and Blak Saagan (Synthesizers) to recreate the sounds of CLOSE in their true form. Our aim with Messa’s performance was to embrace a musical wandering that could allow all of us – on and off stage – to drift away into another place. We couldn't wait to be on Roadburn’s stage again and we were very excited to be part of the 2022 edition.” Seeming to both embrace and defy everything it means to be a metal band, Messa mesh Mediterranean sounds with crushing doom riffs, with an emphasis on atmosphere and unusual use of instrumentation. Messa are one of the leading lights in the heavy underground, and this performance at Roadburn saw the band shine forth with a brilliant and dominating presence. Get closer than CLOSE and witness for yourself what the bottled magic of Messa’s live alchemy can bring Label: Svart Records
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MOTORHEAD What's Words Worth? (1983 UK 9-track vinyl LP, capturing the legendary rockers live at The Roundhouse, London on 18th February 1978 under the unlikely moniker of Iron Fist & The Hordes From Hell [no-one seems to remember why!] - no overdubs, just three hirsute geezers tearing their way through a dynamite set, including versions of White Line Fever, Leaving Here & City Kids, housed in a glossy sleeve with a bizarre but striking image of an axe buried in a William Wordsworth statue. (Back On Black – BOBV160LP)
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Almost 10 year ago, we choose one night to release a Catholic Spray EP which became an LP overnight ! We loved that night dreamin about the band we’d love to produce and spread their music around. Movie Star Junkies was one of them! Here is our « Dream Came True » to come on March 13th 2020 Are you a fan ? This one is the link between the Junkyears & Son Of The Dust For the newcomers : think loud ballades and romantic melodies from these Italian pirates ! (Teenage Menopause Records – TMR034)
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Kings of Oblivion is the third album by the UK underground group Pink Fairies, released in 1973. Kings of Oblivion is one of the best-kept secrets of hard rock – and an important part of its history. If you like your rock and roll “real,” it doesn’t get much more real than this. Just don’t go expecting Judas Priest, AC/DC or Black Sabbath; This is high-energy rock that truly belongs on the streets, and a landmark album in its genre. Truly a classic. Label: Future Shock – FS4472 Barcode: 0634438244271
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Hard-rocking Brooklyn trio Sir Lord Baltimore's highly sought-after debut album is a legendary precursor of the heavy metal genre, a 1971 Creem review of the disc perhaps the first to ever use the term. The group benefited from the songwriting and production team of Mike Appel and Jim Cretecos, Appel the future manager of Bruce Springsteen and Cretecos already heady from success with The Partridge Family; recorded at Vantone Studios in New Jersey, it was mixed to fine effect by Eddie Kramer at Electric Ladyland, fresh from his work with Jimi Hendrix. Guitarist Louis Dambra co-arranged the material with Appel and Cretecos; he had earlier played in garage band The Koala as Louis Caine, and here his screeching guitar is a major draw, backed by plodding bass from Gary Justin, as front man John Garner shrieks his vocals while pounding furious drumbeats. Aside from a tough cover of Ray Charles's "I Got A Woman" and a track inspired by Yeats poem, "Lake Isle Of Innersfree," the album features heavily-stoned acid rock originals, delivered the Sir Lord Baltimore way. 180 gram vinyl; gatefold sleeve. Label: Trading Places – TDP54033 Barcode: 5060672880336
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SIREN was the debut album by Kevin Coyne with Siren, the band he founded with former Bonzo Dog Band bassist Dave Clague and pianist/guitarist Nick Cudworth. The album was originally issued on John Peel’s Dandelion label in 1969. An artist who would later inspire John Lydon, Sting, Ben Watt and Will Oldham and would collaborate with Robert Wyatt, Andy Summers, Dagmar Krause, Brendan Croker, Gary Lucas and The Mekons’ Jon Langford, Kevin Coyne deserves a royal place between the likes of Syd Barrett, Peter Hammill and Daevid Allen. Standing on the verge of british blues, folk and rawk’n’roll Siren could have been easily labeled as the british answer to Canned Heat, but there’s even more. ‘And I Wonder’ is clearly an anticipation of what would happen next, with the solo career of Coyne, more focused on acid folk songwriting. Fully remastered and licensed ltd to 500 copies, 180 gr. “Most of the album is good time rock-on-out-music a la the Flamin’ Groovies… one of those (albums) you keep coming back to when the night gets cold and the wine is almost out. I play it a lot, and that’s the nicest thing I can say about an album.” Ed Ward – Rolling Stone “Siren just came as a breath of fresh air really, in the same way that like a generation later The Ramones did. When you just thought ‘Thank God for that!’ You hadn’t realised how bored you’d become…” John Peel Label: Bonfire Records Barcode: 0655729196215
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2LP deluxe remastered 10th anniversary edition. Includes 3 songs not on the original version. This deluxe anniversary edition celebrates the 10th anniversary of Brothers, the Black Keys' breakthrough album. The album has been fully remastered and contains three previously unavailable songs. The extensive booklet features new liner notes written by David Fricke and previously unseen photos. 140 gram vinyl. 12” vinyl tip-on gatefold double-pocket album jacket. Includes poster approx. 34,5" x 23" in size. Label: Nonesuch – 075597918830 Barcode: 075597918830
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After 10 albums, the last five of which have gone top 10 or better, six Grammy awards, and sold-out tours around the world, The Black Keys are back: the duo, called ‘America’s Most Trusted Band’ by Stephen Colbert, and ‘One of the best rock’n’roll bands on the planet’ by Uncut, releases its eleventh studio album, Dropout Boogie, via Nonesuch Records. Dropout Boogie features collaborations with Billy F. Gibbons (ZZ Top), Greg Cartwright (Reigning Sound), and Angelo Petraglia (Kings of Leon). As they have done their entire career, the duo of Dan Auerbach and Patrick Carney wrote all of the material in the studio, and the new album captures a number of first takes that hark back to the stripped-down blues rock of their early days making music together in Akron, Ohio basements. After hashing out initial ideas as a duo at Auerbach’s Nashville-based Easy Eye Sound studio, Auerbach and Carney welcomed new collaborators Billy F. Gibbons, Greg Cartwright, and Angelo Petraglia to the Dropout Boogie sessions. Although The Black Keys previously co-wrote songs with frequent producer/collaborator Danger Mouse, this is the first time they have invited multiple new contributors to work simultaneously on one of their own albums. (Nonesuch / Easy Eye Sound / 2022)
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Check this, THE GUN CLUB high quality rarities compiled on a double album, including: Side A: THE GUN CLUB very first demo from 1981. Side B: On the air recording on a radio station in New York City in 1982. Side C: Acoustic rarities from Jeffrey Lee Pierce in 1990. Side D: Absolutely killer live recording of THE GUN CLUB in Europe in the "Lucky Jim" tour in 1993. All of it packed in a deluxe gatefold jacket which will make very happy all of the fans around the world of this legendary and unforgettable band! (Bang! Records – BANG!-LP108)
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"Fire of Love' is the no-nonsense debut from blues-punk legends The Gun Club. Formed in 1979 - when singer Jeffrey Lee Pierce taught a young Kid Congo Powers to play guitar - the band injects the Delta blues, rockabilly and '60s garage with their own amplified fury. Originally released in 1981 on Slash's sub-label Ruby Records, 'Fire of Love' features the classic second lineup with Ward Dotson on guitar (replacing Powers, who left to join The Cramps) and The Bags' rhythm section. Opener 'Sex Beat' shakes and stutters through a dynamic slab of American rock 'n' roll that reverberates throughout the album. 'She's Like Heroin to Me' is perhaps Pierce's most famous paean to modern love, elevating him to raucous demigod of the underground. Label: Munster Records Barcode: 8435008825614
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Live on Broadway, San Fransisco, CA, November 6, 1981, KUSF FM Broadcast. "this is a really choice album.. straight from the soundboard.. great for repeat listening.. before Miami was recorded.." Tracklist A1 Watermelon Man A2 Run Trough The Jungle A3 She Is Like Heroin To Me A4 John Hardy A5 Fire Spirit B1 Black Train B2 Jack On Fire B3 Sex Beat B4 For The Love Of Ivy (Mind Control/Fan Club)
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Live At The Konserthuset, Stockholm, Sweden, January 9, 1969 - FM Broadcast Limited to 500 copies. Issued on 180g heavyweight black vinyl, housed in glossy single jacket with white paper inner sleeve. Tracklist: A1 Killing Floor A2 Spanish Castle Magic A3 Hey Joe A4 Sunshine Of Your Love B1 Fire B2 Voodoo Chile B3 Red House (Magic Dice Records)
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The Stooges is the debut studio album by American rock band the Stooges, released on August 5, 1969 by Elektra Records. Considered a landmark proto-punk release, the album peaked at number 106 on the US Billboard Top 200 Albums chart. The tracks "I Wanna Be Your Dog" and "1969" were released as singles; "1969" was featured on Rolling Stone's list of the "100 Greatest Guitar Songs" at number 35. 2013 reissue of The Stooges. Edition in gatefold cover with bonus record expanded with alternate takes & mixes. Issued with two printed Elektra company inner sleeves. Tracklist: A1 1969 4:05 A2 I Wanna Be Your Dog 3:10 A3 We Will Fall 10:15 B1 No Fun 5:15 B2 Real Cool Time 2:29 B3 Ann 3:00 B4 Not Right 2:49 B5 Little Doll 3:21 C1 No Fun (Original John Cale Mix) 4:42 C2 Little Doll (Original John Cale Mix) 2:48 C3 Not Right (Alternate Vocal) 3:10 C4 Real Cool Time (Alternate Mix) 3:20 C5 I Wanna Be Your Dog (Alternate Vocal) 3:26 D1 1969 (Alternate Vocal) 4:45 D2 Ann (Full Version) 7:50 D3 No Fun (Full Version) 6:49 Label: Elektra – 8122-73237-1 Barcode: 081227323714
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The Stooges is the debut studio album by American rock band the Stooges, released on August 5, 1969 by Elektra Records. Considered a landmark proto-punk release, the album peaked at number 106 on the US Billboard Top 200 Albums chart. The tracks "I Wanna Be Your Dog" and "1969" were released as singles; "1969" was featured on Rolling Stone's list of the "100 Greatest Guitar Songs" at number 35. (Elektra/2016)
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The debut album from the White Stripes back in stock. Raw urban sleazy blues that went onto change the face of music. You need to own this. The White Stripes' self-titled debut album is purely amazing. Diving straight in with Jimmy the Exploder, the song is incredibly catchy. The main riff, however simple, is genius, and you won't be able to get it out of your head. Throughout the album, Jack and Meg's souls and energy are poured into the music, and it obvious that so much work was put into the album. Printed inner sleeve with lyrics and credits. Recorded January '99 at Ghetto Recorders, Cass Corridor, Detroit. (Third Man Records – TMR042)
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Closing time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues and folk styles that would come to be associated with waits. It is on this debut album that waits performs enduring classics of his career “ol’ 55” (famously covered by the eagles), the heartbreaking “martha” and the gentle acoustic folk of “i hope that i don’t fall in love with you”. Reissue, Remastered, 180g. (Anti- – 7565-1, Anti- – 7565-1SLE)
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Remastered and reissued on Anti. Tom Waits gives one side of his fifth album, Foreign Affairs, to his more structured, bluesy ballads and the other to his jazz raps. On side one, you get his duet with Bette Midler on the singles-bar dialogue I Never Talk to Strangers and his take on his Beat predecessors Jack Kerouac and Neal Cassidy on Jack and Neal. On side two, you find the extended observations of Potter's Field and Burma-shave. Waits' voice is becoming ever more gravelly, but his basic musical approach remaines the same, and by this point he'd attracted a steady cult audience that enjoyed his verbal flights and boozy philosopher persona. Essential 180g Vinyl reissue on Anti. (Anti/2018)
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After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits' Asylum years still hold a special place in the hearts of many fans. Waits' first seven albums on Asylum have been remastered and will be re-released via Anti-Records. Released in 1980, Heartattack and Vine was Waits' final album on Elektra Asylum and it built on the raw blues approach of Blue Valentine with the incendiary title track, the funky, organ driven quot;Downtownquot; and the stomping NOLA blues of quot;Mr. Siegal.quot; This album also contains some of Waits' most popular ballads, including quot;Jersey Girlquot; which was famously a hit for Bruce Springsteen. quot;On the Nicklequot; is a moving song about the homeless people who lived on 5th street in downtown LA, and quot;Ruby's Armsquot; is a beautiful song with a lovely Bach-like melody. Newly Remastered with Waits/Brennan. 180 Gram (Anti/2018)
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Remastered and reissued on Anti. The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners. Of course, he'd been in that world before, but in songs like The Piano Has Been Drinking and Bad Liver and a Broken Heart, Waits gives it its clearest expression. Essential 180g Vinyl reissue on Anti. (Anti/2018)
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Remastered and reissued on Anti. Expanding beyond the folk and pop stylings of his first album, Waits’ second studio release Heart of Saturday Night established his reputation as a versatile and distinctly American songwriter. Its bluesy jazz arrangements featured bass, drums, sax and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like San Diego Serenade are enduring classics covered by an array of artists from Diana Krall and Nancy Griffith to folk hero Eric Anderson. The album also features Diamonds on My Windshield, the first of what would become a signature for Waits’, the spoken word-poetry song. Waits’ delivers these lyrics as pure beat jazz in the stylings of Kerouac. Newly Remastered with Waits/Brennan. 180 Gram (Anti/2018)
