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Music Releases 11-25-22

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Undisputed masters of murderous riffs, pugnacious grooves and ferocious hooks since 1991, Machine Head are long established as one of the most influential and incendiary bands in the metal world. From genre-expanding triumphs like 1994's debut, Burn My Eyes, 1999's The Burning Red to the planet-conquering might of 2007's The Blackening, to the new life injected in 2014's Bloodstone and Diamonds, Machine Head have carved a singular path across the globe for over three decades now with no end in sight. Whether it be marathon 3 hour live performances, or millions of albums sold worldwide, and accolades both big and small, there aren't too many "distractions" clouding up the vision of Guitarist/Vocalist/Founder Robb Flynn these days. In 2022, Machine Head are back with their most crushing and complete album yet. OF KINGDOM AND CROWN is an hour-long conceptual monolith, rich in colour and dynamics but hell-bent on destruction. Set in a futuristic wasteland where the sky is always crimson red, OF KINGDOM AND CROWN tells the tale of two characters, both faced with incalculable trauma, whose stories become bloodily entwined as this deep, dark record progresses. "The album and concept was loosely inspired by the Japanese anime series Attack On Titan," says Robb, "in the sense that in that series, there is no "good" or "bad" guy... both sides believe they're doing the right thing, but both are committing atrocities and evil." Album opener, "SLAUGHTER THE MARTYR," sets the tone for not only the record, but the aural and psychological exploration the listener is about to embark on. From the first dissonant note, it's certain this is not only fresh canvas spelled out with lead vocalist Robb Flynn and bassist Jared MacEachern's soaring vocal harmonies, but it's intent is as furious as anything the band has ever come up with. This track also begins the journey of our protagonists. Further exploration of the damaged psyche blasts forth on "CHOKE ON THE ASHES OF YOUR HATE," a searing back and forth dose of Thrash Metal that could only come from the roots of the Bay Area. Unrelenting in it's attack, the breakneck pace only solidifies this as one of many standouts on OF KINGDOM AND CROWN. From the adrenaline rush of exorcising their inner demons to the innate feeling of solitude and regret comes "UNHALLOWED." A dramatic introspective of questioning one's motives and the fallout when the debts our expended emotions come to collect. Hopeless, lost, and isolated, protagonist #2 begins the transformation from victim to victimizer over the melodic chaos courtesy of guitarist Vogg Kieltyka. Radicalized, paranoid, and armed with a dead-end stare, the mental onslaught ignites with the song, "KILL THY ENEMIES." The whiplash inducing thoughts pair up nicely with some of the thickest grooves on the album. The album ends with arguably the finest song Machine Head have ever written: "ARROWS IN WORDS FROM THE SKY", the grandiose but emotionally visceral climax to the finest and most ferocious album of the band's 30 year career. A perennially vital force in heavy music, Machine Head have continued their exhilarating evolution, while never losing the furious spirit of their old school, underground roots.
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Vinyl LP pressing. They Might Be Giants, sometimes called The Pink Album, is the debut studio album from Brooklyn-based band They Might Be Giants. It was originally released in 1986. The album generated two singles, "Don't Let's Start" and "(She Was A) Hotel Detective".
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The Flaming Lips Yoshimi Battles the Pink Robots was released in 2002 and is the bands best-selling album, certified Gold in the US with over 700,000 albums sold. The album features one of the bands most iconic songs - Do You Realize?? - plus the singles Fight Test, Ego Tripping at the Gates of Hell, and the title track. The 20th Anniversary Deluxe Edition 6 CD box set includes the original album, two EPs from the era, B-sides, demos, remixes, radio sessions, two concerts, and other assorted rarities. There are 100 tracks on the CD box set, of which over 50 are previously unreleased.
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TO CONTINUE THE CELEBRATION OF THE 25TH ANNIVERSARY

OF THEIR CRITICALLY ACCLAIMED HOMEWORK ALBUM

HOMEWORK REMIXES

A COLLECTION OF 1997/98 REMIXES ON VINYL

THE RELEASE INCLUDES REMIXES FROM I:CUBE,ROGER SANCHEZ & JUNIOR

SANCHEZ,MOTORBASS, DJ SNEAK, MASTERS AT WORK, TODD TERRY,SLAM, IAN POOLEY

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Vinyl LP pressing. 2022 release, the fifth studio album by rapper Big K.R.I.T.
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The Kinks

Percy

Vinyl: $34.50 Buy

Vinyl LP pressing. Percy is a 1971 film soundtrack for the British comedy film Percy performed by the English rock group The Kinks with additional orchestral arrangements conducted by Stanley Myers. It was released as the band's ninth official studio album. The songs were written by Ray Davies and include both standard rock/pop songs and instrumental numbers.
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In celebration of the 20th anniversary of this beloved indie classic, Barsuk Records and Nada Surf are pleased to release this limited edition color variant of Nada Surf's classic "Let Go" on turquoise vinyl, limited to 1,000 copies worldwide.

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Bending scuzzy boundaries, Good Bad Not Evil is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches its 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including Cruising, I Wanna Dance With You and Leroy Faster. Good Bad Not Evil perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like Veni Vidi Vici, Cold Hands, Bad Kids and O Katrina! immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didnt stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. Good Bad Not Evil, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen. and, shut up and listen they did.

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"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.
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"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.
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"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.
Quick View
"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.
Quick View
"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.
Quick View
The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.
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Double black and yellow swirled colored vinyl LP pressing. Includes digital download. Phantogram's music sounds like it's made by a band from the city. Electronic loops, Hip Hop beats, Shoegaze, Soul and Pop each finds it's way into their songs. Unexpectedly, the band doesn't live and work in a major urban center, but rather calls the town of Saratoga Springs, NY (population 26,186) home. Despite the cultural influence of local Skidmore College and a relatively small scene of adventurous musicians and listeners, Saratoga isn't exactly teeming with fans of J Dilla, My Bloody Valentine, or Serge Gainsbourg. But Josh Carter and Sarah Barthel, the pair who make up Phantogram have flourished in Saratoga. In fact, the town itself isn't rural enough for their taste they drive almost every day another 45 minutes into upstate farmland to a barn they call Harmony Lodge to write and record.
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Double gold colored vinyl LP pressing. There would be no Austin City Limits were it not for Willie Nelson. He started it all in 1974, performing on the original pilot episode, and has been a large part of ACL history ever since. He's appeared on more programs than any single artist, but this particular show (recorded on September 6, 1990) captures him and the family band at their best. It's all here, all the Willie classics, his signature songs and fan favorites. His trusty guitar, "Trigger, " and that voice, that unique phrasing, that makes Willie Nelson one of the world's most original singers, whether he's wailing the blues, honky tonkin, ' crooning pop standards or rockin' the house. Everybody knows the story: the boy from Abbott, Texas who grew up playing music with his sister Bobbie, who moved to Nashville to stake his claim, but after years of writing classic songs for other artists ("Crazy, " "Night Life, " "Funny How Time Slips Away"), got tired of playing the game and moved back to Texas. He chose Austin as his new home, and nothing has been the same ever since. This performance shows Willie at the top of his game. Back then he truly was and still is the "King of Country." - Terry Lickona (producer Austin City Limits)
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Waylon Jennings

Live From Austin Tx '89

Vinyl: $28.98 UNAVAILABLE
Double orange colored vinyl LP pressing. This performance by Waylon Jennings was no April Fool's joke. This was the "new" Waylon, both personally and professionally. He had kicked a 20-year drug habit, split with RCA and signed a new deal with MCA Records. He discovered a passion for songwriting, teamed with legendary producer Jimmy Bowen, and produced some of the best work of his 30-year-plus career. He credited his wife and soul mate, Jessie Colter, for much of his inspiration. This was Waylon's second trip to the ACL stage, but the one that best captures the raw edge and driving urgency that pushed country music way past it's Nashville boundaries starting in the mid-1970's. He was described as the leader of the country "Outlaw" movement, which he often dismissed as just another marketing scam, but there's no denying that he turned the music on it's head and took it way beyond it's rural southern roots. This West Texas boy who worked as a DJ and started his own band at 14, then later played with Buddy Holly, left an indelible mark on the music he loved. He was a class act, this man called Hoss. -Terry Lickona (Producer Austin City Limits)
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Double green and black colored vinyl LP pressing. Includes poster and original censored album cover. 30th Anniversary edition. The second album from Type O Negative, The Origin of the Feces was recorded in a studio, but a fake audience track was added to give the illusion of a live album. The cover of the original release had an up-close picture of an anus (reputed to belong to frontman Peter Steele). Subsequent reissues feature a different cover, a black and green portrait of 1493 painting The Dance of Death. The 30th anniversary 2LP edition features the original "explicit" cover art with peelable scratch 'n' sniff sticker, a Dance of Death fold out exclusive poster, green and black mixed color vinyl and deluxe packaging.
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Tom Petty & The Heartbreakers famously played 20 nights at the legendary Fillmore venue in San Francisco in 1997. 6 of the shows were professionally recorded and this release features some of the high points of the residency. The small venue allowed the band to vary their sets each night; they included re-arranged and distinctive versions of their hits, deep cuts, and many cover versions paying tribute to the artists that Tom and the band had been influenced by. The 3 LP set includes 33 tracks, 18 of which are covers 2 hours of music. The tri-fold sleeve includes a 4-page insert.

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Break Every Rule was Tina's follow up album to her phenomenal comeback album Private Dancer. Featuring much-loved hits such as Typical Male and What You Get Is What You See, the album was a top 10 record across the globe, going platinum in UK, US, Germany, Canada and many other countries. It features a number of big appearances, with David Bowie co-writing "Girls", and the likes of Bryan Adams, Mark Knopfler, Phil Collins and more playing on the record. Break Every Rule was followed by one of the biggest world tours, breaking records in 13 countries as well as her show in Rio de Janeiro becoming the largest paying concert audience in history with over 180,000 spectators.

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