Dio was an American heavy metal band formed in 1982 and led by vocalist Ronnie James Dio, after he left Black Sabbath with intentions to form a new band with fellow former Black Sabbath member, drummer Vinny Appice. The name Dio was chosen because it made sense from a commercial standpoint, as the name was already well known at that time. The band released ten studio albums and had numerous line-up changes over the years with Ronnie James Dio having been the only constant member. The band has sold more than 10 million copies of albums worldwide.
Originally released in 2004, Master Of The Moon was the final studio album under the DIO band name and featured the line-up of Ronnie James Dio (Vocals), Craig Goldy (Guitar), Jeff Pilson (Bass), & Simon Wright (Drums). LP includes limited edition lenticular LP sized print and 180g vinyl.
Originally released in 2000 and featuring the line-up of Ronnie James Dio (Vocals), Craig Goldy (Guitars), Jimmy Bain (Bass), & Simon Wright (Drums) the 2LP set includes a bonus 7” of studio track “Electra” and the CD/digital version features 10 never released before Magica tracks performed on tour in 2001. LP includes limited edition lenticular LP sized art print and on 180g vinyl.
For the last 30 years, Greg Dulli, frontman of The Afghan Whigs and The Twilight Singers, has been the poet laureate of the bizarre whims and cruel tangents of desire. A foremost authority on the sell-your-soul rewards of carnal lust, the high voltage epiphanies of chemical enhancement, and the serotonin lows left in their wake.Therein lies Random Desire, the first solo album under Dulli’s own name, via Royal Cream / BMG.
The album opener. Pantomima, sets the tone from the sardonic taunts of the album’s first bars: desolation, come and get it. Random Desire started in the aftermath of the last Whigs record, 2017’s In Spades, which Pitchfork named one of the best rock records of the year, hailing it as a “heavy, menacing work of indie rock majesty…thrilling and unsettling.” Drummer Patrick Keeler was about to take a short sabbatical to record and tour with his other band, The Raconteurs. Dulli’s longtime collaborator, bassist John Curley went back to school, and there was the tragic death of the band’s guitarist, Dave Rosser. In response, Dulli returned to his teenage bedroom roots, finding musical inspiration via the model of one-man-band visionaries Prince and Todd Rundgren.
The Los Angeles-by-way-of-Hamilton Ohio native wrote nearly every part of the record from piano lines to drums to bass riffs. As always, the music came first and the lyrics were completed later. Recording and writing way stations included his home in Silver Lake, the village of Crestline high up in the mountains above San Bernardino, and New Orleans. But the bulk was finished amidst the arid beauty and stark isolation of Joshua Tree (at the studio of engineer Christopher Thorne). Dulli handled most instrumentation, but an all-star cast of characters appear across the track-listing including The Whigs’ guitarist Jon Skibic and multi-instrumentalist Rick G. Nelson, Mathias Schneeberger (Twilight Singers), pedal steel wizard, upright bassist, and physician Dr. Stephen Patt, and drummer Jon Theodore (Queens of the Stone Age, The Mars Volta).
Clocking in at a lean 37 minutes, Random Desire is a clinic put on by a veteran master operating at the height of his powers, offering evidence of the hard-fought and weary wisdom learned from setbacks and victories alike. A lucid, confident and self-assured document of the songs of experience, the perils of existence, and the possibilities that offer themselves anew with each breath. Another death and rebirth from an outlaw who has seen it all and somehow lived to tell.
At the birth of his solo career Ferry released two records, ‘These Foolish Things’ and ‘Another Time, Another Place’ in 1973 and 1974 respectively – but had never performed them live. The setlist from ‘Live at the Royal Albert Hall 1974’ is built from these two albums and is a marked departure from the music he was performing with Roxy Music in the years previous. The track list consists of fan favourites including the likes of ‘A Hard Rain’s A-Gonna Fall’, ‘The ‘In’ Crowd’, ‘Smoke Gets in Your Eyes’, and ‘I Love How You Love Me’ and spans his influences from the 30s, 40s and 50s, including the records that shaped him growing up and throughout his formative years.
Guerrilla is the third album by Super Furry Animals. The record was released on 14 June 1999 by Creation Records and peaked at number 10 in the UK Albums Chart. With a bigger budget from Creation and choosing to self-produce the album with studio wingman / engineer, Michael Brennan, in rural splendour, the band determinedly set about making an upbeat, pop record that would deliver a punch inside 45 minutes. What actually emerged was a kaleidoscopic and indefinable gathering of vibrant songs that, while brimming with intended positivity, embraced accidental studio discoveries, missteps in the recording process and a new sense of democracy as the band shared production duties.
Featuring two hidden tracks, Citizen’s Band (inspired by Gruff’s experiences during the 1980’s CB radio craze in remote North Wales) coming in before the official opener, Check It Out, and Chewing Chewing Gum (Reprise) sitting in the gap after the ‘closing’ glam-rock stomp of Keep The Cosmic Trigger Happy, Super Furry Animals were found to be in playful mood. Their selection of singles offered a potent, at-a-glance guide of the band’s career-spanning sounds, with Northern Lites’ (No.11, UK Singles Chart) poppy, steel drum-infused calypso foretelling the unashamed, hit-making approach that would follow them into 2001’s Rings Around The World and 2003’s Phantom Power. At the same time, gentle acoustic ballad, Fire In My Heart (No.25, UK Singles Chart) and punky, gobbledygook third single, Do Or Die (No.20, UK Singles Chart) shared the charming, naïve immediacy of their debut, Fuzzy Logic and it’s follow-up Radiator.
Constantly casting their gaze into the future, Wherever I Lay My Phone (That’s My Home) foretold of IPhone dominance in the age when heavyweight, low-tech Nokias ruled the world, taking rhythmic cues from one of the band’s mobile ring tones and the sampled sound of guitarist, Huw tripping over a lead. For every attempt made at a pop song, there was a The Sound Of Life Today, an interlude formed of 22 seconds of the tender, yet warped eighth track, Some Things Come From Nothing, being played backwards. Electricity also pulses obviously through the record, with Ciarán’s growing assemblage of gadgetry forming a studio within a studio at Real World, casting bleeps and wailing circuits across the album more liberally than had been heard on earlier recordings.
This 20th anniversary re-issue is completely re-mastered from original master tapes. Double LP on heavyweight vinyl with pop-up gatefold. CD edition features over 25 bonus tracks including second disc of previously unreleased material. Both feature foreword by Alan McGee, sleevenotes by Ric Rawlins, and previously unseen concept art drawings by Pete Fowler.
MAIN OFFENDER is the second studio album by KEITH RICHARDS, released in 1992. Richards teamed with Talk Is Cheap collaborator Steve Jordan and added Waddy Wachtel to the mix both in composing and producing Main Offender. Sessions with Richards’ group of musician friends known as “The X-Pensive Winos” took place in California and New York City from March to September 1992, with touring in Europe’s autumn and early 1993 in North America.
Originally released in November 1994 following an unprecedented 6 year hiatus, Gratuitous Sax & Senseless Violins marked a return to the commercial success that had alluded the band for much of the 80s. Delivering some of their highest chart positions in 15 years and the now fan favourite single, When Do I Get To Sing “My Way”.
Their matchless flair for the avant garde and contemporary experimental ever present, Gratuitous Sax & Senseless Violins presented another reinvention in sound and style so typical of Sparks’s uniquely extra-ordinary career.
A 1994 NME review called the record one of ‘their finest moments’. Q declared the album a ‘triumph’. ‘a precious box of jewels’ said Melody Maker. Surprise and delight for the new unashamedly European dancefloor sound full of ‘style and wit’ was evident.
Gratuitous Sax & Senseless Violins is now reissued, for the first time, as a deluxe edition to coincide with the 25th anniversary of the original release.
Compiled, curated and designed by Ron & Russell Mael.
Originally released in April 2003, Mute/BMG announce the long awaited vinyl reissue of the much sought after ‘Black Cherry’. Unavailable for many years, the album will be pressed on 140g Purple vinyl with an exclusive 12” x 12” art print. Released on 27th September 2019, ‘Black Cherry’ will be the first of a series of limited edition Goldfrapp vinyl releases.
‘Black Cherry’ still builds on their trademark experimental edges from their debut ‘Felt Mountain’ and that force is every bit as evident and not a shred less relevant. On first hearing, the driving basslines of ‘Train’ or ‘Strict Machine’, or the playfully, joyously sexual ‘Twist’ seem a world away from some of ‘Felt Mountain’s’ atmospherics. From the heartbroken beauty of the title track and the inordinately sensual, disturbed purr of ‘Deep Honey’ to the sonic whirlpools of ‘Tiptoe’, ‘Black Cherry’ reinforces Goldfrapp’s siren–like ability to suck you into other realms.
Venom are an English extreme metal band formed in 1979 in Newcastle upon Tyne. Coming to prominence towards the end of the new wave of British heavy metal, Venom’s first two albums—Welcome to Hell (1981) and Black Metal (1982)—are considered a major influence on thrash metal and extreme metal in general. Venom’s second album proved influential enough that its title was used as the name of the extreme metal subgenre of black metal. The band classic line-up trio of Cronos, Mantas and Abaddon recorded two further studio albums At War With Satan (1984) and Possessed (1985) and live album Eine Kleine Nachtmusik (1986). Often cited by bands such as Metallica, Behemoth, Celtic Frost and Mayhem as major influences, they are one of the most revered bands of their generation. Venom are still fronted by original singer / bassist Cronos and headline festivals all over the globe and continue to release new music. In Nomine Satanas is a celebration of the band’s formative years, containing all the classic songs from the original line-up and the CD version contains two previously unreleased demo songs.
Nick Cave and Warren Ellis, of the internationally celebrated bands Nick Cave And The Bad Seeds, The Dirty Three and Grinderman, composed, played and produced a compelling and intense soundtrack for director Andrew Dominik’s savage tale of the true west. The score captures perfectly the charismatic and unpredictable nature of its central protagonist. Like the film, Cave and Ellis’ music cuts through the mythic figure of Jesse James to reveal the complex, contradictory man beneath. Daring and passionately delivered, Cave and Ellis’ beautiful soundtrack retains its captivating power even without the benefit of Dominik’s images.
Morrissey’s new album of covers includes songs by the likes of Joni Mitchell, Bob Dylan, Roy Orbison, Laura Nyro, Dionne Warwick and many more as well as having guests vocals by Billie Joe Armstrong (Green Day), LP, Ed Droste (Grizzly Bear), among others.
To celebrate their 40th anniversary, Venom reissue this limited edition, reproduction shaped picture disc of their 1984 single Manitou. This genre defining metal trio started the whole genre of Black Metal and are arguably the most influential extreme metal band of all time. This single features the classic trio of Cronos, Mantas and Abaddon.
Icons Karen O and Danger Mouse release their debut album as a duo, Lux Prima. “Title track Lux Prima is the first song we wrote for the record,” says O. “After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you’ve ever been. I think we both were excited to go far out.”
Morrissey releases a deluxe edition of his 2017 album Low In High School. The expanded edition includes his newly recorded cover of The Pretenders’ Back On The Chain Gang, five live b-sides from the recording session, three unreleased tracks, a limited edition lithographed photograph of Morrissey, and a rare version of a photo booth portrait taken when the legendary frontman was a student.
2LP – Deluxe Double Vinyl – one-disc clear vinyl and the second disc Magenta. This package also includes a 12 x 12 print.
A Perfect Circle unveiled a troubling new song, “The Doomed.” The track marks the metal outfit’s first new song in four years and will appear on their forthcoming LP, which is expected to arrive in 2018.
Tool singer muses on relationship between community and creativity in new episode of web series
On “The Doomed,” Maynard James Keenan scrutinizes a world where sinners are exalted and the good are cast aside. The song boasts a lumbering drum beat and instrumentals that move from simmering, eerie and sparse to ragged hard rock dramatics. “Doomed are the meek,” Keenan growls as the song builds to it’s blistering conclusion. “Doomed are the merciful/ For the word is now death/ And the word is now without light.”
In a statement, Keenan said of “The Doomed,” “In light of this current difficult and polarized social, spiritual and political climate, we artist types need to open our big mouths and share the light a little louder.”
The Mississippi MC’s ambitious third album is split between his stage persona and private life—the first half opens with “Big K.R.I.T.”; the second, “Justin Scott.” Fittingly, K.R.I.T.’s Southern rap purism is at its most personal here: “Price of Fame” explores the disconnect between success and true happiness. But the mood lifts on trunk-rattlers like the T.I.-featuring “Big Bank” and space-funk slow-burner “Aux Cord,” an homage to soul legends from Parliament to B.B. King.
Opening with the churning, horn-spiked “My Love I’d Do Anything for You,” Low in High School touches upon several familiar Morrissey obsessions — there’s prog and glam alongside Smiths-ian jangle — but the album also serves up swinging continental jazz, clomping electronics, drum circles, and even a feint at disco. None of these choices seem to stem from lyrical content, which means that Low in High School can seem as aurally conflicted as it is politically, and that may be an appropriate look for Morrissey in 2017: He’s opted for a mad world of his own creation and doesn’t much care whether his fans follow or not.
Produced by Tony Newton and Iron Maiden founder member and bass player Steve Harris, the album is based on this year’s set list and is a faithful record of the epic show, including six songs from ‘The Book Of Souls’, the band’s most recent studio album, along with many other classics and fan favourites.
Steve comments, “We spent a huge amount of time working on this as I wanted to get it as close to the Maiden live experience as I possibly could and to represent our fans from different parts of the world. This meant listening to literally hours upon hours of tapes from every show, to select material and construct a sound that would run consistently across the whole album and capture the excitement of a new country like El Salvador alongside such regular favourites as Donington or Wacken.”
Deluxe version of Blink-182’s California. Perhaps that was a catalyst for the band, who have officially announced the expanded edition of their comeback LP.The bonus version of the album will include 10 new songs, the rarity “Hey I’m Sorry” and an acoustic version of “Bored to Death.”
Hamburg Demonstrations marks a departure for Pete Doherty: it’s perhaps the first record he’s put out that few people outside of his fanbase will be paying much attention to. With the endless soap opera surrounding the Libertines dimming down and the sound of rickety indie no longer in vogue, it feels very much like a record that can be judged on its own merits. Those merits – the just-about-held-together arrangements, muttered vocals and literary references – are not new ground for Doherty. But the Kinks-esque melodies are surprisingly tuneful and, during its hushed moments, Doherty proves himself a deft master of late-night intimacy: few things he’s written are as beautiful as the Amy Winehouse tribute Flags of the Old Regime. The truth is, he seems to suit life as an alternative songwriter on the fringes far more than he did a mainstream one in the limelight.
Produced, recorded and mixed by Johann Scheerer, The Libertines and Babyshambles man took to Hamburg to make the album after ‘falling in love’ with the Clouds Hill Recordings studio and moving to the German city for six months. The record also features a new recording of the Amy Winehouse tribute ‘Flags Of The Old Regime’ (now called ‘Flags From The Old Regime’).