Alice Cooper Goes To Hell ($5 SPECIAL)

"Following the success of his first solo album, Welcome to My Nightmare, Alice Cooper followed it up with another concept album, Goes to Hell, similar in style to its predecessor. Again, longtime Alice producer Bob Ezrin was on board, and while there are a few highlights, Goes to Hell signaled an Alice era where he pretty much forsook the raw garage rock of his early days (Killer, School's Out) in favor of polished studio glitz. That said, the title track is worthy of any headbanger's time (and remains one of Cooper's most overlooked rock tunes), while "I Never Cry" was another Alice ballad that found a place near the top of the charts. Other highlights include such tracks as the disco-rock-boogie of "You Gotta Dance" and the laid-back yet sinister funk groove of "I'm the Coolest." Elsewhere, the musical experiments aren't as successful -- the old-time sounds of "Give the Kid a Break," "I'm Always Chasing Rainbows," and the album-closing "Going Home" are about as far removed from the expected hard-rocking AC direction as you can get. And while the rocker "Wish You Were Here" would become a late-'70s concert standard for the Coop, the original studio version lacks the firepower the song achieved on the stage. Alice was supposed to follow up the album's release with another highly theatrical stage show (following the cue of his first solo tour in 1975), but an illness squashed the tour altogether. Despite its missteps, the gold-certified Goes to Hell would prove to be Alice's most commercially successful solo album for quite some time." - All Music Guide

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  • "1981's Mob Rules was the second Black Sabbath album to feature vertically challenged singer Ronnie James Dio, whose powerful pipes and Dungeons and Dragons lyrics initially seemed like the perfect replacement for the recently departed and wildly popular Ozzy Osbourne. In fact, all the ingredients which had made their first outing, Heaven and Hell, so successful are re-utilized on this album, including legendary metal producer Martin Birch (Deep Purple, Whitesnake, etc.) and supporting keyboard player Geoff Nichols. And while it lacks some of its predecessor's inspired songwriting, Mob Rules was given a much punchier, in-your-face mix by Birch, who seemed re-energized after his work on New Wave of British Heavy Metal upstarts Iron Maiden's Killers album. Essentially, Mob Rules is a magnificent record, with the only serious problem being the sequencing of the material, which mirrors Heaven and Hell's almost to a tee. In that light, one can't help but compare otherwise compelling tracks like "Turn Up the Night" and "Voodoo" to their more impressive Heaven and Hell counterparts, "Neon Knights" and "Children of the Sea." That streak is soon snapped, first by the unbelievably heavy seven-minute epic "The Sign of the Southern Cross," which delivers one of the album's best moments, then its segue into an unconventional synthesizer-driven instrumental ("E5150") and the appearance of the roaring title track. Side two is less consistent, hiding the awesome "Falling off the Edge of the World" (perhaps the most overlooked secret gem to come from the Dio lineup) amongst rather average tracks like "Slipping Away" and "Over and Over." Over the next year, the wheels fell off for Black Sabbath, and Dio's exit marked Mob Rules as the last widely respected studio release of the band's storied career." - Allmusic Guide
    $6.00
  • Remastered edition."At least half of the songs on Van Halen's eponymous 1978 debut are still considered classics, and the Eddie Van Halen instrumental "Eruption" revolutionized the guitar community by introducing a technique called finger-tapping into the heavy metal lexicon. A magnificent debut for sure, but maybe the band should have held onto a few of their blockbuster tunes to bolster the lean years that started after 1984, and continue to the present day. Regardless, Van Halen amply demonstrate their drive, showmanship, and musicianship throughout, blowing the needle off the scale on such tracks as "You Really Got Me," "Jamie's Cryin'," "Runnin' with the Devil," and "Ain't Talkin' 'Bout Love."" --Jon Wiederhorn
    $6.00
  • "Marbles was originally released on the band's own Racket Records label and attracted a lot of attention when it was released as the album had been funded by donations from fans who had pre-ordered the album before they started recording in return for having their name printed within the album artwork (over 18,000 names). This new 2CD Madfish edition of the album is packed in a deluxe 36 page digibook re-worked by original designer Carl Glover. The book features unseen pictures not used in the original artwork. The tracks on the second disc have previously only been available through the band's own website."
    $13.00
  • DeEvolution tells the story of an elite group of leaders from a heavily industrialized city who find, brainwash and then exploit an indigenous tribe’s shaman, believing he would be the perfect supreme leader. By propping him up as possessing all the answers to societies ills the elites use him in order to gain and keep more control over the masses. They plan to influence the masses on several fronts: Religion, Media, Consumerism, and Government.Twin brothers, Jasun and Troy Tipton along with Erik Rosvold released two albums with the Progressive-Metal act Zero Hour. The band's second album "The Towers of Avarice" won sparkling reviews from nearly every metal magazine around the World and has achieved classic status among prog metal fans. Zero Hour successfully toured Europe and performed twice at Prog Power USA, the largest prog-metal music festival in the World. In 2003, fans were disappointed when Zero Hour parted ways with Erik Rosvold.In late 2007, Jasun began writing material for Cynthesis. As the music developed Jasun could only imagine one vocalist to really connect to the material. After one phone call both Jasun and Erik were very excited to work together again.The final piece of the puzzle was to find an amazing drummer. Jasun asked Troy what drummer he would like to work with. Without any hesitation Troy said, "Sean Flanegan is the guy". Sean is best known for his work with the Progressive Rock band, Enchant (Blink of an eye & Tug of War).Produced by Dino Alden, DeEvolution is the first of a projected series of albums from this reunited force of progressive metal.
    $8.00
  • "Ronnie James Dio assembled a new version of Dio for Lock Up the Wolves, to no apparent change in the band's sound. Nevertheless, the group's status in the metal community was beginning to slip, and the album was the lowest-charting Dio record apart from the live Intermission." - All Music Guide
    $5.00
  • A Liquid Landscape from The Netherlands is a bit of a departure for The Laser's Edge. Their slice of post-progressive music has a contemporary edge that finds them sitting alongside bands like Dredg, Anathema, and Porcupine Tree. The band has been a live act for several years and shared the stage with bands like Karnivool (AUS), Anathema (UK),Thrice (US) and Riverside (Poland).During the past year the band also was a finalist at the prestigious annual Dutch Grand Prize contest and on top of that they had 3 sold out Noorderzon gigs, featuring a stunning visual show.With all the material they had written, the band reached out to Forrester Savell (Karnivool, Helmet). Forrester liked the material a lot and he agreed on mixing the album and doing some production work as well.‘Nightingale Express’ is a concept album. This inspired moviemaker Lex Vesseur to make a short movie with music from the album. He also made the artwork and the visuals for the live show. So both the music and the film return in an interactive rock show with a live VJ.Washed up, tired and staggering across a beach in the early hours of the morning. Somewhere in the twilight between desperation and surrender, there is still a glimmer of hope. That sense that everything will be alright, no matter what the odds are. This is what A Liquid Landscape sounds like. 
    $8.00
  • Limited edition import 2CD set with 7 bonus tracks!"When you made the impact that Bigelf did in 2010 with their fourth album ‘Cheat The Gallows’ and the subsequent tour, it’s inevitable that people expected the highly rated band from Los Angeles to hit hard in 2011. But instead we got an astonishing silence. However, all that is about to change with the arrival of ‘Into The Maelstrom’, a new album of melodic prog-doom that eccentric frontman Damon Fox believes will take Bigelf to new heights. “I have been reflecting on the band and pondering what it would take to get us to the next level, I believe we have accomplished this task on the new record.The last three years for Fox have been confusing and difficult, to say the least, as he found the band he’d worked so hard to establish suddenly dissipated. “I’d call our break a spontaneous hiatus. I did genuinely feel that we’d go into 2011 with an album out early in the year, and then we’d build on what we had achieved up until that point. Instead, we came to a standstill. The momentum had vanished, and it halted the band. So, I was forced into an introspective state of hypersleep and had to contemplate my future. I love the other guys in the band as brothers, and I am extremely grateful for they contributed to help get Bigelf this far. I was heartbroken when that line-up came to an end but change nonetheless was upon the band.“Forging ahead, I didn’t feel that I could get it done on my own”, Fox admits. Thankfully, he found a kindred spirit in famed drum god Mike Portnoy, with whom he’d bonded with in 2010 when Bigelf toured with Dream Theater. “We hung out a lot back then, and got very close. Mike and I discussed how similar our situations were with our respective bands going through our ‘Let It Be’ phases. This was around the time when Mike had his dramatic press-laden departure from Dream Theater. I knew Mike loved Bigelf, and he told me not to give up on it and to keep the band going. His encouragement really helped me to carry on through dark times.”"Getting the songs fully realized was something of a laborious experience", Fox explains. “In the past while I had written most of the material, I always had a incredibly gifted band to bounce ideas off of and we would often jam out to fully realize the song . But this time, I had to write, arrange and envision everything on my own. Once I got the selection of songs together, I sent the demos to Portnoy (who had agreed to play on the album). Mike is the busiest man in Prog, so the next time he was in LA, we laid down the drums at Linda Perry's studio, Kung-Fu Gardens where we did ‘Gallows’. I also wrote a song with her for the new album. The rest of the sessions and instrumentation were recorded at my home studio ITM.“I feel this album is going to prove to a lot of MP haters that Portnoy can really lay down a groove and has a serious vibe as a drummer. It’s not just about his chops and his pyrotechnic style, for which he’s known for, especially with Dream Theater. The feel and emotion in his playing on this record is really unique and it’s unlike anything else he’s done before in my opinion” Lovable lefty bassist Duffy Snowhill, who’s been with the band since 2000, is bringing his thundering Viking bass tones to the recording of ‘Into The Maelstrom’. Luis Maldonado is also climbing aboard the Elf vessel for his first trek. “Luis is a close friend who I’ve known for many years. He has his own band, Into The Presence, and works with a lot of established artists as well. Luis is a phenomenal guitarist, he delivered some really blistering leads on the new album. I'm supplied all of the rhythm guitar tracks and managed to squeeze in a few leads as well too. People usually associate me with keyboards – and there are copious amount on the album, to be certain – but originally Bigelf was founded around my guitar riffs, and it was really rewarding to be able to play guitar again from a nucleus standpoint.”‘Into The Maelstrom’ was produced by Fox (who also handles all the vocals), and believes this album proves that Bigelf are now exploring alien musical landscapes. “There’s a fresh aura and energy on there that’s completely different to our previous releases, but it also sounds like Bigelf. I view this album as being very psychedelic cinematic. It has a ‘Mad Max’ post-apocalyptic feel – a futuristic world that’s rather dirty and desolate filled with chaos and despair. The bludgeoning Sabbath guitars and “Karn-Evil” keys are still there, but the modern setting is what makes the record have a creative edge.While ‘Into The Maelstrom’ isn’t a concept album as such, Fox does reveal that there is a theme that links much of his lyricism. “It’s about traveling through time into one’s past and into the future, to experience and examine your pain and fears, in order to move forward in life. A lot of my baggage from the my travels provides the cathartic inspiration. Deep, personal feelings like the tragic death of my best friend and former Bigelf guitarist A.H.M. Butler-Jones. And my fears of mankind eventually destroying itself a la, ‘Planet Of The Apes’. I suppose the opening song, ‘Incredible Time Machine’, sums it all up.”Fox is clearly inspired and reinvigorated by the new focus Bigelf have made here. For him it’s not just about how the album sounds, but also the process involved in getting there. “Making the record has been a certain kind of journey. A few years ago I had to completely let go of Bigelf, which was painful but it came back with force and vision. As such, the music began to shape from a different perspective and I have been able to see an alternative way of accomplishing my goals. To me, ‘Into The Maelstrom’ is a genesis, a bridge between the band and a larger audience. Strap yourselves in ladies and gentlemen, you're in for a wild ride.”"
    $15.00
  • Limited edition vinyl EP released in 2013 available at a bargain price.  Majeure is the pseudonym for A.E. Paterra - 1/2 of the Zombi duo.  Paterra plays all analog symtns as well as real and sampled drums.  If you are a fan of 80s Tangerine Dream this one will blast you into space."With the legacy of Zombi now in stone, it’s been a treat to see co-founding member A.E. Paterra take on his musical path under the Majeure moniker. The sound of Majeure sticks to the analog realm, bringing a warmth and texture base that is reminiscent of the most experimental records of the 70’s. Releasing the debut LP Timespan a few years back and following up shortly afterwards with Solar Maximum, the skilled multi-instrumentalist is back with the good people at Temporary Residence Ltd. for the release of his latest outing Romance Language. I was really drawn to the first two full lengths and their unique brands of synthesizer heavy space prog dance music and the fact that a majority of Romance Language is devoid of percussion adds a special quality to the presentation. The unrestricted movement of the synths finds much more unique paths and I feel the quality of the music retains a timeless tone because of it. The journey is tranquil and ambient with Romance Language and it’s been a favorite album for relaxation over the last few months. The album consists of two long songs that each grace a side of the 12″ (“Romance Language” b/w Falcon Searider”), bringing together  a sense of meditative continuity in the first half that is a perfect projecting base for the change in energy on the second. The album lands in a sunburst 80’s synth groove by the ending section of the album, bursting out of the hazy and murky corridors of expression the second song begins with. Out of all three albums, Romance Language is my favorite of Majeure’s and has been under the radar among those close this year.The albums title track clocks in at 11:31 and spirals in shifting patterns within the first few bars. It’s a very bright and sequenced set of loops that rotates around one another with supplied with subtle additives of the most experimental kind. The deep swelling of sustained waves from the next synth enters the low end spectrum with a lot of depth around the sequenced loops. You can really feel the human element at this point and it continues to glow and shine brighter by the measure. It’s one of the most fluid and ethereal sound Majeure has created to date and it sent me into an immediate hypnotic state upon initial contact. It’s the kind of music that is excellent in closing ones eyes and getting lost inside of the abstract framework of synthetic layering present. The 4:00 mark cuts out the spiraling loops, leaving the atmospheric wind tones and sustained oscillations of synth to drift into the next scene with a psychedelic pathway through out. This lands into the first true progression of rhythmic stability, grabbing onto a loop that is much more grounded and forward in motion. The overtones add the shifting and transforming aura, encasing the song into an entirely different display of emotions through each major section. The soothing nature of the synth that mirrors a flute is mesmerizing, gently playing into the towering repetition of the synth that keeps the rhythm in lock. This soothing synth is then given time to bond solely with the wind tones hovering in the background, creating another immensely beautiful section of music from the mind of Majeure. It’s the kind of ominous approach that’s perfectly for the most potent and complex films.The darkened nature of the first sides ending is brought into the abyss even further with the sequence of layering that begins “Falcon Searider.” A gloomy and drafty scene comes to mind as the song evolves. It’s fascinating to realize how much the scenery has changed since the beginning sequences of the first side and what’s occurring in the first few minutes of the second. The distinct quality of analog gear for the recording of this song is undeniable and it’s with this tone that I am really drawn to every single moment. Small shades of overtones keep stacking over the core and it eventually begins to draw a sense of note configurations as these layers build. It all boils though, never moving too far from the cores growing levels of heat. Around 4:40, the dynamics of the music change entirely and the most drastically on the album. The drafty sounds part ways like clouds in their last moments blocking the sun. The synth line that draws the entire rhythm together has a Michael Jackson thriller feel. Dark and mysterious but groove based to the highest levels. The addition of a drum machine is the icing on the cake, giving way to the influences that defined his last album Solar Maximum. The progression of layers finds an incredible apex section after the 9:00 mark, blasting into the next hemisphere with pitch shifted synth lines and the never ending glow of the rhythm section. A simple fade at the end gives the ending a perfect nod to the 80’s synth movement.Romance Language has been a rewarding listen this year and I find that its meaning becomes even more enriched with every listen. It’s a perfect album for anyone who love analog based synth music and speaks volumes about the future state of music that Majeure continues to tap into. Nobody is doing it like Majeure when it comes to this field of expression and I feel Romance Language is his best effort to date." - Sound Colour Vibration
    $6.00
  • Remastered reissue of the third IM album, and the first full length to feature Bruce Dickinson. This enhanced CD comes with a multimedia section featuring videos, bios and other stuff.
    $13.00
  • Limited edition digipak with one bonus track and a multimedia video."Considering the caliber and consistency of their recent catalog, maybe Primal Fear should have named their ninth studio album Unstoppable. But Unbreakable certainly fits as well. Primal Fear's melodic and heavy, often speedy, power metal remains their tried and true formula. Add to this the strongest lineup ever, especially the devastating guitar duo of Alex Beyrodt and Magnus Karlsson, and Primal Fear simply goes from strength to strength. Hey, if ain't broken, don't flippin' try to fix it.So then, fundamentally, Primal Fear delivers quintessential and unmistakable Primal Fear on Unbreakable. You've got your speedy and intense tunes: Strike, Give Em Hell, Unbreakable, and Blaze of Glory, by example. Then there's metal anthems, always heavy, melodic, and catchy: Bad Guys Wear Black and Metal Nation. Never forget the power of Primal Fear's vocal harmonies, lead by the incomparable metal singer Ralf Scheepers and backed up by Matt Sinner, Erik Martensson, and Oliver Hartmann. The band can also be epic as on the the blistering Where Angels Die. Then, Primal Fear is both epic and simply soaring on the metal anthem Born Again. Along the way the songs are peppered generously with smashing guitar solos by that aforementioned dangerous duo.With Unbreakable, Primal Fear commits to what they do best which is melodic heavy power metal without compromise, and quite infectious. I would expect no less. Quite recommended." - Danger Dog
    $15.00
  • Luxembourg is not exactly a hotbed for prog rock bands but they have at least one in TNNE.  The band was originally known as No Name but went through an upheaval in their lineup.  No named The No Name Experience, the band still features original keyboardiste Alex Rukavina and vocalist Patrick Kiefer.  These guys revel in the neo-prog sound.  If you are a Pendragon or IQ fan you will eat this stuff up!
    $15.00
  • "Central to the album are tracks like "Beautiful" and "Missing," each bristling with redemptive lyrical and vocal power, Dug near evangelical above his chosen eccentric palette, one of abrasive textures and sublime melodies that emanate truths rather than delivering them primary-colored and sharp-angled.Says Dug: ""Beautiful" is one of my favorites: ‘Don't forget you’re beautiful.' Everything I sing about, even if I’m telling somebody something about themselves, I'm actually talking to myself, about something that I've been through. So I just go ‘you,’ instead of ‘me’ (laughs). There were many times I just never felt like I was any good, and a lot of us feel that way. So I just figured, hey, ‘Don't forget you’re beautiful.’ That's a good line. And I've seen people cry, listening to that song. And "Missing;" musically it just slams; just from the beginning, even before I put the lyrics on it, it's like, this song is going to work. It was just special for me. It has some kind of vibe that I wasn't used to, a whole new slant with respect to what I do."Lightening up from the dirty strip-mining of the record’s guttural tone is a little ditty called "Equal Rights." The song is pret’ near a bit of a revival hoe-down, and might be a surefire hit, in a different time, space and dimension."Yeah, that was fun," laughs Dug. "There was an old Larry Graham/Grand Central Station song, and Sly And The Family Stone used to do the sang type of thing. They used to sit around and do these harmonies, this black gospel kind of thing, and I grew up in that situation, so I put that together with the slide guitar. I picked up slide years and years ago, but never played it. On this record I play slide all over the place. So I sat down and started strumming a guitar, and I thought, you know, maybe I'll write some kind of old gospel-type song. ‘Equal rights for everyone,’ yeah!"
    $8.00
  • Remastered edition of this star-studded first solo album comes with a bonus track.
    $17.00
  • Remastered edition with two bonus tracks."Searching for a way to retool their sound, Judas Priest attempted to accentuate their melodic side on Turbo by incorporating synthesizers and '80s pop-metal stylings ("Wild Nights, Hot & Crazy Days" sounds more like Poison, albeit with synths). The restrained songcraft sometimes pays dividends, especially on the synth-driven leadoff track, "Turbo Lover," easily the best song on the record and a successful reimagining of the Priest formula. But often, the band simply sounds directionless, unsure of exactly which path to accessibility it should follow; moreover, the synth-guitar backing and overly polished production give the album an oddly mechanized, processed feel. It certainly doesn't help most of the material, which is often at least competent but rarely inspired enough to make much of an impression. That's unfortunate because Turbo's best moments indicate that with a clearer focus, the album could have been a creative success; however, it's overall Judas Priest's weakest release since Rocka Rolla." - All Music Guide
    $5.00