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Vinyl LP pressing. Greatest Hits is the first compilation album by Aerosmith, released on November 11, 1980. It went multi-platinum and contained the songs that made the band an icon of the 1970s rock era. Some of the tracks were significantly edited from their original versions.

When Aesop Rock debuted in the late 90s with Music For Earthworms and Appleseed, Blockhead was also a part of the process, not only as a producer, but also helping coordinate sales of the CDRs to hungry Hip Hop fans. Blockhead and Aesop continued to collaborate, creating an impressive list of songs along the way, including two of Aesop’s most popular songs to date; “Daylight” and “None Shall Pass”. In recent years, Blockhead has contributed production, as well as remixes, to many of Aesop’s solo releases and group projects, and Aesop has made a handful of guest features on Blockhead’s solo projects, but in all that time, Aesop and Block have never done a full album together, until now!
 
Garbology came together over the course of the pandemic, as well as in the midst of Aesop processing the loss of a close friend in January of 2020, resulting in a period of time of feeling uncreative. Looking back on that time that feels both like yesterday and forever-ago, Aesop recalls, “The world got real weird during those months. I knew at some point I had to get back to making something. Make a beat. Draw a picture. Write. Just go. But the idea of making a beat felt like math homework, and drawing is just so hard. Writing is hard too, but at some point I had to pick one.” With writing as the chosen path, Aesop hit up Blockhead to send over some beats. At the beginning there wasn’t a plan for an album, or any particular plan beyond creating some songs. However, it wasn’t long before one song became a few, and then a handful, until finally an album was born.
 
Garbology encapsulates the soundtrack of current times, capturing a snapshot of Aes and Block expressing a means of entertaining themselves in the midst of less social interactions than usual, “anchored on a goulash of cabin fever, fear, anger and boredom”, as Aesop describes it.
 
As for the album title, Aesop explains, “Garbology is defined as the study of the material discarded by a society to learn what it reveals about social or cultural patterns. I find a lot of parallels between that and the idea of picking up the pieces after a loss or period of intense unrest, and seeing what’s really there. It’s information that speaks to who I am, who we are, and how we move forward. Furthermore - the idea of digging through old, often neglected music from another time with an ear tuned for taking in that data in a different way than your average listener would is exactly what Tony does. Go through the information and see what you find.”

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others. On September 22nd, Phoebe Bridgers will release her debut full-length, Stranger In The Alps. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.

Liverpool's legendary Death Metal pioneers Carcass (who still tour extensively to this day) are often credited with shaping the entire death metal genre. Pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. Heartwork is widely renowned as the best Carcass album with it's melodic intricacies. These albums have been specially recreated using 'FDR' - full dynamic range mastering - pressed from the original master tapes, allowing the music's nuance to shine through and giving these classic albums a more ferocious and dynamic sound, enabling the listener to immerse themselves in the full audio heaviness.

Reissue of the earsplitting 1994 album from the original Orange County punk rock legends, D.I.! D.I.'s brand of furiously fast, aggressively catchy punk rock made the boys an underground icon in the mid-'80s and continue to attract fans to this day! Includes 4 special bonus tracks of newer studio recordings!

Limited 180gm vinyl LP pressing. Digitally remastered edition. High 'N' Dry', is the first of Def Leppard's albums to be produced by Robert 'Mutt' Lange and was released in 1981. It reached #38 in the US and #26 in the UK chart, further cementing the bands status.

Vinyl LP pressing Pyromania is the third studio album by Def Leppard, originally released in 1983 The first album to feature guitarist Phil Collen who replaced founding member Pete Willis, Pyromania was produced by Robert John "Mutt" Lange. The album was a shift away from the band's traditional heavy metal roots toward a more radio-friendly sound, finding massive mainstream success.

Deluxe edition. 2021 release. Planet Her is the third studio album by rapper and singer Doja Cat. The album was produced by Doja Cat's frequent collaborators such as Dr. Luke, Y2K, and Yeti Beats, and the rapper herself. Titled after the fictional planet conceived by Doja Cat, Planet Her is an amalgamation of pop, R&B, and hip hop styles. It features guest appearances from Young Thug, Ariana Grande, the Weeknd, JID, SZA, Eve and Gunna.

Private Space, the group’s third album, is a previously untapped vibe at the heart of The Indications. Pushing beyond the boundaries of the funk and soul on their previous releases, Private Space unlocks the door to a wider range of sounds and launches boldly into a world of synthy modern soul and disco beats dotted with strings. It’s an organic, timeless record that’s as fresh as clean kicks and familiar as your favorite well-worn LP. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Its 10 tracks are both an escapist fantasy and a much-needed recentering after a tumultuous 2020. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness.

Durand Jones & The Indications have long provided the soulful soundtrack for such deep thoughts, both on stage and on your turntable. But as the world slowly resets from the chaos of the past year, Durand Jones & The Indications’ Private Space is arriving at just the right time.

Equality, dignity, and self-determination are enduring themes in this music, a spirit more vital than ever. In less than two years after their formation, DYING WISH was anointed by the extreme metal press as one of 5 Bands You Need To Know (Revolver) and a Band To Watch In 2020 (Dead Press). On the strength of a furious demo offering a maelstrom of Hatebreed, Bleeding Through, and early Converge inspired riffage, coupled with a split EP with Canada's Serration, DYING WISH secured a coveted spot on Brooklyn Vegan's Metal Albums We're Anticipating In 2020. No Echo saluted the band's "feral," "nasty," "malice," filled blasts of panicked, snarled venom. Fast-paced, sadistic symphonies of thrash, dipping into moments of Nordic-friendly death metal, are the main arsenal weaponized by guitarists Pedro Carrillo and Sam Reynolds, bassist Andrew Le, and powerhouse drummer Jeff Yambra, laid beneath Boster's distinctive and diverse scream. Decimating stages alongside likeminded bands (including Terror, Comeback Kid, and Jesus Piece) DYING WISH is part of a resurgence in postmodern noisecore, mentioned in the same breath as groups like Code Orange and their friends in Knocked Loose, who invited DYING WISH vocalist Emma Boster to guest on a recent release. Knocked Loose frontman Bryan Garris returned the favor on the punishing DYING WISH track "Enemies in Red." Both bands put their money where their mouths are, raising bail funds for activists fighting police brutality via a collaborative shirt. Following successful tours with Counterparts and SeeYouSpaceCowboy, DYING WISH hunkered down in their native Portland, Oregon, to compose their debut full-length for SharpTone Records. As Brooklyn Vegan observed, "they do metalcore in a way that's darker and more menacing than a lot of their peers," and yet, "they could be the biggest band in the world when they let their [more melodic] side shine through." If the band summon the energy they've demonstrated at DIY festivals and shows up and down the West Coast, the album is destined to be a ripper. DYING WISH align themselves with the continuing battle for liberation, encompassing the issues affecting BIPOC, the environment, policing, and more intersectional causes while dealing in personal tribulation and trauma in equal measure. They make music aimed at unity but without compromise. Abolition, revolution, and liberation, in spirit and song, is the heart of DYING WISH.

Just in time for St. Patrick's Day, Side One Dummy is proud to re-issue Flogging Molly's three studio albums on vinyl. All have gatefold packaging and are pressed on green vinyl. The band's catalog has sold over a million copies worldwide, and this limited pressing series will become a must own for fans. Look for a full US tour in February and March. This is their third full-length, chock full of instant classics such as "Seven Deadly Sins", "Factory Girls", and the title track.

The Front Bottoms are an American indie band that originated in Woodcliff Lake, New Jersey. In August 2007, after Brian Sella (vocals, guitar, lyricist) finished his first year of college, he and childhood friend Mathew Uychich (drums) began playing together under the name The Front Bottoms. Soon after, Uychich's brother Brian Uychich (keyboard, vocals) began sitting in on their practices. Brian asked to join the band, playing an old keyboard he found in the Uychich family attic.

At the core of Talon of the Hawk, is the crazy hybrid of slamming rock drumming and acoustic guitar The Front Bottoms are known for, but this time the band augments their sound with electric guitars, synths, even a little accordion.

As a singer, songwriter, and author whose incendiary music has soundtracked the Netflix show Sex Education, Ezra Furman has for years woven together stories of queer discontent and unlikely, fragile intimacies. She has a knack for zeroing in on the light that sparks when struggling people find each other and ease each other's course. All of Us Flames widens that focus to a communal scope, painting transformative connections among people who unsettle the stories power tells to sustain itself. Produced by John Congleton in L.A., All of Us Flames unleashes Furman's songwriting in an open, vivid sound world whose boldness heightens the music's urgency. The record arrives as the third installment in a trilogy of albums, beginning with 2018's Springsteen-inflected road saga Transangelic Exodus and continuing with the punk rock fury of 2019's Twelve Nudes. "This is a first person plural album," Furman says. "It's a queer album for the stage of life when you start to understand that you are not a lone wolf, but depend on finding your family, your people, how you work as part of a larger whole. I wanted to make songs for use by threatened communities, and particularly the ones I belong to: trans people and Jews."She wrote much of Flames during the early months of the pandemic. "I had no time alone anymore; my house was super crowded," she says. She drove to seek solitude, parked in arbitrary quiet spots around Massachusetts, and began to write. The songs that came flowed toward ideas of communality and networks of care, systems of survival cultivated by necessity among people who have been historically deprived of them

DAMN. [Explicit] by Kendrick Lamar - Damn (stylized as DAMN.) is the fourth studio album by American rapper Kendrick Lamar. It was released on April 14, 2017, by Top Dawg Entertainment, Aftermath Entertainment and Interscope Records. The album features production from a variety of record producers, including executive producer from the Top Dawg Entertainment label-head Anthony "Top Dawg" Tiffith, Sounwave, DJ Dahi, Mike Will Made It and Ricci Riera; as well as production contributions from James Blake, Steve Lacy, BadBadNotGood, Greg Kurstin, The Alchemist and 9th Wonder, among others. Kendrick Lamar ?- DAMN.

Double LP on yellow & black marble color vinyl in same packaging as the standard version. Side D is an etching. Full album download included. Ltd Edition. Indie Only.

The never-ending psychedelic web of Kurt Wagner's Lambchop continues to unravel on September 30th with a new album titled The Bible.

The story of The Bible begins with Wagner up in the middle of the night during the first year of the plague, watching his new friend from Minneapolis, Andrew Broder, play a Wurlitzer on Instagram Live. Broder was one in a group of Minneapolis musicians Wagner had met prior to the pandemic through mutual friend Justin Vernon (Bon Iver). After watching the livestream, he called Broder up. “Dude, I’ll get you in a studio,” he says, “you just go in there for like three or four hours and do your thing.” Broder sent him back twelve 20 minute-long pieces. And then Wagner found himself in Minneapolis, in the sweltering summer of 2021, in a decommissioned paint factory turned practice space. Wagner would find an immediate musical spark with Broder & his musical partner Ryan Olson (Gayngs, contributor to Taylor Swift's Evermore). Olson contributes greatly to the album, both with arrangements & production. “Ryan and Andrew, they’re like two sides of my personality,” Wagner says. “And if you put them together as a team, they represent me.” Good thing, because this would be the first time Wagner let somebody else—people who weren’t even from Nashville—produce a Lambchop record.

The music on The Bible is more unpredictable than it’s ever been on a Lambchop record. Jazz careening into country, into disco, into funk, and back to country. All tied together with Wagner’s own voice, born from a perspective on his own life inspired by taking care of his father at the end of his life. The sounds all jumbled together with snatches of observations, words torn from the headlines in Minneapolis—bumper stickers on the freeway, or graffiti from outside that decommissioned paint factory. Through the weeks, musicians (local & non-local) would come & go, putting their own thumbprints on this bible. Perhaps most strikingly, contributions from two different vocal choirs (Bells of the Lakes & Lutheran Bells) & gorgeous string arrangements courtesy of yMusic co-founder C.J. Camerieri (who has also arranged strings for Sufjan Stevens, Antony & the Johnsons & The National).

In 1968, John Bonham, John Paul Jones, Jimmy Page and Robert Plant formed Led Zeppelin, one of the most influential, innovative and successful groups in modern music, having sold more than 300 million albums worldwide. The band rose from the ashes of The Yardbirds, when Page brought in Plant, Bonham and Jones to tour as The New Yardbirds. In 1969, Led Zeppelin released its self-titled debut. It marked the beginning of a 12-year reign, during which the group was widely considered to be the biggest and most innovative rock band in the world.

The live double LP from Madonna’s record-breaking Rebel Heart Tour features 14 tracks, performed around the world on her 10th global trek. Recorded at Sydney’s Allphones Arena in 2016, this spectacular is everything (and more) you’d expect from The Queen of Pop. The tracklist spans Madonna’s entire career, including songs from her chart-topping Rebel Heart album and classic fan favorites, pressed on “Purple Galaxy Swirl” vinyl. Limited Edition.

Limited gold colored vinyl LP pressing. Police & Thieves is a Roots Reggae classic by Junior Murvin originally released in 1977 which was produced by Lee "Scratch" Perry (who also wrote or co-wrote many of the songs) at his legendary Black Ark Studios with The Upsetters. The title song was memorably covered by The Clash in a very different arrangement than Murvin's. Perry's imaginative and groundbreaking production surrounded Junior's falsetto vocals and the musicians in a dense, echo heavy, spaced out sound to create one of the great songs, and albums, of the roots era.