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Red Vinyl. 'The Ugliest Of All' is a devastating album with zero let-up or mercy, a thoroughly unenjoyable assault of horrific battering that will bring no pleasure to the listener whatsoever. Previous albums had catchiness and levity, but this one is dark, vicious, hateful. 'Fools Of The Trade' opens with anger at the rest of the metal scene, before segueing into 'I Want To Be Offended', a catchy middle-aged attempt at whining like millennials. 'Skullbattering' is a stomping Angelcorpse-tinged ode to mass suicide. 'Logorrhea' continues the WEREWOLVES tradition of ripping into their own fans, and title track 'The Ugliest Of All' closes the album with a fearsome chorus, stupendous velocity, and dynamite fretboard dexterity.

"In a world where there are no more heroes, the Fleshtones walk the earth like Roman gods. Since their inception in 1976 in Queens, New York, and their sweaty, boozy gestation at legendary venues such as CBGB, Max’s Kansas City, and the storied Club 57— recently feted at the Museum of Modern Art, where their proto-video underground film “Soul City” was unspooled for art stars, glitterati, and a raft of punk rockers who managed to get past the front gate — they have perpetrated their proprietary brand of SUPER ROCK, a frenetic amalgam of garage punk and soul, punctuated by the big beat and unleashed with the spectacular show business majesty which has kept them on the road for over forty years, adored by audiences whose love for them borders on religious fervor.

It’s Getting Late (…and More Songs About Werewolves) is a smash that could have dropped at any point in their epic career — it is an outburst, and a celebration of the SUPER ROCK sound. Unlike their contemporaries, they have not dialed down the tempos to compensate for osteoporosis, they have not lost anything on their fastball, and continue to throw it for strikes. The hardest working band in garage rock has never sounded better, and now you see why they've been your favorite band's favorite band for decades."

"In a world where there are no more heroes, the Fleshtones walk the earth like Roman gods. Since their inception in 1976 in Queens, New York, and their sweaty, boozy gestation at legendary venues such as CBGB, Max’s Kansas City, and the storied Club 57— recently feted at the Museum of Modern Art, where their proto-video underground film “Soul City” was unspooled for art stars, glitterati, and a raft of punk rockers who managed to get past the front gate — they have perpetrated their proprietary brand of SUPER ROCK, a frenetic amalgam of garage punk and soul, punctuated by the big beat and unleashed with the spectacular show business majesty which has kept them on the road for over forty years, adored by audiences whose love for them borders on religious fervor.

It’s Getting Late (…and More Songs About Werewolves) is a smash that could have dropped at any point in their epic career — it is an outburst, and a celebration of the SUPER ROCK sound. Unlike their contemporaries, they have not dialed down the tempos to compensate for osteoporosis, they have not lost anything on their fastball, and continue to throw it for strikes. The hardest working band in garage rock has never sounded better, and now you see why they've been your favorite band's favorite band for decades."

'Die For Us' is the fifth full-length release in five years from WEREWOLVES, the world's most prolific metal band. WEREWOLVES is the final word in blunt-force death-metal fury. Created in 2019 as an experiment to see how quickly an album could be written and recorded by seasoned professionals Matt Wilcock (AKERCOCKE, THE BERZERKER), Sam Bean (THE BERZERKER), and Dave Haley (PSYCROPTIC), the experiment has gone fully out of control and blundered out into the music world garnering hate, fear, and wonder_and in 2024 the band has a rabid cult fanbase and 5 Albums & 1 EP to their name - half way to the goal of 10 Death Metal albums in 10 years. 'Die For Us' features guest vocals from fearsome Australian legend Rok from SADISTIK EXEKUTION in a performance that will leave you wiping spittle from your face.

Werewolves formed in 2019 and have proceeded to release an album a year to increasing acclaim and global calamity. Three full lengths and one EP later, the band performs an act of creative peristalsis with album four “My Enemies Look And Sound Like Me” due out 11th August 2023. Bassist/vocalist Sam (The Antichrist Imperium, The Berzerker) says: “Here it finally is, the recording that will cement our place in the technical death metal world as some of the greatest soloists and most thought-provoking lyricists working in music today. Our ability to shape raw art from ethereal nuance is second only to our famously slow craftmanship.” He continues “Of course I’m fucking kidding. This album is as idiotic as the rest, if not more. CAVEMAN RIFFS. Blasting. Screaming. Bowing to a shrine with pictures of Mortician, Marduk, and Angelcorpse. This isn’t going to be the album that brings people together and catalyses world peace. Apparently it has greater emotional reach than our earlier work but we haven’t noticed that ourselves, we’re morons. I can confirm that there is more swearing on this album than all the others, it’s positively Australian-esque”.

B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line.

Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil's Angels, Thunder Alley, and Born Losers (often released on Curb's own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation...

"Pre-certified biker psych from the hillbilly Haxan. Amazing!" - SEAN CANTY (DEMDIKE STARE)

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

long content, you may need to expand row to see all... • Warren Zevon’s final concert, recorded August 9, 2002 at the Edmonton Folk Music Festival, available for the first time
• Features “Werewolves Of London,” “Poor Poor Pitiful Me,” “Lawyers, Guns & Money,” “Play It All Night Long,” and more
• Double LP with etched 4th side and liner notes fromlongtime Zevon band member and friend Matt Cartsonis, who accompanied Warren during this performance
• Available for on opaque metallic silver vinyl

One of my favorite repeatable moments in our sets was looking over when he was singing that line from “Don’t Let Us Get Sick”: “I’m lucky to be here with someone I like . . .” to find him looking at me. That’s some pure and precious stuff, and I’m immensely grateful for the memory.
—Matt Cartsonis from his liner notes

Luckily, 2025 Rock & Roll Hall of Fame inductee, Warren Zevon left us with a treasure trove of nearly four decades of incredible songs and performances. Neither Warren, nor his long-time band member, accompanist, and friend Matt Cartsonis, nor the 14,000 people in attendance at the Edmonton Folk Music Festival knew this would be Warren’s final concert—it was just another great performance from an exceptional songwriter and artist. Epilogue: Live At The Edmonton Folk Music Festival offers you the chance to experience it for the first time, or relive it if you were there.

Featuring Warren on guitar, harmonica, and piano, with Cartsonis adding guitar, dulcimer, fiddle, harmonies and more, the pair run through classics like “Werewolves Of London,” “Poor Poor Pitiful Me,” Lawyers, Guns And Money,” and “Play It All Night Long.” The set also features a performance of the song “Dirty Life And Times,” only ever played twice! The pair found room in the set to pay tribute to Canada with a cover of Joni Mitchell’s “A Case Of You” and the traditional, “Canadee-i-o.”

Available on double metallic silver Vinyl (with etched fourth side), Epilogue: Live At The Edmonton Folk Music Festival has been mastered and restored by multiple Grammy-winning engineer Michael Graves and Jordan McLeod of Osiris Studio with Matt Cartsonis. Cartsonis also adds poignant liner notes about the performance, and insight into his musical relationship and friendship with Zevon.
Epilogue: Live At The Edmonton Folk Music Festival is a gift from a truly legendary singer and songwriter. Play it all night long, indeed.

Im Februar 2026 erscheint zum zwanzigjährigen Jubiläum Hard to Love a Man" von Magnolia Electric Co. als erweiterte Edition und zum ersten Mal auf Vinyl. Diese Jubiläumsausgabe der ersten EP der Band enthält drei zusätzliche Tracks: remasterte Demos von 31 Seasons in the Minor Leagues" (zuvor unter dem Titel Tonight I'm So Down" bekannt) und Lonesome Valley", aufgenommen in den Echo Park Studios in Indiana während der Hard to Love a Man"-Sessions, sowie One Thin Dime", aufgenommen während der Black Ram"-Sessions in den Sound of Music Recording Studios in Richmond, Virginia. Working-Class-Rock" ist ein Begriff, der häufig zur Beschreibung von The Magnolia Electric Co. verwendet wurde. Kategorisch hatte sich die Band ihren Platz unter gleichgesinnten Ikonen wie Bob Seger, CCR, Tom Petty und Bruce Springsteen gesichert, doch es handelte sich nicht nur um eine ästhetische Beschreibung, sie untermauerten dies mit ihrer Arbeitsmoral. Im Jahr 2005 waren The Magnolia Electric Co. erstaunlicherweise acht Monate unterwegs. Diese Tatsache wurde den Bandmitgliedern selbst am deutlichsten bewusst, da sie so lange von ihrem Zuhause und ihren Liebsten getrennt waren. Daher die Bedeutung des Titeltracks. Wenn Jason Molina die Perspektive der Person einnimmt, die er zurückgelassen hat, und in Hard To Love A Man" singt: "It was hard to love a man like you / Goodbye was half the words you knew / While you were waiting for me not to call / I sent my love", dann wird die Einsamkeit und Schuld der Trennung schmerzlich deutlich. Jennie Benfords verletzliche Stimme, gepaart mit Jason Groths fließender Gitarre und Mike Kapinus' klagender Orgel, unterstreicht dieses Gefühl eindrucksvoll, unterlegt vom charakteristischen, präzisen und geschmackvollen Rhythmusfundament von Mark Rice und Pete Schreiner, während Nicole Evans eine neue, dynamische Stimme hinzufügt. Hard To Love A Man" und der Live-Favorit Werewolves Of London" wurden mit Steve Albini in seinen Electrical Audio Studios aufgenommen, die übrigen Tracks entstanden während eines kurzen fünftägigen Heimaufenthalts in Indiana bei Echo Park Studios mit Paul Mahern, dessen Engineering-Resume schon damals Projekte wie The Blake Babies, Lisa Germano und John Mellencamp umfasst. Während die Magnolien weiter wuchsen und erblühten, ließ Jason Molina die Insassen das Irrenhaus regieren.

A Consummate Fusion of Wit, Humor, Satire, Honesty, and Chaos: Warren Zevon’s Excitable Boy Captures Dark Elements of American Culture with Uncanny Insight

• Sourced from the Original Analog Tapes for Definitive Sound: Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set and Hybrid SACD Play with Explosive Dynamics and Airy Openness

• Jackson Browne-Produced Album Includes “Werewolves of London,” “Lawyers, Guns, and Money,” and “Roland the Headless Thompson Gunner”

Excitable Boy established Warren Zevon as rock’s gonzo figurehead — or, as Jackson Browne aptly called him, “the first and foremost proponent of song noir.” A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that’s even sharper today than upon the effort’s release in 1978. Its hard-boiled narratives owe to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by Breaking Bad and Better Call Saul creator Vince Gilligan. And the music has never sounded so excitable. Sourced from the original analog master tapes, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set and hybrid SACD elevate the best-selling album of Zevon’s career to audiophile status.

Co-produced by Browne and Waddy Wachtel — and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, and Browne — the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics; sterling transparency that draws a through- line to the original sessions at the Sound Factory; and a presence that enhances the body and tenor of Zevon’s vocals. Like the hairy creatures in “Werewolves of London” and the ghosts wandering the corridors of Excitable Boy, Zevon’s legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.

Recorded during Zevon's second comeback in the years 1991-1995, Learning to Flinch (Live) features live versions of hits like Excitable Boy and Werewolves of London, with a more stripped-down sound. While Zevon wasn't known for extensive touring, this live album stands out as a rare recording of his stage presence and humor. This is the first worldwide stand-alone release on vinyl and is mastered directly from stereo analog tapes by Bernie Grundman.

[o] B8 Back In The Highlife; Producer, Engineer – Paul Q. Kolderie, Sean Slade; Written-By [Uncredited] – Steve Winwood, Will Jennings

Picture Disc, limited to 500 copies. THE ANTICHRIST IMPERIUM debut album 10th anniversary limited edition reissue! Brace yourselves for an unrelenting sonic assault as Antichrist Imperium featuring members of AKERCOCKE, THE BERZERKER, WEREWOLVES & VOICES unleashes their explosive debut album, a thunderous entry into the world of extreme metal. From the first blistering note to the last, this album crushes with an intensity and fervor that's almost apocalyptic. Known for their ferocious blend of thrash, black, and death metal, the band wastes no time in establishing their dominance, offering a sonic journey that is both raw and refined. With lightning-fast riffs, pounding drums, and ferocious vocals that sound like they've been dragged straight from the abyss, Antichrist Imperium delivers a relentless barrage of aggression and passion. The album's production is crisp yet full of grime, creating the perfect balance between clarity and chaos, allowing every intricacy of the band's ferocity to shine through. Lyrically, the album explores themes of apocalyptic destruction, existential rage, and the obliteration of morality told through the lens of a dystopian, anti-religious perspective. These themes resonate with a sense of inevitable doom, driving each track forward like a relentless storm that refuses to let up. The standout tracks are full of both technical mastery and ferocious energy. With riffs that will have you headbanging and beats that will rattle your very core, Antichrist Imperium sets a new benchmark for thrash metal in the modern age. It's a fusion of old-school thrash influences and cutting-edge extreme metal, creating an album that feels both nostalgic and forward-thinking. Antichrist Imperium's debut is a thrilling, no-holds-barred rollercoaster of destruction that cements their place in the pantheon of modern metal. A must-listen for fans of thrash, black, and death metal, it is an uncompromising and absolutely fiery introduction to a band that's ready to reign terror across the metal scene.

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Orange/ Black Mixed Vinyl, 425gsm heavy cardboard cover, insert, poster

In partnership with Hollywood Records and Regency Enterprises, Waxwork Records is thrilled to present BARBARIAN Original Motion Picture Music by Anna Drubich. Barbarian is a 2022 American Horror film written and directed by Zach Cregger in his solo screen writing and directorial debut. The film stars Georgina Campbell, Bill Skarsgård, and Justin Long. The plot follows a woman finding out that the rental home she has reserved has been accidentally double-booked by a man, not knowing of a dark secret within the dwelling. Anna Drubich is an award-winning film composer from Moscow. Her diverse body of work includes live action features, animated features, television series, documentaries, and plays and concert halls across the world. Anna has score over 35 major film and TV projects including a co-score with Oscar-nominated composer Marco Beltrami on the Guillermo Del Toro adaptation of Scary Stories To Tell In The Dark, Netflix's hit feature Fear Street: 1994, the horror-comedy Werewolves Within, and more. Waxwork Records is proud to present BARBARIAN Original Motion Picture Music as a deluxe vinyl album featuring 180 gram "Mother's Milk & Blood" splatter colored vinyl, heavyweight gatefold jackets with matte satin coating and UV spot-gloss varnish, new artwork by Steven Reeves, and an 11"x11" art print insert!

The perfect soundtrack for celebrating Halloween with novelty rock'n'roll. For fans of deep 1960s vintage Halloween themed tunes: witches, werewolves, monsters, devils, aliens, and zombies set the stage for a camp and entertaining holiday bash. Features the super-rare 1962 Bettye LaVette track, "Witchcraft in the Air," and the trailer to the 1959 Vincent Price spooktacular, House on Haunted Hill.

Being back in the prairies after decades away opened up boxes of tightly wrapped insanity, delicate stuff, and bizarre things. The joy and sorrow of the place drives me into the Blues studio to make more art for you. It's made with big heart from way out West, to keep you alive and virile.”

Welcome back. Where's the party at? Son Of Dave's 11th album kicks off with homecoming outbursts. After 26 years in London UK he's back in the Canadian Prairies demanding as much attention as always. Themes of flat Midwest cities, classic-rock lovin' truckers, and a weird call for More Mayonnaise will keep his multitude of international fans chuckling. The usual Son Of Dave bag of tricks colours the album: Blues-harmonica, beat-box, cheap electric guitar, and that voice that shouts and croons his own brand of Blues infused old-school R&B.

As always, he messes with different rhythms: Funk, Boogaloo, Rock-Steady, or Techno, always doing it his own way. How do you categorize a Son of Dave album? He's become his own style, loved and shared by millions of fans worldwide. That's why you'll find his music in the Breaking Bad soundtrack and many more. You'll hear it on college radio or boomer generation blues radio programs from Switzerland to Argentina. A true maverick Bluesman.

Most of the record is done completely himself. All writing, instruments, editing, recording, mixing and artwork. You're welcome. Three exceptions are “Where's The Party At” , produced by long-time collaborator Tim Gordine in London, and two recorded on Vancouver Island by Zac Cohen at lovely Woodshop Studios, “Yahoos” and “I Told You All I Know”. The album will be released on July 12th. Four singles will lead up. Plenty of videos and fun coming. Shows and tours forthcoming.

The classic 1983 hardcore scuzz rock debut from Berkeley, CA’s Fang, Landshark is a unique mix of erratic thrashers and slow Sabbath-oid noise riffs. Its best-known tune is without a doubt the rumbling and stumbling opening track “The Money Will Roll Right In,” which has been covered by Nirvana, Metallica, Mudhoney, The Butthole Surfers and god knows who else. The record also includes cheerful odes to the disabled (“Destroy the Handicapped”), the follicle-y challenged (“Skinheads Smoke Dope”), and assorted werewolves, delinquents and drug users. Fang continues to unload their brand of sludge-punk on audiences to this day, with recent tours taking them around the US, Europe and Brazil. This reissue is remastered and back in print on vinyl for the first time in 20 years, with additional vintage artwork inside. The digital download included with the disc also features their entire Where the Wild Things Are release, plus more.

A Quiet Normal Life: The Best Of Warren Zevon is a greatest hits album by American musician Warren Zevon released in 1986.
This compilation covers Zevon's four studio albums with Asylum Records. It was mastered by Barry Diament.
A Quiet Normal Life highlights the best of Warren Zevon's Asylum albums. Includes "Werewolves of London" and

"Stand In The Fire" - Warren Zevon (voc, g, p); Zeke Zirngiebel (g, voc); David Landau (g); Bob Harris (synth, p, voc); Roberto Piñón (b, voc); Marty Stinger (dr)

Warren Zevon had toured for quite some time as a songwriter in the rock scene, released a few singles and landed a flop with his debut LP in 1969 before the tide finally turned. Roughly ten years later, his live album – put together from a five-day residency at the Roxy Theater in West Hollywood – entered the annals of vinyl history as one of the best live albums of all time and was awarded four stars by the magazine Rolling Stone. Ambiguously entitled by the comprehensively educated Zevon, who had been confronted with the tough side of show business, "Stand In The Fire" delivers genial simple pure and straightforward rock right from the start, which hit the public with a vengeance. Full of vim and elation, the band pours out the significant, biting verses with fire ("Jeannie Needs A Shooter") and fuels the emotional inferno with high-speed bursts of rock ("Excitable Boy"). Zevon proves his skills as a singer and songwriter in the ballad-like yet powerful "Mohammed’s Radio". In a direct comparison to this number we have the forthright, no-nonsense hit "Werewolves Of London" with its close harmonies. Just how Zevon manages to succeed in getting his delicate voice and lyrics over to the public is shown in the powerful mix of heavy and honky-tonk ("I’ll Sleep When I’m Dead") and finally in the thunderous final number – "Bo Didley’s A Gunslinger" – with its percussive and metrically complicated antiphony.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: August 1980 live at The Roxy Theatre in West Hollywood, CA., by Billy Youdelman and Greg Ladanyi

Production: Greg Ladanyi & Warren Zevon

American rock band The Flamin’ Groovies were established in 1965 and are still active today: that marks an impressive career spanning over six decades. Jumpin’ In The Night is their sixth studio album, originally released in 1979. Mark Deming of AllMusic called the album tighter and tougher than its predecessor. The production by Roger Bechirian and vocalist/guitarist Cyril Jordan flatters the guitars and emphasises the band’s “wall of guitars”, ultimately making it an excellent pop rock effort.

American rock band The Flamin’ Groovies were established in 1965, and are still active today: that marks an impressive career spanning over six decades. Jumpin’ In The Night is their sixth studio album, released in 1979. Although it initially didn’t fare well commercially and eventually led to a change in personnel, the album was a critical success and still is received well among music critics and fans. Mark Deming of AllMusic called the album tighter and tougher than its predecessor. The production by Roger Bechirian and vocalist/guitarist Cyril Jordan flatters the guitars and emphasises the band’s “wall of guitars”, ultimately making it an excellent pop rock effort.

The album is available as a limited edition of 1000 individually numbered copies on translucent green coloured vinyl, and contains an insert.