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A 7” singles box set comprising all of Amy’s singles from the Frank, Back To Black and Lioness: Hidden Treasures albums. Tracks include ‘Stronger Than Me’, ‘Rehab’ and ‘Love Is A Losing Game’, all of which won the Ivor Novello Award for Amy in 2004, 2007 and 2008. The set also includes the Grammy Award winning ‘Body and Soul’, a duet with Tony Bennett. The singles are housed in individual picture sleeves and pressed on black vinyl. The box also features a 20-page lyrics booklet and a set of art cards.
Also Available: The Collection [5CD Box Set]
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Double vinyl LP pressing. 2020 release. Unfollow the Rules is Rufus Wainwright's ninth of original material, his first since Out of the Game (2012), and his first with BMG. The album was produced by Mitchell Froom, and other contributors include Matt Chamberlain, Jim Keltner, and Blake Mills. Includes "Trouble in Paradise", "Damsel in Distress", "Peaceful Afternoon", and "Alone Time". There's still a sense of mischief in Wainwright's songs, but there's also abundant passion, honesty and a kind of fearlessness pervading this album. He pushes the boundaries of pop with these tracks, which were mostly recorded in single takes, and his vocals are at their soaring, sublime best.
Small Change is a masterpiece that contains some of Waits’ best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom’s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like “Step Right Up”, “Tom Traubert’s Blues”, “I Wish I Was in New Orleans”, “The Piano Has Been Drinking”, and “Invitation to the Blues” are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change is a classic and stands as one of Tom Waits most popular recordings.
Mule Variations is the twelfth studio album by American musician Tom Waits, released on April 16, 1999 on the ANTI- label. It was Waits's first studio album since The Black Rider (1993). It won a Grammy Award for Best Contemporary Folk Album and was nominated for Best Male Rock Performance for the track "Hold On". It also sold more than 500, 000 copies world wide. The album was backed by an extensive tour in Europe and North America during the summer and autumn of 1999, which was Waits's first proper tour since 1987. Other promotional stops included a solo performance on VH1 Storytellers. In 2003, the album was ranked number 416 on Rolling Stone's list of The 500 Greatest Albums of All Time
Expanding beyond the folk and pop stylings of his first album, “Heart of Sat- urday Night,“ Waits’ second studio release, established his reputation as a versatile and distinctly American songwriter. Its bluesy jazz arrangements featured bass, drums, sax and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like “San Diego Serenade” are enduring classics covered by an array of artists from Diana Krall and Nancy Griffith to folk hero Eric Anderson. The album also features the first of what would become a signature for Waits’, the spoken word-poetry song, “Diamonds on My Windshield”. Waits’ delivers these lyrics as pure beat jazz in the stylings of Kerouac , Langston Hughes and Bob Kaufman. “Beneath the sophisticated brilliance of his lyrics, Waits reveals a haunting innocence” - Rolling Stone
Blue Valentine (1978) is a big departure from earlier Waits albums. Trading the piano for the guitar, Waits is getting rawer and bluesier and the title track is a great example of this. Waits is in transition here, so you also get a stunning orchestrated rendition of Gershwin’s “Somewhere”, and the beautiful piano ballad, “Kentucky Ave.”, but you also get the juke joint swagger of “Romeo Is Bleeding” and “Whistlin’ Past the Graveyard”. This is also the record that contains one of Waits’ most popular songs ever, “Christmas Card from A Hooker in Minneapolis”.
Recorded in front of a live audience at the Record Plant recording studio in Los Angeles in 1975, Nighthawks at the Diner debuts some of Waits’ greatest classics like “Warm Beer, Cold Women” and “Eggs and Sausage” with a crack Jazz ensemble backing him up and some of the greatest stage patter ever committed to record.
Tying together three of his major loves: classic horror films, hard rock, and electronic music, Rob Zombie created and released his debut solo album, Hellbilly Deluxe in August 1998. Featuring his iconic hits 'Dragula,' 'Living Dead Girl' and 'Superbeast,' Helbilly Deluxe cemented Rob Zombie as a hugely successful solo artist with over 3 million album sales and his first Top 5 album chart position in the Billboard 200.
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American Made Music to Strip By was Rob Zombie's first remix album, released by Geffen Records in 1999. Featuring remixes of 'Dragula,' 'Superbeast,' 'Living Dead Girl' and more, American Made Music To Strip By gave listeners a new and exciting taste of their favorite tracks from Hellbilly Deluxe.
Focusing on his love of horror and suspense, Rob Zombie named his second album The Sinister Urge, after the 1961 film of the same name (directed by Ed Wood). Featuring his third Top 20 Mainstream Rock single 'Demon Speeding' as well as metal juggernauts Ozzy Osbourne (guest vocals on 'Iron Head') and Kerry King (additional guitars on 'Dead Girl Superstar') along with a slurry of other notable guest musicians, this album has achieved platinum sales status as well garnering Rob his second Top 10 album chart in the Billboard 200.
Astro-Creep: 2000 Live...; was the final studio album by White Zombie and is performed front-to-back here by Rob Zombie for the first time ever at the Riot Fest in September 2016. Featuring 'Electric Head, Pt. 2 (The Ecstasy),' 'More Human Than Human,' and 'Super-Charger Heaven,' this was White Zombie's most successful album and a fan favorite.
Rob Zombie drops two brand new tracks from his upcoming new album THE ELECTRIC WARLOCK ACID WITCH SATANIC ORGY CELEBRATION DISPENSER on Record Store Day. Side A features both tracks at 45rpm and is a reverse groove playback, drop the needle in the center to play the record. Side B is an etched image of the upcoming highly erotic/explicit artwork. Limited to 5500 copies.
1. Well, Everybody's Fucking In A U.F.O., b/w 2. Super-Doom-Hex-Gloom Part One
The collection of 56 songs went far beyond a simple career retrospective. It dipped back as far as 1984 with the bulk of it’s songs hailing from the mid-nineties onward. Over 2/3 of the material had never been heard when originally released in 2006 and had 30 newly recorded songs. Orphans also featured a number of songs finding a home on a Waits’ album for the first time. They included Waits’ unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly. These outtakes, rarities and the previously unreleased material were separately grouped into themes and named, Brawlers, Bawlers, and Bastards. And now these titles will be released individually. Brawlers is a collection of raucous blues and full-throated juke joint stomps Bawlers is a collection of Celtic and country ballads, waltzes, lullabies, piano and classic lyrical Waits’ songs Bastards is a collection of experimental music and strange tales.