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With its title a quotation of Jesus from the gospel of Matthew, this is quite possibly the most well-known album with "Satan" in the title, all due respect to the Louvin Brothers.

Recorded on the stairway of Jack White's home in the Indian Village neighborhood of Detroit, this album features marimba, tympani, mandolin and bells, as well as the usual guitar and drums and piano. Described by someone as an "oddball masterpiece," it was not commercially released on vinyl until ten years after its initial release.

Original album, remastered

Original album, remastered

From the vaults: "At Cat's Cradle, 1992" captures the original two man band - Dean, Gene and some samples, tapes, and a drum machine. Originally a CD/DVD release and now available on vinyl for the first time. Pressed on Milky Clear vinyl. 

Named after the Dutch art movement and magazine of the same name from the early 20th century, The White Stripes sophomore release finds the band recording in the comfortable confines of Jack White's Third Man Studios, then housed on the ground floor of his house in Southwest Detroit.  This is the album that would propel the band into globe-trotting rock and roll prominence. The on-point covers of Son House and Blind Willie McTell pair wonderfully with both the minimal downtempo somber numbers and the maximum energy explosions of unadulterated power.  Pressed on 180-gram vinyl and housed in a Stoughton tip-on sleeve, this is undoubtedly the best version of "De Stijl" to hit the shelves.

For this one, Jack and Meg decamped to Memphis to record at the legendary Easley-McCain Studio and walked away with a bonafide classic. Unique for a White Stripes album, as it contains no covers, no guest musicians, no blues and no guitar solos, this album would be most of the world's introduction to the band.

While the video for "Fell In Love With A Girl" could've single-handedly raised the price of LEGO stock the other jams on here are momentous, from the fuzz distorted clarion call of album opener "Dead Leaves and the Dirty Ground" to the finger-pointing accusations of "I Think I Smell A Rat" this album has everything you could ever want from the Detroit duo.

Cut directly from the original 1/4" master tapes, pressed on HEAVY 180-gram vinyl and lovingly ensconced in a beauteous Stoughton tip-on jacket...this album has never looked better, and perhaps, has looked markedly worse.

A Quick One was released in 1966, containing experimental music Suite (a nod to Rock Operas that were to follow). The album contains “Boris the Spider”, “Don’t Look Away” & has been mastered by long time Who engineer Jon Astley from the original tapes. Packaged in original sleeve with obi & certificate of authenticity, this black vinyl version is engineered by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut.

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.

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.

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.

In 2008, Tom Waits launched a sold out national tour, garnering intense critical praise Paste magazine called it the best live show of 2008 and thrilling fans across the country and the world, some in cities where Waits had never played before. Now comes the document of those concerts, 17 performances hand picked by Waits from along the tour. Leaning heavily on songs from his ANTI releases including a haunting Trampled Rose from Real Gone and roaring Get Behind the Mule from Mule Variations Waits also digs into the vaults for tracks like a reimagined Singapore from 1985 s Rain Dogs. Glitter and Doom Live will reside in the Waits catalog alongside earlier live albums like Nighthawks at the Diner and Big Time, both discs held on par with his classic studio releases by fans.

Released in 1980, Heartattack and Vine was Waits’ final album on Elektra /Asylum Records and it built on the raw blues approach of Blue Valentine with the incendiary title track, the funky, organ driven “Downtown” and the stomping NOLA blues of “Mr. Siegal”. This album also contains some of Waits most popular ballads, including “Jersey Girl” which was famously a hit for Bruce Springsteen. “On the Nickle” is a moving song about the homeless people who lived on 5th street in downtown LA, and “Ruby’s Arms” is a beautiful song with a lovely Bach-like melody.

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.

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.

Three-time Grammy Award winner Lucinda Williams unabashedly takes on some of the human, social and political issues of our day with her boldest and most direct album to date, Good Souls Better Angels. During the course of her celebrated four-decade, pioneering career Williams has never rested on her laurels as she continues to push herself as a songwriter. On Good Souls Better Angels, she has much she needs to get out. On Good Souls Better Angels, Williams changes course and chooses to forgo the personal and narrative-based songcraft that has become synonymous with her name and instead speaks to some of the injustices permeating our society. Williams recorded Good Souls Better Angels backed by her remarkable, long time band, featuring Butch Norton (drums), Stuart Mathis (guitar) and David Sutton (bass). The rock-solid unit propels the music with both fire and finesse. Good Souls Better Angels marks the first time Williams' husband/manager Tom Overby is credited as a co-writer on many of the new songs. The album was co-produced by Williams, Overby and Ray Kennedy, who last worked with Williams on her 1998 landmark album Car Wheels On A Gravel Road.