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Vinyl LP pressing. Space Wrangler is the first studio album by the Athens, GA based band Widespread Panic. It was first released by a small Atlanta label, Landslide Records, on February 4, 1988

Vinyl LP pressing. Widespread Panic is the self-titled, second studio album by the Athens, Georgia-based band Widespread Panic. It was first released by Capricorn Records and Warner Bros. Records on July 30, 1991.

If you’re among the legions of Widespread Panic fans, you already know that the band is legendary for never playing the same show twice – or the same song the same way twice. What makes this performance that much more special is the inspiring presence of founding member Michael Houser (whose nickname “Panic” inspired the band’s name), who died of pancreatic cancer less than two years later. As much as anything, this is a celebration of Houser’s life and the sheer joy he brought to a band that became one of the biggest draws on the international concert circuit and created a vibe that makes the Panic experience unique in the pop rock world.

But anybody who knows anything about them knows that Widespread Panic is so much more than just a jam-happy rock band. From the time Houser and John Bell (“JB”) began playing duets around Athens, Georgia, in the early 80’s, their repertoire ranged from early covers of the Grateful Dead and Bob Marley to a host of original songs (among them “Space Wrangler”, included here) that demonstrate, as The Village Voice wrote, “a willingness to dip their collective toe into just about any genre.” This is classic Widespread Panic, including David Schools on bass, John Hermann on keys, Todd Nance on drums and Domingo Ortiz on percussion.

One look at this show and it’ll quickly become obvious there was something strange going on in the house that night. Yes, it was Halloween, 2000, and the rabid fans went beyond even their usual hard-core delirium. This was one time the audience almost threatened to steal the show!

-Terry Lickona (Producer Austin City Limits®)

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. 

Limited edition snowy white marbled 180-gram vinyl; includes 12x12 insert. After abandoning plans for a rock opera, Weezer released their second studio album, Pinkerton. To better capture their live sound, the band produced Pinkerton themselves, creating a darker, more abrasive album than their 1994 self-titled debut. Cuomo's lyrics express disillusionment with the rock lifestyle; the album is named after the character BF Pinkerton from the opera, Madama Butterfly.

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.

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.

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.

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.

Never one to be outdone, Tom Waits released ALICE and BLOOD MONEY simultaneously, both featuring music written for plays directed by Robert Wilson. Loosely based on THROUGH THE LOOKING GLASS, ALICE is much more low-key and ballad-heavy than its companion release, but just as incisive and affecting. The title track is a smoky, jazz-tinged torch song that conjures pleasant memories of Waits's evocative work for Francis Ford Coppola's film ONE FROM THE HEART. 'Everything You Can Think' is an absurdist portrait a la the seminal RAIN DOGS. Waits opens the door to the freak show on 'Poor Edward,' a disturbing tune about a man with a female face on the other side of his head, and the more light-hearted 'Table Top Joe,' a swinging, jazzy tale of a character with no bottom half but plenty of rhythm. Despite the effective journeys into the bizzaro universe, perhaps the most stirring moments on ALICE are the wounded romantic ballads 'Fish and Bird' and 'I'm Still Here,' where Waits's knack for a classic melody mates perfectly with a lyrical combination of wistfulness and regret.

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.