{"title":"Music Releases 03\/23\/2004","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eNew music releases at Vibin’ Vinyl on 03\/23\/2004\u003c\/p\u003e","products":[{"product_id":"madvillain-madvillainy-cassette","title":"Madvillainy (Cassette)","description":"\u003cp\u003eMadvillainy (Cassette) is a Music Cassette Tapes from Madvillain\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eGenre: Rap\u003c\/li\u003e\n\u003cli\u003eFormat: Cassette\u003c\/li\u003e\n\u003cli\u003eReleased:  03\/23\/2004\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Madvillain","offers":[{"title":"Default Title","offer_id":44562973982953,"sku":"0ON2Q3-89GV-00","price":21.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/files\/Madvillain-Madvillainy-Cassette_5v5yu_e4e5719e-3c22-4bfd-988a-21a0df4b4a90.jpg?v=1759322344"},{"product_id":"descendents-cool-to-be-you","title":"COOL TO BE YOU","description":"Descendents: Milo Aukerman (vocals); Stephen Egerton (guitar); Karl Alvarez (bass); Bill Stevenson (drums).\nAdditional personnel: Chad Price (background vocals).\nRecorded at The Blasting Room, Fort Collins, Colorado in February 2002.\nPersonnel: Milo Aukerman (vocals); Stephen Egerton (guitar); Bill Stevenson (drums); Chad Price (background vocals).\nAudio Mixers: Jason Livermore; Bill Stevenson.\nRecording information: Planet Of Sound, Wilmington, Delaware (02\/2002-04\/2002); The Blasting Room, Fort Collins, CO (02\/2002-04\/2002).\nPhotographers: Rachel Woliansky; Rodger Deuerlein; Stacie Stevenson.\nOn their first album since their 1996 reunion record, EVERYTHING SUCKS, '80s punk icons the Descendents unleash a fierce set of songs that fits seamlessly with their well-honed, melodic yet rocked-out sound. Vocalist Milo Aukerman still emotes the way he did when he was a teenager, but now the odes to geek woe (\"Mass Nerder\") and gastronomic distress (\"Blast Off\") are joined by songs such as \"'Merican,\" a scathing US government broadside worthy of Bad Religion. As always, the rest of the band wraps tight, straightforward rhythms and potent guitar lines around Aukerman's sincere sentiments, showing that, happily, some things haven't changed that much since the Descendents debuted in 1981.\u003cul\u003e\n\u003cli\u003eGenre: Pop\u003c\/li\u003e\n\u003cli\u003eRSD Date: n\/a\u003c\/li\u003e\n\u003cli\u003eFormat: CD\u003c\/li\u003e\n\u003cli\u003eReleased: 3\/23\/2004\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Descendents","offers":[{"title":"Default Title","offer_id":44563239534825,"sku":"OC75AK-Q5HG-00","price":14.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/files\/Descendents-COOL-TO-BE-YOU_09bIx_2486d97b-8023-4815-bf33-e8f5dac91308.jpg?v=1741073421"},{"product_id":"iron-wine-our-endless-numbered-days-1","title":"OUR ENDLESS NUMBERED DAYS","description":"Initial pressings of OUR ENDLESS NUMBERED DAYS comes with a 4-song bonus CD.\nIron \u0026amp; Wine: Sam Beam, Sara Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki, Jonathan Bradley.\nRecorded at Engine Deck Studios, Chicago, Illinois in 2003.\nWhile Sam Beam's self-recorded first outing as Iron \u0026amp; Wine, THE CREEK DRANK THE CRADLE, features a hushed bedroom atmosphere, his second full-length album, OUR ENDLESS NUMBERED DAYS, invites listeners into a slightly larger living room. Here there's enough space for an outside producer (Brian Deck) and additional musicians (including Sam's sister Sara on harmony vocals). Though Beam's musical palette has broadened to occasionally include drums, bass, and various stringed instruments, the spare, Southern Gothic tone remains intact, thanks to his distinctive, whispered vocals and literate lyrics.\nThe album opener, \"On Your Wings,\" slowly builds from acoustic- and slide-guitar lines before fading back into its own dreamy oblivion. On \"Cinder and Smoke,\" Beam quietly observes that \"the farmhouse is burning down\" over a chanted backdrop, while \"Free Until They Cut Me Down\" initially sounds like Johnny Cash's bluesy take on Depeche Mode's \"Personal Jesus\" until Beam's honeyed voice enters. And although the vocals of Cash and Beam are nearly polar opposites, Beam shares the late Man in Black's penchant for themes of nature, death, and spiritual yearning. A gorgeous collection of rustic songs, OUR ENDLESS NUMBERED DAYS furthers Beam's songwriting without sacrificing its intimacy.\u003cul\u003e\n\u003cli\u003eGenre: Pop\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eReleased: 03\/23\/2004\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"Default Title","offer_id":44584514978025,"sku":"K2RL69-O6Q3-00","price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/files\/iron-wine-our-endless-numbered-days_GgR5u.jpg?v=1759454862"},{"product_id":"exodus-tampo-of-the-damned","title":"Exodus TAMPO OF THE DAMNED","description":"\u003cp\u003ePersonnel: Steve Souza (vocals); Gary Holt, Rick Hunolt (guitar); Tom Hunting (drums).\u003cbr\u003eAudio Mixer: Andy Sneap.\u003cbr\u003eRecording information: Prairie Sun Studio, Cotati, CA; Tsunami Studios, Moss Beach, CA.\u003cbr\u003ePhotographer: Friso Gentsch.\u003cbr\u003eGiven up for dead over a decade earlier, the mighty Exodus -- the original kings of thrash metal -- made an unexpected but long-rumored return in 2004 with the release of their sixth studio album, Tempo of the Damned. But what had been intended as a long-awaited reunion of their seminal Bonded by Blood lineup was tragically thwarted with the sudden death of vocalist Paul Baloff in early 2002. Fittingly, Baloff was duly supplanted by none other than Steve \"Zetro\" Souza, the man who'd replaced him in the first place and who had gone on to sing on every Exodus album thereafter, including their mid-period thrash classic Fabulous Disaster. Of course the fact that Souza was clearly the better and more reliable vocalist (albeit not as fun a character as Baloff) should not be overlooked, and with the welcome involvement of long-gone founding drummer Tom Hunting, Tempo of the Damned still serves as quite the family reunion. It also doesn't disappoint musically, picking up the pieces right where the band's star-crossed career had fallen apart 11 years earlier with the underrated Force of Habit, and turning in a performance that is, at once, vintage Exodus and mindful of modern recording standards as well. All of the old, much loved Exodus hallmarks are here: lyrics filled with biting, sarcastic social commentary; no-fuss, jagged thrash metal; and unparalleled technical precision.\u003cbr\u003eAs has always been the case, it's the dazzling six-string tag team of Rick Hunolt and Gary Holt (quite simply the tightest rhythm guitar duo in the history of thrash -- Slayer included) that truly drives the Exodus bullet train over lightning runs like \"Scar Spangled Banner\" and the wonderfully retro-named \"Impaler.\" Their solos are as musical as the riffing is not, and, as heard on excellent examples like \"Shroud of Urine\" and \"Forward March,\" always typified by inventiveness without excess pyrotechnics. About the only deviation from the band's tried and true formula of old comes in the shape of Souza's more varied vocal styles, including a less whiny, wholly uncharacteristic full-throated death roar for the standout \"War Is My Shepherd.\" Tempo of the Damned's second half isn't quite as memorable, the likes of \"Sealed with a Fist\" and \"Throwing Down\" suffering from the same sort of aimless riffage that had mired disappointing earlier efforts like Pleasures of the Flesh and Impact Is Imminent, but \"Culling the Herd\" manages to buck this trend with plenty of fireworks, and the title track still moshes with a vengeance. Taken as a whole, Tempo of the Damned successfully resurrects Exodus as the potent and formidable thrash machine of old. The fact that they are well aware of their strengths, and content to stick with them to the end, is what makes this such a welcome release for the band's loyal followers, as well as younger fans looking to understand what got heavy metal where it is today. ~ Eduardo Rivadavia\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: CD\u003c\/li\u003e\n\u003cli\u003eReleased: 3\/23\/2004\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Exodus","offers":[{"title":"Default Title","offer_id":44585512960233,"sku":"MGOJ9N-UILY-00","price":22.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/files\/exodus-tampo-of-the-damned_DIvnN.jpg?v=1737681921"},{"product_id":"descendents-cool-to-be-you-1","title":"COOL TO BE YOU","description":"Descendents: Milo Aukerman (vocals); Stephen Egerton (guitar); Karl Alvarez (bass); Bill Stevenson (drums).\nAdditional personnel: Chad Price (background vocals).\nRecorded at The Blasting Room, Fort Collins, Colorado in February 2002.\nOn their first album since their 1996 reunion record, EVERYTHING SUCKS, '80s punk icons the Descendents unleash a fierce set of songs that fits seamlessly with their well-honed, melodic yet rocked-out sound. Vocalist Milo Aukerman still emotes the way he did when he was a teenager, but now the odes to geek woe (\"Mass Nerder\") and gastronomic distress (\"Blast Off\") are joined by songs such as \"'Merican,\" a scathing US government broadside worthy of Bad Religion. As always, the rest of the band wraps tight, straightforward rhythms and potent guitar lines around Aukerman's sincere sentiments, showing that, happily, some things haven't changed that much since the Descendents debuted in 1981.\u003cul\u003e\n\u003cli\u003eGenre: Pop\u003c\/li\u003e\n\u003cli\u003eRSD Date: DDD\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eReleased: 03\/23\/2004\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Descendents","offers":[{"title":"Default Title","offer_id":44586924114153,"sku":"7WP54M-IL2S-00","price":22.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/files\/descendents-cool-to-be-you_JoRWw.jpg?v=1741072180"},{"product_id":"alice-cooper-raise-your-fist-and","title":"RAISE YOUR FIST AND","description":"Personnel: Alice Cooper (vocals); Kane Roberts (guitar, background vocals); Paul Horowitz (keyboards); Kip Winger (bass, keyboards, background vocals); Ken K. Mary (drums).\nPersonnel: Alice Cooper (vocals); Kane Roberts (guitar, background vocals); Kip Winger (keyboards, bass guitar, background vocals); Paul Horowitz (keyboards); Ken Mary (drums).\nAudio Mixer: Michael Wagener .\nArrangers: Kane Roberts; Alice Cooper.\nAlice Cooper mounted a successful comeback in 1986 with his CONSTRICTOR album and tour, which showed that Cooper's extended hiatus from the stage hadn't dulled his shocking theatrics in the slightest. A follow-up album was issued almost exactly one year later, RAISE YOUR FIST AND YELL, which was very similar in sound and approach to its predecessor. Dokken\/Stryper producer Michael Wagener lends a pop sheen to Cooper's trademark macabre metal.\nMuscle-bound guitarist Kane Roberts again collaborates with Alice on all of the tracks, while future Winger leader, Kip Winger, joined the pair in penning the ghostly ballad, \"Gail.\" The album-opening rocker, \"Freedom,\" is a slam against the P.M.R.C. (a group that successfully got warning stickers placed on albums it deemed controversial), while \"Roses on White Lace,\" \"Chop, Chop, Chop,\" and \"Prince of Darkness\" proved to be standouts as well.\u003cul\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003cli\u003eFormat: CD\u003c\/li\u003e\n\u003cli\u003eReleased: 03\/23\/2004\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Alice Cooper","offers":[{"title":"Default Title","offer_id":44588928303337,"sku":"ULYQIQ-971E-00","price":13.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/files\/alice-cooper-raise-your-fist-and_anQy5_e33a402d-9924-4add-99fd-f07c3f542dbc.jpg?v=1742356455"},{"product_id":"chuck-berry-after-school-session","title":"Chuck Berry AFTER SCHOOL SESSION","description":"\u003cp\u003ePersonnel includes: Chuck Berry (vocals, guitar, steel guitar); Otis Spann, Johnnie Johnson (piano); Willie Dixon (bass); Fred Below, Japer Thomas, Ebby Hardy (drums).\u003cbr\u003eRecorded in Chicago, Illinois. Originally released on ChessLP (1426).\u003cbr\u003ePersonnel: Chuck Berry (vocals, guitar, steel guitar); Jimmy Rogers (guitar); Johnnie Johnson, Otis Spann (piano); Fred Below, Jasper Thomas, Ebby Hardy (drums); Jerome Green (maracas).\u003cbr\u003eRecording information: Chicago, IL (05\/21\/1955-01\/21\/1957).\u003cbr\u003eChuck Berry's first album boasts a picture of him lifted from his appearance in the 1956-vintage rock \u0026amp; roll movie Rock, Rock, Rock -- it's a daring pose if you look closely, the singer\/guitarist\/songwriter captured at his most animated, in what was a pretty bold pose for a black artist in an interracial movie, strutting and duck-walking across the screen with his guitar at full...exposure. That said, bold as the movie appearance was and the pose that was reflected in its cover, After School Session came out fairly late, given that his first hit, \"Maybellene,\" dated from the summer of 1955. This was partly owing to the sheer novelty of rock \u0026amp; roll LPs -- during that period, only a relative handful reached the public, and a significant portion of those were the work of Elvis Presley or Bill Haley, whose associations with the gigantic RCA Victor and Decca labels, respectively, put them in virtually a separate universe from everyone else in the field, especially Berry, recording for the tiny independent Chess label. Chess Records hadn't even issued its first LP until the end of 1956, and that album, the soundtrack LP Rock, Rock, Rock, had included \"Maybellene.\" After School Session was only the label's second-ever long-player, and its timing was predicated on the fact that, after \"Maybellene,\" the rock \u0026amp; roll legend hadn't charted another major pop hit in almost two years (though he had generated some serious R\u0026amp;B hits, which are included here, among them the blues \"Wee Wee Hours\" -- which was what Berry originally purported to represent as his sound -- and the more rhythm-oriented \"No Money Down\" and \"Brown Eyed Handsome Man\").\u003cbr\u003eIt was the release and hit status of \"School Day\" in the early spring of 1957 that yielded this album, which is a brilliant compendium of the range, depth, and breadth of Berry's music across his first two years as a recording artist. The sounds ranged from the pounding, jargon-laden teen-oriented beat of \"School Day\" through those R\u0026amp;B and blues classics to the moody instrumental \"Deep Feeling\"; the Latin-flavored, Calypso-influenced \"Havana Moon\"; the slow, romantic ballad \"Together (We'll Always Be),\" which showed Berry working in a '40s R\u0026amp;B-pop mode similar to the music of the Ink Spots, and attempting a Nat King Cole style of soft singing; his more successful effort in that ballad vein, \"Drifting Heart\"; and the mysterious, ominous, darkly shimmering \"Down Bound Train,\" which could almost have been Berry's (and black music's) answer to \"Ghost Riders in the Sky.\" The 2004 reissue of After School Session includes three bonus tracks that greatly extend the range of the original album -- the driving rocker \"You Can't Catch Me\" (whose lyrics would greatly complicate John Lennon's life when he cribbed them for the opening of \"Come Together\" late in the Beatles' history); the even more pounding \"Thirty Days\"; and his debut hit, \"Maybellene.\" All of it (including the rest of the original album's contents) shows off a glorious remastered sound that lets you hear the room ambience at Chess Studios and make out the exact spatial relationship between Berry and his backup singers on \"Thirty Days.\" It puts the original CD to shame sonically, and boasts superior historical notes as well. ~ Bruce Eder\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: CD\u003c\/li\u003e\n\u003cli\u003eReleased: 3\/23\/2004\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Chuck Berry","offers":[{"title":"Default Title","offer_id":44589342785769,"sku":"5XVOCT-89KP-00","price":18.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/products\/chuck-berry-after-school-session_mfC3m.jpg?v=1737808163"},{"product_id":"madvillain-madvillainy-1","title":"| Madvillainy (CD)","description":"\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003eMadvillain: Madlib, MF Doom. Additional personnel includes: Lord Quas, M.E.D., Wildchild, Viktor Vaughn, Stacy Epps. Personnel: Allah's Reflection, MF Doom (vocals). Audio Mixer: Dave Cooley. Recording information: Bionic (2003); Doom's Crib, Atlanta, GA (2003); The Bomb Shelter, Los Angeles, CA (2003). Illustrator: James Reitano. Two years in the making, and combining two of the best underground hip-hop artists of the early 2000s, this collaboration between MF Doom and Madlib has been appropriately dubbed MADVILLAINY. With both men known for their stunning soundscapes, rhyming skills, and schizophrenic personalities, the duo decided to have Madlib concentrate on the beats and let Doom handle the lyrics. In mixing their comic-book-like personas, Madlib and Doom play to their nearly superhuman strengths; while some other collaborations of this caliber seems forced and lop-sided, there is absolutely no filler here--just undiluted beats and rhymes, best exemplified by the singles \"America's Most Blunted\" and \"All Caps.\" Lib's inventive production leans towards the jazzy side of his repertoire, and Doom unleashes outrageous lyrics on par with his solo efforts (and even his work as Zevlove X in his stint with K.M.D.). Never flashy or glamorous, MADVILLAINY is served straight up, the way hip-hop was meant to be.\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003eMadlib the producer and MF Doom the MC - two of indie hip hop's most celebrated and debated. Madvillain is their collaboration, the subject of speculation and controversy among their diverse body of fans since they announced the project a year ago. This is pure unadulterated hip hop.\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003eFor all his Frankenstein-stitched '80s R\u0026amp;B beats and early '90s Shaolin-raw ambience, there's an odd hint of 1964 about MF Doom. This quality gradually evolved between \"The Gas Face,\" recorded in '89 when he called himself Zev Love X, and \"Gas Drawls,\" from his '99 breakthrough Doomsday. It's not just in Doom's alter-ego references-jet-age icons like his metal-faced namesake or his other alias, Toho monster King Geedorah-but his lyrical style. He burbles like a Cosby without a pause, with the aloof beatnik intonation of Mad Magazine snappy-answer wordplay. This collaboration with underground bebop breakbeat kingpin Madlib puts Doom's four-color newsprint street rhymes where they belong-in front of a '60s New York backdrop where Jack Kirby and Stan Lee sketch storyboards at the Village Vanguard. Madlib's underwater Mingus bass wobbles like the audio track to a faded red-tint super-8, and he mixes in the occasional Stax-Volt strut (\"America's Most Blunted\") and lounge dirge (\"Curls\") for extra mod flavor. Lead single \"Money Folder\" swings the hardest (and weirdest): the midnight horror show electric piano riff that comprises the beat cuts out to make room for a necktie-flailing chase scene hi-hat interlude, then resumes to let Doom's Groucho pimp routine work its stuff (\"Don't mind me\/ I wrote this rhyme lightly over two or three heinies\/ And boy was they fine, g!\/ One Spanish, one Black, one Chinese\"). In fact, Doom's laidback volleys of complicated yet natural assonance shine throughout. And though only five of the 22 tracks on Madvillainy last longer than 2:30-hardly sufficient space for any real clobberin' time-they're great while they last.\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003e\"For all his Frankenstein-stitched '80s R\u0026amp;B beats and early '90s Shaolin-raw ambience, there's an odd hint of 1964 about MF Doom. This quality gradually evolved between \"\"The Gas Face,\"\" recorded in '89 when he called himself Zev Love X, and \"\"Gas Drawls,\"\" from his '99 breakthrough Doomsday. It's not just in Doom's alter-ego references-jet-age icons like his metal-faced namesake or his other alias, Toho monster King Geedorah-but his lyrical style. He burbles like a Cosby without a pause, with the aloof beatnik intonation of Mad Magazine snappy-answer wordplay. This collaboration with underground bebop breakbeat kingpin Madlib puts Doom's four-color newsprint street rhymes where they belong-in front of a '60s New York backdrop where Jack Kirby and Stan Lee sketch storyboards at the Village Vanguard. Madlib's underwater Mingus bass wobbles like the audio track to a faded red-tint super-8, and he mixes in the occasional Stax-Volt strut (\"\"America's Most Blunted\"\") and lounge dirge (\"\"Curls\"\") for extra mod flavor. Lead single \"\"Money Folder\"\" swings the hardest (and weirdest): the midnight horror show electric piano riff that comprises the beat cuts out to make room for a necktie-flailing chase scene hi-hat interlude, then resumes to let Doom's Groucho pimp routine work its stuff (\"\"Don't mind me\/ I wrote this rhyme lightly over two or three heinies\/ And boy was they fine, g!\/ One Spanish, one Black, one Chinese\"\"). In fact, Doom's laidback volleys of complicated yet natural assonance shine throughout. And though only five of the 22 tracks on Madvillainy last longer than 2:30-hardly sufficient space for any real clobberin' time-they're great while they last.\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003e\u2028Tracklist\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003e1        The Illest Villains\u003cbr\u003e\r\n2        Accordion\u003cbr\u003e\r\n3        Meat Grinder\u003cbr\u003e\r\n4        Bistro\u003cbr\u003e\r\n5        Raid\u003cbr\u003e\r\n6        America's Most Blunted\u003cbr\u003e\r\n7        Sickfit (Instrumental)\u003cbr\u003e\r\n8        Rainbows\u003cbr\u003e\r\n9        Curls\u003cbr\u003e\r\n10        Do Not Fire! (Instrumental)\u003cbr\u003e\r\n11        Money Folder\u003cbr\u003e\r\n12        Shadows Of Tomorrow\u003cbr\u003e\r\n13        Operation Lifesaver AKA Mint Test\u003cbr\u003e\r\n14        Figaro\u003cbr\u003e\r\n15        Hardcore Hustle\u003cbr\u003e\r\n16        Strange Ways\u003cbr\u003e\r\n17        Fancy Clown\u003cbr\u003e\r\n18        Eye\u003cbr\u003e\r\n19        Supervillain Theme (Inst.)\u003cbr\u003e\r\n20        All Caps\u003cbr\u003e\r\n21        Great Day Today\u003cbr\u003e\r\n22        Rhinestone Cowboy\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003e*Audio and\/or tracklist may vary slightly from the CD version.\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003eLabel: SNHO\u003cbr\u003e\r\nCatalog: 2065\u003cbr\u003e\r\nRel. Date: 03\/23\/2004\u003cbr\u003e\r\nUPC: 659457206529\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003ciframe allow=\"autoplay *; encrypted-media *; fullscreen *; clipboard-write\" frameborder=\"0\" height=\"450\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https:\/\/embed.music.apple.com\/us\/album\/madvillainy\/887699504\" style=\"width:100%;max-width:660px;overflow:hidden;border-radius:10px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\r\n\u003cul\u003e\n\u003cli\u003eHandling Note: **Please allow an additional 72 hours for this item's shipment.**\u003c\/li\u003e\n\u003cli\u003eFormat Detail: CD\u003c\/li\u003e\n\u003cli\u003eGenre: Rap\/Hip Hop\u003c\/li\u003e\n\u003cli\u003eFormat: CD\u003c\/li\u003e\n\u003cli\u003eInternal ID: JITRE\u003c\/li\u003e\n\u003cli\u003eReleased: 03\/23\/2004\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Madvillain","offers":[{"title":"Default Title","offer_id":44590414004457,"sku":"WSVC6H-B10Y-00","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/files\/madvillain-madvillainy_KUORZ.jpg?v=1743798080"},{"product_id":"fleetwood-mac-fleetwood-mac-4","title":"Fleetwood Mac FLEETWOOD MAC","description":"\u003cp\u003eFleetwood Mac: Lindsey Buckingham (vocals, guitar); Christine McVie (vocals, keyboards, synthesizer); Stevie Nicks (vocals); John McVie (bass); Mick Fleetwood (drums, percussion).\u003cbr\u003eAdditional personnel: Waddy Watchel (guitar).\u003cbr\u003eRecorded at Sound City, Los Angeles, California. Originally released on Reprise (2225). Includes liner notes by Parke Puterbaugh.\u003cbr\u003ePersonnel: Lindsey Buckingham (vocals, guitar); Christine McVie (vocals, keyboards, synthesizer); Stevie Nicks (vocals); Mick Fleetwood (drums, percussion).\u003cbr\u003eAudio Remasterers: Daniel Hersch; Bill Inglot.\u003cbr\u003eRecording information: Sound City Studios, Van Nuys, CA.\u003cbr\u003ePhotographer: Herbert Worthington III.\u003cbr\u003eWith this album, years of personnel changes ended for Fleetwood Mac with the departure of guitarist Bob Welch. The remaining core of the group (Mick Fleetwood, John McVie and Christine McVie) invited guitarist\/vocalist Lindsey Buckingham and singer Stevie Nicks to join, and thus began the most commercially successful period for Fleetwood Mac. With 3 strong songwriters in Nicks, Buckingham and Christine McVie, FLEETWOOD MAC was their first number-1 album.\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: CD\u003c\/li\u003e\n\u003cli\u003eReleased: 3\/23\/2004\u003c\/li\u003e\n\u003cli\u003eGenre: Pop\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Fleetwood Mac","offers":[{"title":"Default Title","offer_id":44590645870825,"sku":"GMP7XL-SG8F-00","price":25.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/products\/fleetwood-mac-fleetwood-mac_D4c4y.jpg?v=1737505259"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0654\/3523\/8633\/collections\/Pink_and_White_Grunge_Simple_New_Single_Release_Instagram_Post_copy_5_c936a2ff-f2bb-4ba7-bfb4-ea8ef5216c2e.png?v=1729316561","url":"https:\/\/www.vibinvinyl.com\/collections\/music-releases-03-23-2004.oembed","provider":"Vibin' Vinyl","version":"1.0","type":"link"}