Proper - Meant To Say Something - VINYL LP

-The obscure Felsted tag, founded in 1954 in the U.K. and three years later in the U.S., was known primarily for it's pop and crooner recordings.-But Felsted has released a considerable number of great rockers.-Bear Family Records® is the first tag to make an effort to detail the history of rockabilly and rock 'n' roll of the 1950s and early 1960s on Felsted! Album Tracks 1. Hey, Hey Pretty Baby 2. Be My Baby 3. Draggin' All Night 4. Slight Case of Love 5. Flirty Gertie 6. The Mohawk 7. Johnny Valentine 8. The Great Duane 9. Doin' the Surf 10. W-Wow 11. Soda Pop 12. Koffee Shop Rock 13. Left Behind 14. Hey, Hey Pretty Baby 15. Be My Baby 16. Draggin' All Night 17. Slight Case of Love 18. Flirty Gertie 19. The Mohawk 20. Johnny Valentine 21. The Great Duane 22. Doin' the Surf 23. W-Wow 24. Soda Pop 25. Koffee Shop Rock 26. Left Behind 27. Oh What a Feeling 28. Chicken Hop 29. (My) Hi Fi Baby 30. Fire Engine Baby 31. Dum Diddle 32. Makin' Whopee 33. Too Blue to Cry 34. Blast Off 35. Rona Baby 36. Buddy Boy 37. She's Gonna Be Sorry 38. Pretty Jean Baby 39. She's Swinging 40. You're the One 41. Funny This Thing Called Love 42. (I've Been) Thinking It Over 43. Blue Skies 44. I'm Hypnotized 45. Bandstand Baby 46. The Raven 47. Road Runnah

THE ULTIMATE GREATEST HITS CELEBRATING 50 YEARS OF Aerosmith! For the first time ever, 44 tracks spanning their five-decade career on 180-gram heavyweight black vinyl (4 LP). Featuring InchDream On,Inch InchWalk This Way,Inch InchSweet Emotion,Inch InchCrazy,Inch InchCryin',Inch InchI Don't Want To Miss A ThingInch and many more! Stunning live photography and band photos from across their entire career included. Album Tracks 1. Mama Kin 2. Dream on 3. Lord of the Thighs 4. Same Old Song and Dance 5. Train Kept a Rollin' 6. S.O.S. (Too Bad) 1. Seasons of Wither 2. Walk This Way 3. Big Ten Inch Record 4. Adam's Apple 5. Sweet Emotion 6. Toys in the Attic 1. Back in the Saddle 2. Last Child 3. Combination 4. Nobody's Fault 5. Home Tonight 6. Bright Light Fright 1. Draw the Line 2. Kings and Queens 3. Let the Music Do the Talking 4. Walk This Way 5. Hangman Jury 1. Dude (Looks Like a Lady) 2. Rag Doll [Live] 3. Angel 4. Monkey on My Back 5. What It Takes 1. Water Song/Janie's Got a Gun 2. Love in An Elevator 3. The Other Side 4. Get a Grip 5. Amazing 1. Livin' on the Edge 2. Cryin' 3. Eat the Rich 4. Crazy 5. Falling in Love (Is Hard on the Knees) 1. Pink 2. Nine Lives 3. I Don't Want to Miss a Thing 4. Jaded 5. Just Push Play 6. We All Fall Down

Limited transparent yellow colored vinyl LP pressing. Westerman's highly anticipated second LP An Inbuilt Fault is a complex and endlessly rewarding collection of layered songwriting. The album's nine songs took shape throughout the depths of the pandemic, in near total lockdown in Italy and the ensuing isolation following his move to Athens. It's the soundtrack of Westerman's reckoning with two years of intense loneliness, heartbreak, and dread. In spite of the dark beginnings of the album, An Inbuilt Fault emerges as a living, breathing transitional document that's both thrillingly alive and deeply human. The record that ultimately emerged from these early solo experiments sounds wholly unlike what the description might suggest. An Inbuilt Fault is visceral and live-sounding, full of the sound of breath and the idiosyncratic gestures of acoustic instruments. The creative shift in the album came after a chance meeting between Westerman and Big Thief's James Krivchenia at a show in London, inspiring Westerman to take a leap of faith and collaborate with the drummer and an extended crew of Los Angeles associates to flesh out his new songs. Once in LA, his demos became jump-off points for jams which, in imaginatively edited forms, pushed the songs into new realms; sometimes, the mood became more sinister, sometimes more triumphant. The result is music that is heavier and more sonically daring than Westerman's previous releases. The album's opening drum salvo sets the tone Krivchenia's percussion on InchGiveInch sounds hyper-real rather than natural, blown-out and compressed, integrating sounds of smashed glass, cracking wood, and what sounds almost like fists on flesh. The primary musical dialogue in many of these songs is between the wall of percussion and Westerman's vocals-rawer and drier in the mix than ever before, reinforced by bursts of rich three-or-four-part v