Third Eye Blind - Third Eye Blind - VINYL LP

Dookie, the band's Diamond-selling major tag debut (originally released by Reprise Records in 1994), will be available on a 180-gram, audiophile-grade black-vinyl disc pressed by Pallas and packaged in a single-pocket Stoughton jacket Album Tracks 1. Burnout (Vinyl Album Version) 2. Having a Blast (Vinyl Album Version) 3. Chump (Vinyl Album Version) 4. Longview (Vinyl Album Version) 5. Welcome to Paradise (Vinyl Album Version) 6. Pulling Teeth (Vinyl Album Version) 7. Basket Case (Vinyl Album Version) 1. She (Vinyl Album Version) 2. Sassafras Roots (Vinyl Album Version) 3. When I Come Around (Vinyl Album Version) 4. Coming Clean (Vinyl Album Version) 5. Emenius Sleepus (Vinyl Album Version) 6. In the End (Vinyl Album Version) 7. F.O.D. (Vinyl Album Version)

Limited picture disc vinyl LP pressing. The members of Green Day were kids from working-class backgrounds who came of age in the underground punk scene in Berkeley. The band formed in the late 1980s and consists of lead vocalist and guitarist Billie Joe Armstrong, bassist and backing vocalist Mike Dirnt, drummer Tré Cool and guitarist and backing vocalist Jason White. Dookie is the third studio album by American punk rock band Green Day, released on February 1, 1994, through Reprise Records. It was the band's first collaboration with producer Rob Cavallo and it's major record debut. Dookie became a worldwide commercial success, peaking at #2 on the US Billboard 200 and charting in seven countries. The album helped propel Green Day, and even punk rock music into mainstream popularity. Dookie was certified Diamond by the Recording Industry Association of America for the shipment of 10 million copies. Album Tracks 1. Burnout 2. Having a Blast 3. Chump 4. Longview 5. Welcome to Paradise 6. Pulling Teeth 7. Basket Case 1. She 2. Sassafras Roots 3. When I Come Around 4. Coming Clean 5. Emenius Sleepus 6. In the End 7. F.O.D

Khruangbin's fourth studio album, A La Sala (InchTo the RoomInch in Spanish), is an exercise in returning in order to go further, and doing so on your own terms. It continues the mystery and sanctity that is the key to how bassist Laura Lee Ochoa, drummer Donald InchDJInch Johnson, Jr. And guitarist Mark InchMarkoInch Speer approach music. If 2020's Mordechai, the last studio LP Khruangbin made without collaborators, was a party record that enhanced the band's musical reputation far and wide, then A La Sala is the measured morning after. It's a gorgeously airy record completed only in the company of the group's longtime engineer Steve Christensen, with minimal overdubs. It's a window onto the bounties powering Khruangbin's vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on InchFifteen Fifty-ThreeInch), West African discos (on InchPon PónInch), G-funk fantasias (InchTodavía VivaInch), living room dancing moments (the first single, InchA Love InternationalInch), or even