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Thou has always been a force of raw energy and unapologetic dissent, defying easycategorization and challenging listeners to confront the complexities of existence.Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar,Thou transcends genre boundaries, drawing inspiration from a diverse array ofinfluences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, andSoundgarden (all of whom they've covered extensively) to the raw intensity of obscure`90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc.Their latest record Umbilical, Thou's first full-length release of original music sincetheir 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filledwith mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic andpolitical impulses have always been punk and like anyone embroiled in the subcultureThou have been exploring what it means to exist within and without a rigid morality.That exploration takes thematic center on Umbilical and their self-assessment is asharsh as that of the world around them.

Thou has always been a force of raw energy and unapologetic dissent, defying easycategorization and challenging listeners to confront the complexities of existence.Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar,Thou transcends genre boundaries, drawing inspiration from a diverse array ofinfluences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, andSoundgarden (all of whom they've covered extensively) to the raw intensity of obscure`90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc.Their latest record Umbilical, Thou's first full-length release of original music sincetheir 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filledwith mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic andpolitical impulses have always been punk and like anyone embroiled in the subcultureThou have been exploring what it means to exist within and without a rigid morality.That exploration takes thematic center on Umbilical and their self-assessment is asharsh as that of the world around them.

Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022. All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press European compilation; Ginger Quail, an obscure New Orleans punk band from the late 90s; and so on. Regardless of their standing in the civilian world, all of these bands and songs have had a strong imprint on Thou - much more so than "sludge" or metal in general or "the swamp" of New Orleans. New Noise Magazine described some of the tracks saying "They've got a Black Sabbath `Sweet Leaf' cover that they've dirtied up to the point where it sounds like a High on Fire original, a blackend-sludge version of Born Against's `Well Fed Fuck,' a bewitched version of Pearl Jam's `Spin the Black Circle,' and an appropriately gross and desperate cover of Shellac's `Prayer to God.' It's as good or better than their Nirvana album imho." And while the mentioned tracks will be on the vinyl version sans "Sweet Leaf" it will have a different track list from 2020's digital release including a cover of the Yeah Yeah Yeah's iconic track "Maps". This collection includes artwork from former New Orleans -now Mexico City artist Rachel Speck from her Tropical Goth imprint.

Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022. All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press European compilation; Ginger Quail, an obscure New Orleans punk band from the late 90s; and so on. Regardless of their standing in the civilian world, all of these bands and songs have had a strong imprint on Thou - much more so than "sludge" or metal in general or "the swamp" of New Orleans. New Noise Magazine described some of the tracks saying "They've got a Black Sabbath `Sweet Leaf' cover that they've dirtied up to the point where it sounds like a High on Fire original, a blackend-sludge version of Born Against's `Well Fed Fuck,' a bewitched version of Pearl Jam's `Spin the Black Circle,' and an appropriately gross and desperate cover of Shellac's `Prayer to God.' It's as good or better than their Nirvana album imho." And while the mentioned tracks will be on the vinyl version sans "Sweet Leaf" it will have a different track list from 2020's digital release including a cover of the Yeah Yeah Yeah's iconic track "Maps". This collection includes artwork from former New Orleans -now Mexico City artist Rachel Speck from her Tropical Goth imprint.

Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022. All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press European compilation; Ginger Quail, an obscure New Orleans punk band from the late 90s; and so on. Regardless of their standing in the civilian world, all of these bands and songs have had a strong imprint on Thou - much more so than "sludge" or metal in general or "the swamp" of New Orleans. New Noise Magazine described some of the tracks saying "They've got a Black Sabbath `Sweet Leaf' cover that they've dirtied up to the point where it sounds like a High on Fire original, a blackend-sludge version of Born Against's `Well Fed Fuck,' a bewitched version of Pearl Jam's `Spin the Black Circle,' and an appropriately gross and desperate cover of Shellac's `Prayer to God.' It's as good or better than their Nirvana album imho." And while the mentioned tracks will be on the vinyl version sans "Sweet Leaf" it will have a different track list from 2020's digital release including a cover of the Yeah Yeah Yeah's iconic track "Maps". This collection includes artwork from former New Orleans -now Mexico City artist Rachel Speck from her Tropical Goth imprint.

After the pure magic and fire of the Into the Nightmare precursor demo tape, we're thrilled to bring you its full-scale successor and evolution: the unrivaled debut album by Chilean heavy metal cult Shadows. Packing in 30 minutes of legendary songwriting and visionary revivalism Out for Blood take us back to a time, somewhere in the early '80s, when acts like Mercyful Fate, Satan, Death SS, Judas Priest, and Alice Cooper were laying the unforgettable foundations of what would soon become a generational, industry-changing phenomenon: the defining of heavy metal as we know it. A raging and undying fire of searing leads, thundering drums, spooky operatic vocals, ripping guitars, unforgettable hooks and outrageous transgression. With no hesitation or limits to its deathless imagination, Shadows has conceived a classic metal crucible of unparalleled wizardry and dominance, using familiar concepts borrowed from dark b-movies, old comic strips, occultism and esotericism to take the listener down a dark, left-hand path of cinematic storytelling, thrilling fantasy, dark impulses and transgressive paranoia. The ten tracks of Out for Blood display a breadth of tricks and expertise rarely seen at such an accomplished level in contemporary Nwothm and classic metal acts, and this should come as no surprise knowing that Shadows mastermind and main songwriter John Shades (a pseudonym of Cristian Silva of Apostasy fame), has been shaping the pillars of true and untamed underground South American heavy metal for at least three decades. Using a mist of dark, keyboard-laden atmospheres, vorticose melodies and a dominating, dual attack of criss-crossing, blazing razor-sharp solos, Shades and his co-conspirators have unfolded a half-hour of absolute, boundless imagination, covering almost fifty years of heavy metal evolution and transformation, and delving deep into the primordial fabric of the genre's most defining traits, those of technical extremism, frantic intensity, and adrenaline-pumping darkness. A full-frontal assault on the senses where the limitless imagination of epic storytelling and of rare musicianship have converged in creating the ultimate homage, heirloom and celebration to the undying, sacred and eternal flame of heavy metal.

180 gram audiophile vinyl
Includes 4-page booklet
Features "How Can I Live", "Cleansing", and "This Time's For Real" a.o.
Produced by Bob Marlette (Ozzy Osbourne, Alice Cooper, Seether)
Available on vinyl for the first time
20th Anniversary edition of 1500 individually numbered copies on gold coloured vinyl

Confession is the second studio album released by the American heavy metal band Ill Niño. The album includes fan favourites "How Can I Live", "Cleansing", and "This Time's For Real" amongst others.

Brothers and sisters, we are gathered here to worship the gods at the altar of heavy metal. HIGH PRIEST have come forth from Chicago, Illinois in the United States of America to brighten your days with a message of hope and doom, one that is hammered into metal, stone and rock to assume the shape of their debut album "Invocation". HIGH PRIEST have taken the prophecies of the elders to their hearts. Their glorious harmonies and melodies bear the catchy mark of THIN LIZZY. There is dark heaviness foretold by BLACK SABBATH and renewed by ELECTRIC WIZARD, and even a touch of METALLICA's more classic riffs. From the scriptures of grunge comes an emotional force that has been received through prayers directed at ALICE IN CHAINS. All of this is set forth in a new testament of blues-laden guitar-riffs and soulful vocals. With the friends playing together in various bands and line-ups since their youth, HIGH PRIEST came into being with a clear vision in mind. While watching an ELECTRIC WIZARD show in 2015, they spontaneously and simultaneously concluded that they wanted to play doom and old school metal from that day on (all while transfixed by the performance and having to shout their agreement over the din of the PA). Their first public declaration of the metal gospel was the 2016 EP "Consecration", which got HIGH PRIEST much attention throughout the doom and stoner metal scene as well as a record deal with Magnetic Eye, which led to the release of second EP "Sanctum" in 2019. And now the time has come to rejoice: HIGH PRIEST deliver their eagerly anticipated debut full-length, and "Invocation" doesn't just live up to what the two EPs promised, but will carry you straight to the heavens on a chariot of fiery riffs. Amen!

Brothers and sisters, we are gathered here to worship the gods at the altar of heavy metal. HIGH PRIEST have come forth from Chicago, Illinois in the United States of America to brighten your days with a message of hope and doom, one that is hammered into metal, stone and rock to assume the shape of their debut album "Invocation". HIGH PRIEST have taken the prophecies of the elders to their hearts. Their glorious harmonies and melodies bear the catchy mark of THIN LIZZY. There is dark heaviness foretold by BLACK SABBATH and renewed by ELECTRIC WIZARD, and even a touch of METALLICA's more classic riffs. From the scriptures of grunge comes an emotional force that has been received through prayers directed at ALICE IN CHAINS. All of this is set forth in a new testament of blues-laden guitar-riffs and soulful vocals. With the friends playing together in various bands and line-ups since their youth, HIGH PRIEST came into being with a clear vision in mind. While watching an ELECTRIC WIZARD show in 2015, they spontaneously and simultaneously concluded that they wanted to play doom and old school metal from that day on (all while transfixed by the performance and having to shout their agreement over the din of the PA). Their first public declaration of the metal gospel was the 2016 EP "Consecration", which got HIGH PRIEST much attention throughout the doom and stoner metal scene as well as a record deal with Magnetic Eye, which led to the release of second EP "Sanctum" in 2019. And now the time has come to rejoice: HIGH PRIEST deliver their eagerly anticipated debut full-length, and "Invocation" doesn't just live up to what the two EPs promised, but will carry you straight to the heavens on a chariot of fiery riffs. Amen!

“In a music realm that often feels as exciting as watching paint dry, Henrik Palm revitalizes the mundane, injecting life with the grim and unsettling.

While "Poverty Metal" blazed a trail, "Nerd Icon" takes a deeper plunge into shadowy themes, exploring the space between the sinister and the sublime, echoing a life less touched by joy. Guitars command attention, sound captivates focus, and the vision remains transparent, driven by an unbridled spirit.

In these times, where artistic offerings often lack substance, Henrik's third album under his name bursts forth with brilliance, offering a raw, soul-baring experience. It's music that transcends and explodes within the recesses of your mind, shattering boundaries and obliterating limitations.

"Subway Morgue" feels like Van Halen reimagined by a tribe of rat people—a mutated take on classic rock for those who've lost their way. [...] You might even find your mental gears grinding in sync with the relentless crescendo of "Lunch Hour (Of the Wolf)".

Within the darkness, a glimmer of positivity emerges in "Swim to the Light," a momentary respite. Picture a blend of Alice Cooper's "Goes to Hell" and Sopor Aeternus, the first Gauze album played at half speed, infused with Magazine minus the problematic lyrics, and delivered by Bobb Trimble in a dumpster fire—devoid of vaudeville nonsense.

Henrik Palm, a street level sorcerer, seamlessly travels through record collections and musical realms, from eerie gothic rock, via heavy metal "heroticism" to anarchic punk tempests. His avant-garde explorations defy convention, employing unique song crafting methods and dissonant harmonies, guiding listeners through hallucinatory dimensions.

In an enigmatic twist, Henrik channels H.P. Lovecraft's prose, crafting arcane soundscapes where cosmic horrors and existential enigmas collide—an eldritch portal into the depths of the human psyche, a mysterious tapestry of melodies.

Every moment is a riveting one; if you've got headphones, steel yourself for an abyss that swallows you whole.

Prepare to be chained and shackled to the train tracks as you plunge into "Nerd Icon".”

— Ted Cadwalleder

"Nerd Icon" is Henrik Palm’s third album. He has played in many bands. Some you might have heard of and some you probably never heard of. He doesn’t give a fuck really. The present is much more important than dwelling in past victories and/or missteps.

“In a music realm that often feels as exciting as watching paint dry, Henrik Palm revitalizes the mundane, injecting life with the grim and unsettling.

While "Poverty Metal" blazed a trail, "Nerd Icon" takes a deeper plunge into shadowy themes, exploring the space between the sinister and the sublime, echoing a life less touched by joy. Guitars command attention, sound captivates focus, and the vision remains transparent, driven by an unbridled spirit.

In these times, where artistic offerings often lack substance, Henrik's third album under his name bursts forth with brilliance, offering a raw, soul-baring experience. It's music that transcends and explodes within the recesses of your mind, shattering boundaries and obliterating limitations.

"Subway Morgue" feels like Van Halen reimagined by a tribe of rat people—a mutated take on classic rock for those who've lost their way. [...] You might even find your mental gears grinding in sync with the relentless crescendo of "Lunch Hour (Of the Wolf)".

Within the darkness, a glimmer of positivity emerges in "Swim to the Light," a momentary respite. Picture a blend of Alice Cooper's "Goes to Hell" and Sopor Aeternus, the first Gauze album played at half speed, infused with Magazine minus the problematic lyrics, and delivered by Bobb Trimble in a dumpster fire—devoid of vaudeville nonsense.

Henrik Palm, a street level sorcerer, seamlessly travels through record collections and musical realms, from eerie gothic rock, via heavy metal "heroticism" to anarchic punk tempests. His avant-garde explorations defy convention, employing unique song crafting methods and dissonant harmonies, guiding listeners through hallucinatory dimensions.

In an enigmatic twist, Henrik channels H.P. Lovecraft's prose, crafting arcane soundscapes where cosmic horrors and existential enigmas collide—an eldritch portal into the depths of the human psyche, a mysterious tapestry of melodies.

Every moment is a riveting one; if you've got headphones, steel yourself for an abyss that swallows you whole.

Prepare to be chained and shackled to the train tracks as you plunge into "Nerd Icon".”

— Ted Cadwalleder

"Nerd Icon" is Henrik Palm’s third album. He has played in many bands. Some you might have heard of and some you probably never heard of. He doesn’t give a fuck really. The present is much more important than dwelling in past victories and/or missteps.

Nocebo, the first full-length by the Boston, Massachusetts five piece Elizabeth Colour Wheel, is inspired by anxiety, the fear and the desire of being constantly overwhelmed. The album came to fruition over the summer of 2018, when the band embraced a heavy “kill your idols” mindset, crafting an album that is distinctly schizophrenic yet familiar, touching on ’90s heavy rock, shoe-gaze, and black metal influences.

Mixed and mastered by Seth Manchester of Machines of Magnets (The Body, Street Sects), Nocebo is a five-walled haunted house, constructed from the wild, chantlike vocals of Lane Shi, the heavy, reverberant guitars of Emmett Palaima and Alice Jackson, the sludgy, distorted bass of Billy Cunningham, and the powerful, aggressive drumming of Connor Devito. Inside these walls frequencies of spectral anger echo and resound, gathering into thunderous waves, which crash against the borders of the room before dying out into eerie silence.

With their sophomore full-length "Gotta Light?", dark rock innovators Crone are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from Alice IN Chains, via Killing Joke, NEW Model Army, and JOY Division to Pink Floyd among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as Ghost in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for Crone provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife 'Waiting for Ghosts'), shattered dreams 'Abyss Road'), and a guiding last will 'Gemini'). Crone was conceived out of a musical collaboration between Phil "sG" Jonas and Embedded drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With Crone having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?”. With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of Secrets OF THE Moon a dark reborn phoenix is rising with Crone and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"

Reissue of critically acclaimed 1990 full-length on limited-edition (300 copies) radiation green with orange haze colored vinyl. M-Theory Audio will reissue “Harsh Realities,” the debut album release from Seattle thrashers, Bitter END. The group's 1990 release, originally released by Metal Blade Records, was produced by Randy Burns (Megadeth, Kreator, Death, Nuclear Assault) and featuring cover artwork by Jim Warren (Loudness, Lizzy Borden, Heir Apparent) - garnered critical acclaim and a cult following for a thrash metal assault that bludgeoned ears with musical precision that appealed to fans of acts such as Megadeth, Forbidden, and Testament. The band were mainstays of the late 1980's pre-grunge Seattle heavy metal scene that also gave rise to fellow Pacific Northwest promising thrashers such as Forced Entry and Panic. Bitter END signed with Metal Blade Records and released “Harsh Realities,” after the success of their “Meet Your Maker” demo tape hailed by fanzines, underground/college radio, and tape traders. The album received strong reviews at the time from Metal Forces and Kerrang!, and the music video for the title track received airplay on MTV's “Headbanger's Ball.” The band cultivated their live presence with prolific shows in their hometown scene alongside future giants such as Soundgarden and Alice In Chains and toured alongside fellow thrash greats such as Sacred Reich and DRI. The group began tracking their follow-up record at Robert Lang Studios in Seattle with famed producer Jack Endino (Nirvana, Soundgarden, Mudhoney) handling mixing duties, however the shifting tides of the music industry and creative differences resulted in the dissolution of Bitter END in 1992 before their next album could be completed.

RSD First, Limitation: 1250

“Mata leao” means “lion killer” in Portuguese, an appropriate title for this beast of an album, Biohazard’s first as a trio. In this case less is more; with a sound blending so many ingredients (hardcore, rap, metal), the increased focus brought on by the streamlined line-up just hardens the tip of the jackhammer.
Produced by Dave Jerden of Jane’s Addiction and Alice in Chains fame, this 1996 release sees its first US issue on vinyl, complete with printed inner sleeve.
Tan vinyl pressing limited to 2000 copies worldwide.

What to do when you like rock and doom born from the desert but your surroundings offer anything but arid lands? Besvarjelsen found an impressive answer in the grim forests of their homeland in Dalarna, Sweden. Having grown up in the far north at the meeting grounds of ancient Norse and Finnish cultures amongst echoes of runes and gods, shamans and spirits, the spellbinding five-piece crafted their name from the Swedish word for "conjuring" while drawing heavy inspiration from local lore, mysticism, and the dark, old musical traditions. Yet Besvarjelsen are anything but another "pagan" outfit longing for a time that never was. With its wistful melodies and towering riff-power their sophomore full-length "Atlas" represents a logical step along the course that Besvarjelsen charted from the start. The band was co-founded by guitarists and vocalists Andreas Baier and Staffan Stensland Vinrot in 2014 with a clear vision to channel the spirit and traditions of the vast Dalarna forests, a region otherwise famous for its painted wooden horses, into contemporary heavy music. Once vocalist Lea Amling Alazam arrived with a fiery passion for punk and stoner rock that had begun at the local skate park when she was just counting 13 years, Andreas and Staffan happily relegated their shared vocal duties to a supporting role – an easy choice as Lea's distinctive voice summoned the intimacy and charisma of singers like Nina Simone or AMY Winehouse. Besvärjelsen released their debut EP "Villfarelser" in 2015, which was followed quickly by the "Exil" EP in 2016. The Swedes' debut full-length "Vallmo" hit the streets of Stockholm and elsewhere in 2018. The album merged crushing riffs and storming drums with increasingly sophisticated melodies and thoughtful themes. With the mini-album "Frost", Besvärjelsen intended to crush stages all over Europe in 2019, before being forced into involuntary live performance hibernation for two years. Although compelled to write separately, the band used the spare time to compile a wealth of ideas, amassed remotely and shared across the miles and months of relative solitude, which would finally result in the recording of "Atlas" with producer Karl Daniel Lidén in 2021. Re-purposing melancholic harmonies that could have been derived from the playbook of Alice IN Chains, adding gravity that would make Windhand proud, and topping their upgraded sound with exciting yet intimate vocal lines, Besvarjelsen have carved a towering monolith from solid rock and planted it firmly into the magical woods of their homeland to send its heavy lay-lines around the globe that is burdening the shoulders of the titan "Atlas".

Beasto Blanco was founded by Chuck Garric and Chris Latham. They set out to create a raw, powerful rock & roll band with a blistering, theatrical live experience. Then came Calico Cooper, rock vixen and offspring of Garric's boss, legendary shock rocker Alice Cooper, and a renegade German rhythm section, and Beasto Blanco's inimitable sound and image was born.Blood, sweat and gas fuel Beasto Blanco's explosive rock sound. A band and an audience united in an inseparable bond of musical thunder and sensational spectacle: welcome to the world of Beasto Blanco. Whether under the spotlights of huge arenas or headlining packed theatres and clubs, the band's mission is unwavering: to create an immersive experience where everyone is welcome to join an extended family whose support is unconditional and authentic.At the helm of Beasto Blanco is a powerful triumvirate. Band co-founder, frontman, lead singer and guitarist Chuck Garric, distinguished by his considerable legacy as a touring and recording musician, including 22 years playing bass with Alice Cooper, is a creative force of nature. "Beasto Blanco is my inner beast, my Hulk, my wolfman, the thing I turn into when I step onstage", he says.Calico MachineGirl Cooper is the band's high priestess and serves as an inspirational archetype. "I get approached by women who say, 'Thank you for being so strong and so powerful'"'she explains. Her interaction with Chuck - who she's known for chasing around the stage with a spiked baseball bat - captivates the audience with a dynamic that blurs the line between combat and romance. "We're not just a band, we're a lifestyle".The future is a beast and we are here to ride it. – Chuck Garric 1. Run For Your Life2. Nobody Move3. Heavy Is The Head4. Unreal5. Kill Us Off With A Smile6. Slide7. Skull Rider8. Lowlands9. Diamond In The Dirt10. Bad Thoughts11. Fight

Picture Disc. Still sealed with hype sticker.

Classicks is a compilation album by Alice Cooper, combining studio material from his Glam period with live recordings of his classics. One of the highlights is the great duet with Soundgarden’s Chris Cornell “Stolen Prayer”. Other songs from the late-’80s and early-’90s studio recordings are “Poison,” “Hey Stoopid,” and “House of Fire”. The live recordings includes his real classics, like “Under My Wheels,” “I’m Eighteen,” “No More Mr. Nice Guy,” and “School’s Out.” The last track is “Fire”, a cover of the Jimi Hendrix song.