Low low prices on cheap discount CDs from out of print labels and import compact disc titles

	Grave Digger - Excalibur - German power metal CD on Nuclear Blast Records German power metal band Grave Digger was formed in late 1980 by frontman Chris Boltendahl, guitarist Peter Masson, bassist Willi Lackmann and drummer Albert Eckardt. Debuting three years later on the Rock from Hell compilation, in 1984 Grave Digger returned with the full-length Heavy Metal Breakdown; after the following year's Witch Hunter, Lackmann left the lineup, and was replaced by bassist C.F. Brank for 1986's War Games. The group then shortened their name to simply Digger for 1987's Stronger than Ever, which saw guitarist Uwe Lulis substituting for Masson; Boltendahl then dissolved the project, finally reuniting with Lulis in 1991 and recruiting new bassist Tomi Gottlich and drummer Jörg Michael for The Reaper, credited once again to Grave Digger. Drummer Frank Ullrich replaced Michael for 1995's Heart of Darkness, with percussion duties handled by Stefan Arnold on Tunes of War; with the departure of Gottlich, Jens Becker assumed the bass for 1998's Knights of the Cross. Keyboardist H.P. Katzenburg expanded the Grave Digger lineup to a five-piece for Excalibur, issued a year later.
	Band Of Susans - Now - CD on Restless Records Favoring chaotic squalls of guitar noise and avant textures over the dynamics of conventional songcraft, the New York-based Band of Susans formed in 1986 around the core duo of singers/songwriters Robert Poss and Susan Stenger, longtime friends who reunited only after pursuing dramatically different musical paths: while Poss became a fixture on the N.Y.C. punk scene in the Clash-inspired Tot Rocket before joing Rhys Chatham's guitar ensemble, Stenger relocated to Prague, where she studied the theories of John Cage. Originally, Band of Susans featured Poss on lead guitar and Stenger on bass, rounded out by guitarists Susan Tallman and Susan Lyall (hence the outfit's name) and drummer Ron Spitzer; four months after forming, they issued their debut EP, Blessing and Curse.
	Ashes You Leave - The Passage Back To Life - Doom metal CD on Pavement Records The band was formed back in 1995. when a few young doom metal fanatics decided to form, what later becomes the biggest Croatian Metal band of all times, Ashes You Leave. After recording two demos, Ashes You Leave attracted attention from record labels and decided to sign for Morbid Records from Germany. That deal led to release of their debut album "The Passage Back to Life". Although seemingly opus dedicated to their childhood heroes like My Dying Bride, this album is considered by many as THE classic doom metal album that will stand the test of time and have its place into doom metal's Hall of Fame if one was ever to be created. Since they were full of ideas and energy it took them only a year to release the second album "Desperate Existence".
	Daddy Longhead - Classic - CD for members of the Butthole Surfers on Mans Ruin Records Bassist Jeff Pinkus founded Daddy Longhead during his tenure with the Butthole Surfers as a way to voice the back catalog of songs that did not fit the bill with the Surfers. The band also served as an alternate musical voice stylistically, as well as an easygoing, stress-free environment within which to create and play music with friends. That's perhaps why Daddy Longhead always resembled a twisted, jam band reminiscent of an Allman Brothers on acid. Daddy Longhead was formed in Austin, TX, in 1990 with Jimbo Young on guitar, and Rey Washam -- an extraordinary musician who had previously worked with, among others, Big Boys, Scratch Acid, and later with Ministry -- on drums. The band began playing the occasional show in Austin or Houston when Pinkus' busy recording and touring schedule with the Butthole Surfers permitted. Issuing its debut album, Cheatos, in 1993, on the Butthole Sufers longtime home of Touch and Go Records, the band remained a side project until Pinkus quit the Butthole Surfers in late 1995.
	Dangerous Toys - Pissed - CD on Dead Line Records The mid-'90s were exceptionally unkind to practitioners of sleaze rock, and with song titles like "Loser" and "Hard Luck Champion," it's possible to assume that Dangerous Toys were feeling the big rock backlash while recording Pissed. The unambitious 1994 release is sturdy collection of gutter anthems similar to those the band whistled all the way to the bank during their 1989 heyday. What a difference five years can make. The post-Nevermind alt-rock world was not about to cut headbangers like Dangerous Toys any slack, and Pissed was given no consideration, driving the Texas group deeper underground. Stuffed with bad-boy posturing and power balladry, this disc has all the hooks needed to go platinum many times over -- in 1984. A decade later, blues-based, commercial-rock outfits like Dangerous Toys had expended all their media capitol, leaving the whiskey-chugging, hair-flingin' outfits desperately tossing records like Pissed into the wind.
	Defecation - Purity Dilution - CD featuring Mick Harris of Napalm Death on Nuclear Blast Records Defecation was a project by Mick Harris (Back then in Napalm Death) and Mitch Harris (Back then in Rightous Pigs and now in Napalm Death). All this legandary outfit ever released was this album entitled "Purity Dilution" produced by Dan Lixer (Nuclear Assault / Brutal Truth) and 2 tracks for "Death Is Just The Beginning" compilation. Defecation were one of the first bands to combine the elements of Grindcore and Death Metal. Purity Dilution can stand as a milestone in the history of brutal music, so if you dig Napalm Death and don't own this one, shame on you!
	Grenadine - Goya - CD with members of Unrest Tsunami Eggs on Shimmy Disc Records This indie rock supergroup consists of Jenny Toomey from Tsunami, Mark Robinson from Unrest and Air Miami, and Rob Christiansen from the Eggs. Formed in 1991, Grenadine has a slew of 7"s to its credit, as well as two albums, Goya and Nopalitos, that show off the band's moody take on pop music. Toomey's compositions tend to be sullenly melodic, quiet epics that show off her rich, throaty voice, while Robinson's songs range from upbeat power pop to odd, 1920s-style ditties reminiscent of Rudy Vallee and other crooners. An unusual band even by indie standards, Grenadine allows its members to explore musical facets untouched by their other bands, making the group more than just a side project.
	Hellhammer - Apocalyptic Raids 1990 AD - CD of Celtic Frost members on Noise Records If Celtic Frost's first three albums served as the musical Lord of the Rings for hundreds of European kids who later wound up in black metal bands of their own, then Frost's main man Tom Warrior's first band -- the ultra-primitive Hellhammer -- surely represented The Hobbit. With Warrior on vocals and guitar, Steve Warrior (no relation) on bass, and Bruce Day on drums, the trio was only active, off and on, for close to a year between 1983 and 1984. But their Apocalyptic Raids demo left a lasting impression nonetheless, doing the rounds in Europe's underground tape-trading networks long after the band had disintegrated and given birth to the much more ambitious Celtic Frost.
	Hollow - Architect Of The Mind - CD on Nuclear Blast Records Originally going under the moniker Vaalkyrian, Andreas Stoltz (vocals/guitar) Thomas Nilsson (bass) and Urban Wikstrom (drums) eventually changed their name to Hollow upon the recruitment of second guitarist Marcus Bigren. Feeling that the name of their band perfectly fit the mood setting of their personalities and musical tone, Hollow released their debut album "Modern Cathedral" in 1998 with the accompaniment of progressive rock chords and a love for classic Rush and Queensryche.
	HR - Keep Out Of Reach - CD on SST Records An epic -- downright metal-sounding, even -- single, Keep out of Reach slots in neatly aside Bad Brains' I Against I in its slightly more mainstream but still pretty strong punch. The title track itself appears in two versions, the main one mixing hints of reggae into the music, but mostly keeping that atmosphere with H.R.'s fine singing voice. Calmer dub beats slot alongside some soaring guitar, especially toward the suddenly all-the-more-anthemic ending, and the whole is a pleasant listen indeed. The second version is explicitly listed a dub take, though most of the echo and treatment is applied to the vocals; aside from extra swirling guitar here and there, the music is pretty well unchanged. "Power of the Trinity," meanwhile, is a fine praisesong for Haile Selassie, shifting between stop-start thrash, warmer reggae grooves, more cascading guitar swells, and some highly wacky humor, H.R. is always the perfect vocalist at any point.