| | Sepultura Roots CD Sepultura Discography of CDs
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Additional Tracks; Special Edition
Sepultura: Max Cavalera (vocals, acoustic & electric guitars, berimbau, percussion); Andreas Kisser (acoustic & electric guitars, sitar, percussion, background vocals); Paulo Jr. (bass, timbau grande, percussion); Igor Cavalera (drums, timbau, djembe, percussion).
Additional personnel: Carlinhos Brown (vocals, berimbau, timbau, wood drums, lataria, xequere, surdos); Mike Patton, Jonathan Davis (vocals); David Silvera, Ross Robinson (percussion); Xavantes tribe, DJ Lethal.
Recorded at Indigo Ranch, Malibu, California and live in the "Aldeia Pimentel Barbosa," Mato Grosso, Brazil on November 5, 1995.
Sepultura: Max Cavalera (vocals, guitar); Andreas Kisser (guitar); Paulo Jr. (bass guitar); Igor Cavalera (drums).
Not to be confused with the similarly titled Sepultura albums Roots or Blood Rooted, The Roots of Sepultura was a promo-only CD compilation of the band's strongest tracks and hard-to-find rarities. Released just before the groundbreaking Roots album, it predated the 1997 rarities/outtakes collection Blood Rooted. Interestingly, there is almost no overlap between the rare tracks included on Roots Of and Blood Rooted. It would make sense for Roadrunner to officially release this disc since it would serve as the ultimate final chapter of Sepultura's inventive thrash metal (leader Max Cavalera and the group split in 1997). Whereas bands like Metallica and Anthrax peaked early on in their careers and eventually ran out of ideas, Sepultura's songwriting only improved over time, which is obvious when listening to this album from beginning to end. Included are the band's breakthrough songs, "Refuse/Resist (Live)" and "Territory," perfect covers of both Black Sabbath's "Symptom of the Universe" and Motörhead's "Orgasmatron," and the early transitional track "Dead Embryonic Cells." The only reason why this release isn't the ultimate essential Sepultura overview is because it doesn't contain selections from their most accomplished album, Chaos A.D.. Still, The Roots of Sepultura is heavy metal at its most gripping and passionate (two words usually not associated with the music). ~ Greg Prato
Listeners intrigued by the rhythmic innovations and Brazilian influences of Chaos A.D. will be quite pleased by Sepultura's sprawling, frequently brilliant follow-up. True to its title, Roots wholeheartedly embraces Sepultura's native Brazilian rhythms, augmenting their music with field recordings of the Xavantes Indians, vocalist/percussionist Carlinhos Brown, and expanded percussion sections. The guitarists create an array of noisy, textural effects, so their technique and riff writing are not as impressive for fans of old-school thrash, but that's more due to the growing influence of alternative metal on the band, with Korn being a particular touchstone (vocalist Jonathan Davis even guests on one track). The songs sacrifice the tight structure of Chaos A.D. for extended percussion jams, plus some acoustic instrumental work. At 72 minutes, Roots inevitably loses focus in spots, but when the music connects (and it does so often), it carries tremendous visceral impact. Roots consolidates Sepultura's position as perhaps the most distinctive, original heavy metal band of the 1990s. ~ Steve Huey
On its sixth album, Brazil's most famous head-banging outfit takes a page from the nu-metal book but, more importantly, combines its brutal thrash-metal sound with indigenous music from its homeland, occasionally utilizing the percussion and chants of the country's Xavantes tribe to powerful effect. The biggest standouts are the lively, acoustic-guitar-driven "Itsari" and the epic closer "Canyon Jam," both improvisations with Xavantes musicians that make for welcome contrasts to the record's intense bombast. Elsewhere, Brazilian percussionist Carlinhos Brown drives the rhythm-laden "Ratamahatta," a track that exemplifies the quartet's distinctive brand of "tribal metal."
ROOTS marks a big step forwaRolling Stone (3/21/96, p.98) - 3 Stars - Good - "...Sepultura play a violent game of sonic overload....the band uses its catharsis as a creative force, funneling torrents of noise into a tunnel of hate..."
Spin (4/96, p.110) - 6 - Reasonably Good - "...takes the rain-forest chants and street drumming flavor that flickered through the firestorm of CHAOS A.D. even further....Sepultura's ethnography...[is] about sound--heavy bloco drumming and crushing guitars were made for each other..."
Q (7/01, p.91) - Included in Q's "50 Heaviest Albums of All Time".
Q (3/96, p.103) - 3 Stars - Good - "...it's constructed of ferocious throat bending and huge riffs that support their growling menace, while simultaneously doffing a cap to their ethnic ancestors..."
Melody Maker (2/17/96, p.34) - "...the aural equivalent of being caught in a midfield by a PCP-fuelled defensive line from the Pittsburgh Steelers....this is [not] a mere metal barrage....There's ruthless rap attacks...the murderous electronic whining...the tribal chants and Brazilian ragga metal duets..."
NME (Magazine) (2/24/96, p.46) - 7 (out of 10) - "...a host of strange and traditional instruments has given Sepultura new formats for their extreme displeasure..." Roots Music | List Price | $20.98 (You save $4.03) | | Category | Rock/Pop Albums, Rock CDs, Heavy Metal | | Label | Roadrunner | | Orig Year | 1996 | | All Time Sales Rank |  50299  | | CD Universe Part number | 6853079 | | Catalog number | 618154 | | Discs | 2 | | Release Date | Jun 07, 2005 | | Studio/Live | Mixed | | Mono/Stereo | Stereo | | Producer | Ross Robinson | | Engineer | Chuck Johnson | | Personnel | Max Cavalera - vocals, guitar
Igor Cavalera - drums
Paulo Jr. - bass guitar
Andreas Kisser - guitar
Also: Mike Patton, Jonathan Davis, D.J. Lethal, Carlinhos Brown, Ross Robinson, David Silvera, Xavantes tribe | | Additional Info | Bonus CD; Bonus Tracks; Reissue; Digipak |
Purchase Roots CD To buy, Click on price to add to cart | Sepultura Morbid Visions/Bestial Devastation CD (1998) Remastered
Roots
 $15.05   
Digitally remastered reissue, on a single gold CD, of thehit Brazilian thrash metal group's first two releases,1985's 'Bestial Devastation' (originally released as a splitalbum with the band Overdose) & 1986's 'Morbid Visions'(their proper full length debut). 15 tracks total, includingthe two bonus tracks 'Necromancer' (Demo Version) &'Anticop' (Live). 1997 Roadrunner Records release.
MORBID VISIONS/BESTIAL DEVASTATION was originally released as 2 separate EPs.
Tracks 1-8 ...
| | VH1 Presents The Corrs Live In Dublin CD (2002)
Roots
$6.39
The Corrs: Jim Corr (vocals, guitar, keyboards); Sharon Corr (vocals, violin); Andrea Corr (vocals, tin whistle); Caroline Corr (vocals, drums, bodhran, percussion).
Recorded at Ardmore Studios in Dublin, Ireland in January 2002.
You knew the Corrs had made it when they played the final JFK Awards ceremony of the Clinton administration. Playing it would have been achievement enough, but their status as a happening thing was cemented at the end of the ceremony, during the encores, when everybody was taking their final bows. Bill moseyed up over to Andrea, put his arm around her, and when she was looking away, sized her up -- at precisely the same moment Chuck Berry was checking her out. If that doesn't mean that you've broken America, entering its pop culture, I don't know what does, expect for maybe a VH1-endorsed piece of product like Live in Dublin. Lo and behold, that's exactly what the Corrs received in the spring of 2002, a year and a half after "In Blue" and its accompanying single "Breathless" broke down the doors in America for the U.S. Only two songs on this set list are shared with In Blue, but that doesn't ...
| | Dredg Catch Without Arms CD (2005)
Roots
$8.49
Personnel: Nathan Calvin (vocals).
Audio Mixer: Terry Date.
Recording information: Studio Litho, Seattle, WA.
Editor: Ingrid Erickson.
Arranger: Chris DeGarmo.
It makes sense that Terry Date produced Catch Without Arms, Dredg's second record for Interscope. The producer is a veteran of Deftones albums, and it's that band's rich but still rocking palette that's the intent here. And they succeed. Like past Dredg releases Catch has a conceptual flow. But openers "Ode to the Sun" and "Bug Eyes" focus the grandeur and meandering pace of the band's past work around effective melodies and a steadiness in the rhythm. The choruses emphasize the Bono/Chino Moreno in Gavin Hayes' vocal, and when the rhythm drops out for a contemplative ...
| | Degrassi - The Complete Third Season DVDs (2003) Box Set
Roots
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| | Tales From The Crypt - The Complete Third Season DVDs (1991)
Roots
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Television executives plugged into viewers' deepest fears with the debut of TALES FROM THE CRYPT in 1989. Its original source material was the EC comic-book; the series originated on HBO and would go on to run for seven seasons. Hosted by the skeletal Crypt Keeper himself, each episode of the show offered a new, ghoulish tale to inspire nightmares in its audience. The show was such a success that a myriad of CRYPT-inspired spin-offs resulted, including an animated series, several feature films, and seemingly ...
| | Darkthrone Cult Is Alive CD (2006) (Import) England; Limited Edition; Enhanced CD
Roots
$23.29 
At a time when most of the first wave of Norwegian black metal bands are long gone, Darkthrone has become the senior figures of this particular subgenre almost by default; they're like the Rolling Stones of death metal. And much like the Rolling Stones around the time of Some Girls and Emotional Rescue, Darkthrone now seems to be caught between staying true to their original sound and adapting to the commercial marketplace. The album's first single, "Too Old, Too Cold" is easily the most immediately accessible song the band has ever done, sounding more like American hardcore punks the Misfits than anyone else, and elsewhere "Graveyard Slut" and "Whiskey Funeral" add ...
| | Charles Mingus Mingus At The Bohemia CD (1956)
Roots
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| | John Foxx Modern Art: Best Of CD (2001) (Import) United Kingdom
Roots
$10.99 
Includes 18 classic, rare and unreleased tracks from the founding member of Ultravox.
This 18-track anthology neatly summarizes the solo career of John Foxx, who recorded several solo synth-pop albums after leaving Ultravox following their third album; features the singles "Underpass" and "No One Driving" as well as some previously unreleased material.
His affection for cool synth soundscapes enriched by a love of nature and a strong Catholic mysticism, John Foxx has always been a man of more depth than the new romantics he once inspired. Fortunately, the many facets of Foxx's complex persona get a fair representation on Modern Art, the second retrospective of his long but interrupted career and a superior collection to the previous Assembly. The remastered album manages to hit most of the essential highlights, making it a fine introduction, yet won't be superfluous to more dedicated fans thanks to a handful of sought-after offerings from throughout Foxx's two decades as a solo artist after leaving Ultravox. The former group of listeners will find the one-two punch of "Underpass" and "No-One's Driving," off Foxx's first album, Metamatic, a revelation, as both songs take Kraftwerk's chilly precision to even colder, more alienated extremes. From there, a slight warming trend is audible, as real instruments began to support the singer' s stylish, Bowie-influenced romanticism: his finest single, the sweeping "Europe After the Rain," and even more prominently on Beatlesque follow-ups like "Your Dress" and "Like a Miracle." For casual Foxx fans, the story ended shortly thereafter ...
| | End Within Dividia CD (2004)
Roots
$9.79
Personnel: Aaron Wolff (vocals); Andrew Hercules (guitar); Anthony Salajko (drums).
Recording information: Wild Studio, St-Zenon, Quebec, Canada.
Canadian avant-garde metal troupe The End had a lot of explaining to do following the release of their freakishly named debut, 2002's Transfer Trachea Reverberations from Point: False Omniscient. Infeasibly dense and demanding, its only intention seemed to be out-weirding the likes of Today Is the Day or the Dillinger Escape Plan in terms of sheer, extreme music lunacy. Thankfully, the band's first album-length work, 2004's Within Dividia, not only scaled back ...
| | Rob Mazurek Sweet & Vicious Like Frankenstein CD (2004) (Import) Austria
Roots
$16.09
Sweet and Vicious Like Frankenstein represents a normal step in light of the evolution of Rob Mazurek's music over the last decade. Still, it is probably not what you are expecting, especially if you take his previous solo effort, Silver Spines, as a point of comparison. There is not a cornet in sight; this album is all electronics. Mazurek uses a computer, a mini-disc, and a tone generator -- that's it. The approach has nothing to do with jazz, rock, or even free improvisation. It could be seen as a tribute to early musique concrète and computer music. It stands somewhere between sound collage, kitsch electronics, and noise -- and, if you can (or are willing to) get over the initial shock, this album is actually quite strong. There are two extended pieces. "Body Parts (Spectral White)," 40 minutes long, is an intriguing work progressing by episodes of four or five minutes, roughly pieced together like the parts of Frankenstein's creation. Some sections are strongly reminiscent of early electronic music (Vladimir Ussachevsky, Hugh Le Caine, Pierre Henry, Arne Nordheim), while other ones range from microsonic computer treatments to harsh sound experiments and field recordings. The early electronics bits come back regularly, acting like a leitmotiv and reinforcing the analogy with Frankenstein (experimentation in the infancy of a technology) and, through the character, with old horror movies. "Electric Eels (In Half Light)" is neither as conceptually rich nor as striking. In contrast with the previous piece, it presents a uninterrupted 25-minute flow of sounds, mostly harsh and escalating. Reference points include Kevin Drumm and Merzbow (although the piece is slightly less brutal than the latter's usual output). Sweet and Vicious Like Frankenstein could have been an episode of self-indulgence from a man who obviously likes to dip his fingers into as many bowls as he sees fit. Instead, it came out as a very honest effort in sound art, the work of a man who knew what he was doing, not a dilettante. Nevertheless, approach with caution if you were hoping for some abstract cornet playing. ~ François ...
| | Early Man CD (2005) Extended Play
Roots
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| | Bwana If If CD (2004) (Import) Limited Edition
Roots
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| | James Dioronnie Angry Machines/Super VA CD (2006) (Import)
Roots
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| | Mai Nakahara Concept Mini Album CD (2006) (Import)
$30.19 | | Heavy Creatures Cymbal & The Skull CD (2008)
Roots
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Hey! It\'s our 2nd release!!! Each of these CDs has a hand-rubber-stamped cover, all stamped by us with much love. We designed, stamped, assembled and numbered each CD, so each one is different.Heavy Creatures started making music together in 2004 in an old decayed factory in Brooklyn NY. Inspired by bands such as Shocking Blue, Heart and Led Zeppelin, the double-female fronted band invokes the psychedelic sound and threads it through with their own personal influences, ranging from old Americana, sea shanty choruses and ROCK. The Cymbal and the Skull is a vibrant exploration of the band\'s quest for its own sound. Their debut album, Loaded Sky, (which was recorded live on an analog 8-track in their practice space by engineer & boutique pedal designer John Schumann) was released in the fall of 2006. That album hints at elements of psychedelia and late 60s inspired riffage but it\'s The Cymbal and the Skull that is clearly bringing the Creatures into their own. For this album, the band recorded analog again at Brooklyn\'s Metrosonic Studio with engineer George Dugan, who has recorded other off-the-fringe bands such as Yoke, The Phenomenal Hand Clap Band and New York Howl. Each song style on this recording is unique, and has a different story to tell; almost as if they are a collection of short stories in a large volume. With subject matter that explores different paths of intensity stemming from basic human emotions, it is easy to relate to each story. Sarah and Kelley, both lead vocalists, take turns singing with the softest of harmonies and the loudest of melodies and each contributes her own particular energy to the band\'s sound. The first track, \"Family Tree\" is a wall of solid droning keyboard and bass sound with intricate guitar lines that are fast becoming a Vaughn trademark. With vocals by Sarah, \"Family Tree\" describes a lover\'s efforts to convince the object of her affections to give up the chase. \"Crimson Canyon\", with vocals by Kelley, is a seven minute epic, and tells the story of a duel between two forces of nature; an ocean and a mountain. It being a fight song, \"Crimson Canyon\" speaks of how equally matched opponents will lose everything once they decide to pit their strength against each other. \"Nightwitches\", a sonic exploration that describes the phenomenon of female Soviet fight pilots in WWII, features Pat\'s fluid and explosive drum beats, a consistently driving presence throughout the album. \"Honey\", a song written and recorded in the studio in just a few takes, flows directly from Chris\'s bass line and is a prime example of his role as the foundation upon which Heavy Creatures resides.Heavy Creatures hails from a wide musical background. Kelley Vaughn (guitar-vocals) is from a family of Southern gospel piano players and this is her first musical project. She, a former graphic designer first picked ...
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England; Limited Edition; Netherlands; +19 Track Bonus CD
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