Classic Rock Vinyl 472 Items

Mixed by the man who brought you Wu-Tang vs. The Beatles, Tom Caruana.

Mixed by the man who brought you Wu-Tang vs. The Beatles, Tom Caruana.

The lauded krautrocking, global groove ensemble’s first album On maverick producer Madlib’s label. The late Christian Burchard, who founded the Embryo ensemble in 1969, loved the slogan Auf Auf, German for Up, Up, or Keep On Going. Anyone with anything more than a passing interest in the German Krautock scene of the 1970s and 1980s knows that Burchard followed that intent, all around the world, tirelessly seeking out new sounds and inspirations and creating a catalog of music unlike most anything else the world has ever heard. Madlib has often said Embryo is his favorite rock band. Of course the hip-hop-producer-with-the-deepest-musical-knowledge knows Embryo is more than just a rock band – but, for the purposes of these notes, let’s keep it simple. When Marja Burchard, Christan’s daughter, who grew up with Embryo and toured with them for years, took the reins of the ensemble after Christian’s death in 2018, she started recording what would become this album, over the course of two years, finishing it in the throes of the Covid pandemic in 2020. She approached Madlib and Egon, who had, years back, visited and jammed with Christian Burchard, and Embryo musicians Uve Mullrich, Roman Bunka and Jan Weissenfeldt, in a Bavarian wine cellar, with the idea to issue Auf Auf on Madlib Invazion. The reply was a resounding, definitive “yes.” So here is Marja’s take on the Embryo ethos, continuing with her father’s intrepid style, and leading the band in her own style. Auf Auf ranges from the deep, free-form jazz of “Alphorn Prayer” to modal music from Afghanistan on “Baran” to psychedelic-tinged jazz-rock of the title track Joining Marja are those like Embryo veterans Bunka, on oud and guitar, and Karl Hector and the Malcouns/Whitefield Brothers/Poets of Rhythm producer and guitarist Jan Weissenfeldt and others, including important players on the global scene from Afghanistan and Morocco.

The Third Sound is the solo project of Icelandic singer-songwriter Hákon Aðalsteinsson, formerly of Singapore Sling and currently touring in Brian Jonestown Massacre. Now residing in Berlin with a fleshed-out live line-up, The Third Sound are gearing up for the release of their fourth album ‘All Tomorrow’s Shadows’ - arriving via Fuzz Club Records on May 11th. Recorded by the band themselves over the harsh Berlin winter, the new record is their most refined yet – offering an expansive exploration into krautrock-tainted post-punk and dark psychedelia.

Following on from their 2016 LP ‘Gospels of Degeneration’, the new album takes a much more sparse and rhythmic approach than we’ve seen before, combining hypnotic guitar drones, motorik rhythms and haunting vocals – the last track boasting a guest feature from Anton Newcombe, who released the band’s debut album on his own imprint A Recordings.

Live at Leeds is the first live vinyl record by the English rock band The Who. It was the only live album that was released while the group were still actively recording and performing with their best known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The complete 33 track set form Leeds University, 14 February 1970. Mastered At Abbey Road Studios. This record was cut using half-speed mastering. In their early prime the Who hit #4 U.S. with "Tommy" ('69), "Who's Next" ('71) and maybe the best live album ever, "Live at Leeds." The 1970 LP only featured six songs from the band's storming set at Leeds. The 1995 CD upped the songs from that show to 14, then a 2-CD edition (2001) finally unveiled all 33 songs the Who played at Leeds-but the running order was not true to the original performance. That "Leeds" us (sorry) to this: the 180-gram triple-vinyl deluxe edition, which restores their storied set's original sequence and boasts superior sound due to half-speed mastering at Abbey Road. If ever an album was meant to be turned up to 11, it's this: "I Can't Explain," "Young Man Blues," "Happy Jack," "Substitute," "The Acid Queen," "Pinball Wizard," "Tommy Can You Hear Me?," "I'm Free," "Summertime Blues," "My Generation," "Magic Bus" and more of the Who on stage at their electrifying best in 1970! Universal UK.

Soul Jazz Records Deutsche Elektronische Music Volume 2 is now available as two separate double LPs for the first time in over 10 years! Soul Jazz Records' 'Deutsche Elektronische Musik 2' is their second voyage into the world of Krautrock and German electronic music from the 1970s and early 1980s. Features a stunning line-up of seminal German groups, including Can, Faust, Popul Vuh, Neu!, Cluster, Amon Düül II, La Düsseldorf, as well as a host of lesser known and more obscure groups and artists such as Agitation Free, Bröselmaschine, Niagara and many more.

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching. We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

50th anniversary edition of one of rock music’s seminal debut albums
2LP set pressed on 200 gram audiophile vinyl
LP1 features all new, 2019 stereo mixes as approved by Robert Fripp
LP2 features all new, 2019 alternate takes & recordings with five pieces mixed by Steven Wilson and two pieces mixed by David Singleton.
artwork derived from the original paintings, as meticulously restored for the limited edition full sized, signed prints
Cut by Jason Mitchell at Loud Mastering from original 24/96 high-resolution source files.

Mixed by the man who brought you Wu-Tang vs. The Beatles, Tom Caruana.

On August 27th 2021, The Third Sound will release their fifth album ‘First Light’ on Fuzz Club Records. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavour since the release of his self-titled debut on Newcombe’s A Recordings a decade ago.

Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.”

‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

From the same continental cosmic egg that hatched Marc Moulin, Marc Hollander and Belgian synth fusion combo Placebo comes your favourite new Franco-Flemmish pop discovery. COS, where have you been all my life? Compact in name but wide-eyed in nature, it’s understandable how the 70’s band known simply as COS has remained trapped in the tight cracks between pop stardom and prog indulgence where other like minded names like CAN, Zao, Neu! And Egg have managed to squeeze into gaps of your record collection. In presenting one of the band’s most infectious and potentially crossover legible tracks on this exclusive user-friendly 45, COS mastermind Daniel Schell not only breaks an unlikely new format for this lesser-known femme-fronted, electro/jazz fusion/prog pop opera/would-be disco cinematic six-piece but also sends a sonic telegram to a new generation of futurist pop aficionados ready to explore the deep realms of his band’s dense, expansive and consistently rewarding catalogue. Placing the microscope over the central motif of the band’s onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album combines the type of warm, brooding, discoid funk and nymphish Morse code vocals that unite fans of Stereolab, Curved Air, Jan Hammer, Emerald Web and Ursula Dudziak not to mention Schell’s own close friends, the aforementioned, Hollander, Moulin and Placebo. A prog rock 45 might sound like a contradiction in terms but with a band like COS you can only expect them to defy convention. Backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year this suitably compact introduction to your new favourite COSmonauts provide digestible versions of some of Schell’s finest moments and clears the decks for future explorations of a wider musical universe waiting to be explored. Turn on this beautiful machine and let yourself melt into the COSmix.

Kikagaku Moyo 1st self-titled album reissue. Originally released by Cosmic Eye Records in Sep 2013. Kikagaku Moyo's debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. comes with digital download Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains. As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair. =Band Description= Kikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo.