Classic Rock 353 Items

Top notch hard progressive album with blues/jazz influences, originally released in 1972 on the collectable RCA-Neon label. Featuring the legendary Ray Russell (John Barry Seven, Graham Bond, Georgie Fame…) on devastating fuzz guitar plus Alan Greed (Harsh Reality) on bass, Alan Rushton (Mouse) on drums and Gary Windo (Centipede) on sax.

Bootlegged many times on vinyl, here’s an official reissue with fantastic remastered sound by Ray Russell, original artwork in gatefold sleeve plus color insert with liner notes and rare photos / memorabilia.

One of the rarest private pressings from the US, originally released in 1972 by this band from Mansfiel, Ohio. Psychedelic hard rock with a charming, homemade feel. Including the monster psych opus "Song Of A Sinner" plus more cool tracks with great guitar/organ interplay.

One of the rarest private pressings from the US, originally released in 1972 by this band from Mansfiel, Ohio. Psychedelic hard rock with a charming, homemade feel. Including the monster psych opus "Song Of A Sinner" plus more cool tracks with great guitar/organ interplay.

Rhode Island rock band Cannabis are another of those fabled groups that were gone in the blink of an eye. With only an album and a single to their name, issued on the short-lived Amphion Seahorse label, the band’s particular brand of harmonic psychedelia and keyboard-driven rock deserved a wider audience, as attested by the high prices afforded original copies of this excellent LP. They’re at their best on songs like “See You In The Morning” and “Sleeping Bride,” both of which display a strong late-period Beatles influence. Another lost gem that is ripe for rediscovery, of interest to all fans of melodic, early ‘70s psych rock.

In 1971, under the direction of Jürgen Dollase, who also composed all the tracks, this album was recorded and finally released in 1972. It was recorded at Dierks Studios by Dieter Dierks himself. Dollase and drummer Harald Grosskopf were later also members of the legendary Cosmic Jokers. Loyal Krautrock fans labelled this album as Progressive Rock - but that doesn't really do justice. Opulent, lengthy works like Lunetic with a playing time of 12 minutes are today among the highlights of what is summarized as Krautrock. Transferred from the original analog tapes and carefully remastered without destroying the character of the recordings. Absolutely worth listening to!

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

Once again a work by Patrick Campbell-Lyons without Alex Spyropoulos, this time Songs Of Love And Praise showed a return to a more classic Nirvana sound. Campbell-Lyons revisited two of the most loved songs by the band, Pentecost Hotel from their debut LP and Rainbow Chaser from their second one. The album opens precisely with the amazing uptempo beat of Rainbow Chaser, which while sounding faithful to the original recording, it comes with a totally different approach on the arrangements. Campbell-Lyons states on the liners that he went for a step further in that field, and looked for a jazzy atmosphere. It sets the tone of the album: upbeat good vibrations songs that differ from the dark mood of the previous Local Anaesthetic LP and that besides these two songs revisited presents all new material.

Uplifted and positive, Songs Of Love And Praise gives what the title promises to take the classic Nirvana sound from their first three albums one step further with the collaboration of Bobby Harrison (Procol Harum, Snafu) Lesley Duncan, Maggie Bell and Sylvia Schuster (who had already played live with Nirvana at the time of their debut album).

The Wah Wah edition is the first ever official vinyl edition since 1971. Housed in a glossy textured reproduction of the original sleeve and featuring two bonus tracks not on the original release. 500 copies only!

This release comes on 180g vinyl.

Monster tripped-out Floydian psychedelia / krautrock by this band from Düsseldorf featuring visual artist Gabor Baksay. This is their sought-after album originally released in 1972. Dark, atmospheric, hypnotic sound with percussion, flute, organ, guitars and early electronics / proto-industrial sound collages… DOM (Gabor and Laszlo Baksay, Rainer Puzalowski and Hans-Georg Stopka) evolved from a beat/psychedelic band called the Early Birds, later Set Mind, who were in a sort of sporty competition with another group called Spirits of Sounds, featuring Michael Rother’s Pre-NEU and Kraftwerk drummer Wolfgang Flür. DOM were regulars at underground clubs from Düsseldorf such as the Creamcheese, where they rubbed shoulders with early Krafwerk and Can. “Edge Of Time” was recorded at the legendary Neubauer Studios (Harmonia, Kalacakra, Anima-Sound…) and subsequently released on the tiny Melocord label in 1972. Its enigmatic cover was designed by a friend of the band, Jutta Keime. *Remastered sound *Original artwork in cardboard sleeve + OBI *Insert with liner notes by Klemen Breznikar (It’s Psychedelic Baby) and rare photos Riyl: Pink Floyd, Tangerine Dream, Mythos, Kluster, Popol Vuh, Yatha Sidhra… “One of the legendary classics of the German underground” – The Crack In The Cosmic Egg “My favourite German Psychedelic German Underground album of all time” – Reine Fiske (Dungen)

Experimental fusion project Jade Warrior began in the early 70s when percussionist/flutist Jon Field and guitarist Tony Duhig joined forces with bassist Glyn Havard; Field and Duhig had been in Second Thoughts which later became July. By the time of Last Autumn’s Dream the group was a quintet with drummer Alan Price and Tony’s younger brother David on lead guitar, allowing for denser explorations of the contrast between world music fusion and acid rock: Dave’s searing guitar leads jostle with eastern flute melodies, African rhythms and meditative folk motifs. Another fine piece of Jade Warrior’s evolution, ripe for rediscovery!

The re-release of the 2 seminal psych/prog albums by SAN MICHAEL’s, the self-titled (1971) one and Nattåg (1972), overlaps not at all coincidentally with the appearance of Kaipa’s 15th studio album Sommargryningsljus, as the fabular universe of the latter revolves around counterfactual rebirth, that is, becoming (re)born as one is getting older. These 2 evergreen albums, essential for savvy collectors of Scandinavian psych/prog, showcase the smooth progression towards Kaipa’s sonic multiverse, bordering on the porous dividing line between psychedelia (with a Made-in- Sweden pedigree) and European progressive, and driven by Hans Lundin’s ferocious organplaying that alternates between swirling ultra-groovy psychedelia and imposing kraut-ish segments. Both albums, produced by Leif Mases, have been remastered by sound meister Martin Igelström for your maximum audio pleasure, and come in ultra-limited pressings of 200 numbered copies + 2-page insert with bio and rare studio and live photos, in splatter (1st ) and marble (Nattag) vinyl. File nearby: Blakulla, Blue Sun, Dice, Kaipa, Made in Sweden, Mecki Mark Men, Panta Rei, Trettioåriga Kriget Vinyl 180 gr., strictly limited pressing of 200 numbered copies. NB: Not to be confused with St. Mikael or Cosmic Michael.

The roots of hard rock act Tucky Buzzard lie in psychedelic group, The End, who supported The Rolling Stones on an early tour, leading Bill Wyman to produce their sole LP. The band then morphed into Tucky Buzzard, now with scorching lead guitar licks and Hammond organ parts to the fore, and Wyman still on board as producer and manager. For their final album, Buzzard, released on Deep Purple’s Purple imprint in 1973, there is a mix of hard-edged blues rock, with a fine interpretation of perennial classic, “Who Do You Love,” and wistful originals like “Hanging On In There.” As ever, Wyman’s sterling production and presence on acoustic and electric piano makes this one a must for all Stones fans.

In the early 70s, Hendrix’s old friend & collaborator Curtis Knight moved to London and formed Curtis Knight Zeus, recruiting a young guitarist named “Fast” Eddie Clarke (later of Motörhead fame).

Sea Of Time was recorded at Olympic Studios in 1973 but never actually released in the UK, only in a few European countries. Psychedelic hard-rock with soul/funk influences and even some raw proto-punk moves. All songs were written by Curtis, showcasing his versatile songwriting talent, and he’s also on lead vocals / guitar.

Includes the underground heavy-funk-rock hit “The Devil Made Me Do It” and more!

Recommended if you like Jimi Hendrix, Arthur Lee’s “Vindicator”, Chubby Checker’s “Chequered”…

This release comes on 180g vinyl.

50th anniversary edition of King Crimson’s classic 1973 album. Packaged in two gatefold sleeves with booklet in a rigid exterior slipcase.

Sacd: Mastered ON Mobile Fidelity's Renowned Mastering System: Numbered-edition Hybrid Sacd Plays With Expressive Clarity / Released only eight months after his exhilarating debut, Bruce Springsteen's The Wild, the Innocent & the E Street Shuffle contains rousing dispatches from the boardwalk, the street, the beach, and the bedroom. It explodes with energy, dares to dream, teases with humour, crackles with tragedy, clings to hope, and overflows with discovery, youthfulness, and personality. It features an unforgettable cast of characters — corner boys, teenage hustlers, doomed lovers, jazz men, junk men, factory girls, fortune tellers, alley cats, pimps, escorts, and more — illuminated by vivid colour, breathtaking detail, and poetic action.

Musically, the heartfelt 1973 record is inhabited by sympathetic vignettes and cinematic arrangements steeped in rock 'n' roll, soul, jazz, and R&B. It finds the New Jersey native looking beyond the parameters of his preceding record and seeking to move on from environments he knows well (and chronicles here) by rushing headlong toward unknown territories, adventures, and people. Underpinned by the singer-guitarist's ambitious poetic enterprise and will to succeed, The Wild, the Innocent & the E Street Shuffle is the album on which Springsteen becomes the Boss.

Mastered on Mobile Fidelity's renowned mastering system, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33rpm LP set is the definitive-sounding version of Springsteen's sophomore record. Benefitting from SuperVinyl’s nearly non-existent noise floor, superb groove definition, and dead-quiet surfaces, The Wild, the Innocent & the E Street Shuffle plays with a clarity, energy, presence, and openness that complement the expressiveness, dynamics, and scope of the seven restless songs that comprise a work Rolling Stone ranked the 345th Greatest Album of All Time.

Beyond the audiophile sonics that practically place you behind the console at 914 Sound Studios — listen to the separation between the instruments, natural decay of the notes, interplay within the widescreen soundstaging, and nothing-to-lose youthfulness of Springsteen’s voice — this reissue takes seriously this record’s influential merit by presenting it in packaging that underlines its status. Tucked in a beautiful slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. This reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with the invigorating set that busted Springsteen loose from the club circuit and landed him on the radio

Determined to liberate anyone within earshot and unafraid to come on strong, The Wild, the Innocent & the E Street Shuffle serves as the debut of the E Street Band — not only heard but seen for the first time by most of the public courtesy of the back-cover photograph. This is where saxophonist Clarence Clemons, organist-accordionist Danny Federici, and pianist David Sancious step out of the shadows — and drummer Vini Lopez and bassist Garry Tallent again stoke a fiery rhythmic engine that helps drive the untamed, reimagined big-band swing of “Kitty’s Back,” breathless R&B thrust of “Rosalita (Come Out Tonight),” and carefree dance steps of the funky “The E Street Shuffle.”

Of course, the main attraction remains a then-24-year-old visionary on the precipice of becoming a sensation and turning a then-bloated rock scene on its head. Recorded over three months while Springsteen and company were busy touring his debut LP, The Wild, the Innocent & the E Street Shuffle reflects the high-octane approach the vocalist embraced onstage and drifts away from the label-dictated acoustic-based frameworks of his debut. The set also witnesses Springsteen deepening his observational skills, with narratives such as the romantically tinged “4th of July, Asbury Park (Sandy)” and redemptive epic “Incident on 57th Street” mirroring changes taking place in the singer’s own life, small towns, and America at large.

A thrilling collision of memories, reflections, and composites — Sandy, Rosalita, and the latter’s parents are all based on actual people Springsteen knew, as is the community depicted in the opening track — the aptly titled The Wild, the Innocent & the E Street Shuffle resonates decades on due to its truths, authenticity, and spirit. Those characteristics — as well as the fact that many of its lengthy songs come on as the equivalent of sweaty, feverish soul revue that won’t stop until you’ve been exhausted — also explain how this now-iconic album triumphed over the reservations of industry “experts” that both demanded Springsteen re-record it and instructed deejays not to play it. Yet there’d be no stopping a record that saw the past, present, and future, a band whose will would not be denied, and a phenomenon who was born to run. A never-ending invitation to act real cool and stay up all night, The Wild, the Innocent & the E Street Shuffle always feels alright.

incl. 'sweet home Alabama'