Classic Rock 353 Items

One of the best album by UK psychedelic rock band The Deviants. The band’s debut album “Ptooff!” was originally released in 1967 on the label Underground Impresarios and only available through a few selected head shops before being re-printed by Decca Records in 1969. Founded by legendary counter-culture figure Mick Farren and Russell Hunter and inspired by The Fugs, the band was the first of the anarchic groups to emerge from the Ladbroke Grove area of London. Two years before Hawkwind burst on to the underground scene, the Deviants were preaching revolution and creating their own form of musical anarchy.

This release comes on 180g vinyl.

This release comes on 180g vinyl.

This release comes on 180g vinyl.

Limited edition for Record Store Day 2015!

Dee Dee Ramone I.C.L.C. (Inter-Celestial Light Commune) was formed by Dee Dee and John Carco in 1994 in New York City. After several live shows and drummers as a the three piece line up the two members decided to move to Amsterdam to record for Rough Trade Records. The four-song EP Chinese Bitch and the album I Hate Freaks Like You were both released in 1994. The band toured 22 countries in a 10-month period and they never toured in the U.S. This set in Scotland catch the big energy, some of The Ramones tracks are slower or even longer than the original versions and Dee Dee plays a wonderful version of Poison Heart all alone.

Dee Dee Ramone I.C.L.C. (Inter-Celestial Light Commune) was formed by Dee Dee and John Carco in 1994 in New York City. After several live shows and drummers as a the three piece line up the two members decided to move to Amsterdam to record for Rough Trade Records. The four-song EP Chinese Bitch and the album I Hate Freaks Like You were both released in 1994. The band toured 22 countries in a 10-month period and they never toured in the U.S. This set in Scotland catch the big energy, some of The Ramones tracks are slower or even longer than the original versions and Dee Dee plays a wonderful version of Poison Heart all alone.

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”…

ULTIMATE-SOUNDING VERSION OF THE HARMONY-RICH LANDMARK: DELUXE AUDIOPHILE PRESSING LIMITED AND NUMBERED COPIES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe


The enduring charm, contemporary relevance, and harmonic convergence of Crosby, Stills & Nash's fabled self-titled debut owe not only to impeccably played songs and resonant lyrics, but to career-defining performances by music's first genuine supergroup. Crosby, Stills & Nash lingers as an example of the whole being greater than the sum of its parts. Factor in phenomenal studio production and acoustic-based architecture that served as guideposts for myriad albums that followed, and popular music would never be the same.

Limited and numbered, pressed on MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP collector's edition enhances the incalculably influential work for the ages to come. Surpassing the sonics of any prior version, it peels away any limitations to provide a transparent, ultra-nuanced presentation of a record that birthed the Laurel Canyon movement and established a precedent for close harmony singing that has never been eclipsed. The organic presentation of the textures; expanse and depth of the soundstages; fullness of tones; natural extension of the acoustic guitar strings; realistic rise and decay of individual notes; seamless blending of the vocals – all those important sonic facets (and more) reach demonstration-grade levels.

The packaging features the same attention to detail. Housed in a deluxe box, the Crosby, Stills & Nash UD1S pressing features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording and the reissue's premium quality. Aurally and visually, MoFi's UD1S copy exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

The backstory of how Crosby, Stills & Nash came to be nearly matches the import of its content. Already a renowned multi-instrumental virtuoso, Stephen Stills sought a fresh beginning after Buffalo Springfield splintered. Similarly, vocal powerhouse David Crosby arrived after leaving the Byrds and gaining a reputation for being difficult. Graham Nash drifted over after a frustrating stint in the Hollies. He met his new mates at a party. When the three sang together informally for the first time, their fate was sealed. To further tie their fortunes together, the singers used each of their surnames to identify the group to ensure the collective could not exist or continue on without all three members.

From the opening of the lead track, the multi-part "Suite: Judy Blue Eyes," written for Judy Collins, it's apparent the trio's dynamic cannot be replicated or substituted. Originally released in May 1969 on Atlantic, the eponymous debut cracked the Billboard Top 10 and spent almost two years on the charts. Such longevity can be credited to the distinctive traits each member lends to a record Rolling Stone cites as the 252nd Greatest Album of All Time. Stills trades in folk, country, and rock accents while handing a majority of the instrumental duties (organ, bass, and lead guitar included). Crosby paints with mood and atmosphere, as well as direct political commentary. Nash ties everything together with accessible pop melodies.

More than five decades later, the ensemble's mellifluous singing and homespun arrangements continue to soar. The evidence pervades Crosby, Stills & Nash, whose magnetism reflects in standards such as the breezy "Marrakesh Express," protesting "Long Time Gone," poignant "Helplessly Hoping," and poetic "Wooden Ships." No wonder the trio's chemistry – as well as the distinctive traits of each member's singing, interwoven guitar parts, and contrasting personalities – became a permanent part of an American culture dealing with conflicting themes of peace and war, love and violence, and change and status quo.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Vinyl LP repressing of this 1969 album. WILLY & THE POOR BOYS, the fourth album by one of the world's all-time greatest rock bands, Creedence Clearwater Revival, remains a top-selling album in the CCR catalog with over 2 million copies sold to date. Reaching the top 50 in six countries upon it's release, the album stands as a landmark international success and one that cemented the band's legacy as a vanguard of American rock 'n' roll. Contains the ubiquitous chart-topping hit, 'Down On The Corner,' which rocketed into the top 10 in the Billboard Hot 100 in the U.S. and continues to be a mainstay on classic rock radio today. Additionally, the visceral 'Fortunate Son' is included here - an incendiary protest song that became inextricably linked to the Vietnam war, resulting in it's addition to the National Recording Registry by the Library of Congress in 2014 for being 'culturally, historically, or aesthetically significant'.

180g Vinyl LP Reissue Mastered at Half-Speed at Abbey Road Studios



Creedence Clearwater Revival is arguably the definitive American rock band. Hailing from the San Francisco Bay Area and borrowing heavily from the musical traditions of the Deep South, the gritty and powerful foursome served up a potent stew that appealed to a broad audience not just in the States but around the world. Their creative arc was relatively brief yet highly influential, and some five decades after their heyday, their straight ahead raw energy continues to echo in the rock and pop sounds of the modern day.



It was in January 1969 that Creedence released the first of its three Top Ten albums that year, Bayou Country. The product of frontman/songwriter John Fogerty's fascination with Louisiana swamp-rock and R&B, Bayou Country is chock full of classics including "Proud Mary," "Born on the Bayou," the Little Richard cover "Good Golly Miss Molly," the eight-minute plus "Graveyard Train" and the seven-minute plus "Keep on Choogling."



Mastered at half-speed at Abbey Road Studios, benefiting from an exacting process that allows for an exceptional level of sonic clarity and punch, bringing this classic recording a new vibrancy. The 180-gram vinyl LP comes housed in a handsome tip-on jacket replicating the packaging of the original pressing.

After a hiatus of almost 4 years Berlin-based label Avec Plaisir Records is finally back with their second outing: A stunning collection of six almost forgotten Progressive Rock oddities by the Austrian Band Crazy Temple.

Being mostly active in the late 70ies, the bunch of youngsters around the songwriting duo Günter Schiller and Herbert Bachinger only released one cassette „Heavy Birth“ as well as the sought-after 7-inch record „Homecomer“ in 1980 shortly before the band was scattered to the four winds. Their productions were recorded in the myth-enshrouded Ebensee Studio, were two members of the band were on the payroll.

Despite their fairly young age Crazy Temple established a very unique and authentic sound, carried by breezy synthesizers, meandering guitar-solos and the mature voice of Günter Schiller that seems heavily influenced by the favorite bands of their time. Being able to maintain a room in „Schloss Ebenzweier“ where already Franz Schubert was composing might have helped equally as the herbs the teens were smoking during countless hours of rehearsal.

The completion of the first long-player by Crazy Temple was originally planned for early 1981 - 43 years later the plan is put into action with the help of Avec Plaisir founders Sandra & Hendrik Stein. The record comes with six fully remastered original tracks recorded in 1980 complemented by three different takes on „Ev’rything’s Alright“ and „Homecomer“ by label-wright Sandra’s Alias Frinda di Lanco. The reproduction of Oto Atman’s etching „Die Träumerin von Eden“ as cover artwork adds zest to the authentic look of this release.

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.

Babel was Cos' third long playing release, issued in 1978. It represented a new step in the band's evolution with the addition of new influences that ranged from musique dodécaphonique, minimalist droning, or even a hint of disco, without turning their backs to their earlier love for Canterbury sounds or more conventional jazz-rock. Dirk Bogaert, Francis Cahen and Marc Moulin all played in its sessions, making this a superb sample of what was going on through the Belgian music scene in those days.

The Wah Wah reissue comes housed in a beautiful reproduction of the original sleeve. Limited edition of 500 copies, licensed from and with the collaboration of Daniel Schell.

Vinyl closer to VG+

recorded 1979 in Berlin