Classic Rock 203 Items

Conceived as a studio project and conceptually inspired by the world of sci-fi novelist Aldous Huxley, Brave New World was created by Reinhart Firchow (recorders, flutes, ocarina, Stylophone, percussion, vocals), John O'Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Herb Geller (flutes, cor anglais, saxophones, organ). They where aided by Dicky Tarrach (drums, percussion), Lucas Lindholm (bass, bass fiddle, organ, piano) and Esther Daniels (voice). Irishman John O'Brien-Docker had previously played on Die City Preachers and Marcel, and also recorded as Inga & John - Inga was, of course, Inga Rumpf of Frumpy fame. He also played with Dagmar Krause and Anthony Moore, who would later be known as Slap Happy. Reinhart Firchow had also been around for a while and would later form Kaarst. Herb Geller was an accomplished jazz musician who had been playing and recording in several jazz outfits since 1954. Their album, originally released on Vertigo in 1972, featured an eclectic mixture of styles, blending medieval music, folk, electronics, jazz and rock in pure krautrock eclectic lore in the line of Annexus Quam, Achim Reichel or Tomorrow's Gift.

First ever reissue, housed in a glossy laminated gatefold cover reproducing the phenomenal original artwork and an insert with notes, and it's limited to only 500 copies!

Sticker tear on front cover. Original inner sleeve. Original US Terre Haute pressing.

Originally issued in French CBS in 1972, the Wah Wah reissue reproduces the original glossy laminated sleeve and will come with an insert with photos and text by Jim Cuomo himself. As a bonus, a 7" p/s EP will be added featuring the band's second CBS 45 plus two previously unreleased songs from the era. Remastered from the original tapes by Roger Prades, this edition will be limited to 500 copies only. Get yours before it's too late!

Limited to 500 copies!

Punch hole. Promo copy.

Original US Monarch pressing. Original inner sleeve.

Best known for their timeless classic “A Whiter Shade of Pale,” the music of Procol Harum defied categorization. The music blended intricate melodies, poetic lyrics and Gary Brooker's haunting vocals to create a sound that was both compelling and ethereal. This is a legendary BBC recording and one of Procol Harum's last live shows before they went dormant for over 13 years. An unforgettable live experience now captured on this vinyl release.

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.

Sacd

180g 2LP 45rpm

180g 2LP 45rpm

180g 4LP Box Set

180g 2LP 45rpm Gatefold Sleeve


Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Foreigner's No. 1-selling fourth studio album!
Featuring "Urgent," "Waiting for Girl Like You," and "Juke Box Hero"
180-gram 45 RPM double LP
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing

Throughout the course of three late-70s albums, Foreigner (along with Journey and Styx) was recognized as one of the top AOR bands of the era. But the band was still looking for that grand slam of a record that would push them to the very top of the heap. Released in 1981, 4 would be that album, writes AllMusic.

In producer Robert John "Mutt" Lange — fresh off his massive success with AC/DC's Back in Black — guitarist and all-around mastermind Mick Jones found both the catalyst to achieve this and his perfect musical soulmate. Lange's legendary obsessive attention to detail and Jones' highly disciplined guitar heroics (which he never allowed to get in the way of a great song) resulted in a collaboration of unprecedented, sparkling efficiency where not a single note is wasted.

"Nightlife" kicks off a series of energetic and nearly flawless melodic rock songs on the album. Within this collection, you'll find tracks like "Woman in Black," "Don't Let Go," and the '50s-inspired "Luanne." However, the standout gem in this album is "Juke Box Hero." This song manages to be both a mainstream hit and exceptionally unique. It blends heavy metal guitar riffs, harmonized vocals, and lyrics that capture the desire to become a rock star.

But there's more to this album. It also includes the essential power ballad, "Waiting for a Girl Like You." This emotional song transcended genres, becoming one of the most successful tearjerkers of the decade. It's a constant presence on soft rock radio and has overshadowed another beautiful ballad from the album called "Girl on the Moon."

And let's not forget the surprising and funky "Urgent." This track stands out as one of the band's most memorable and uncharacteristic smash hits, thanks to Junior Walker's signature saxophone solo.

As awesome as the music is this definitive deluxe 180-gram 45 RPM 2LP package. Foreigner 4 has never sounded better!

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

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.

English blues outfit Tramp had a fleeting existence in the late 60s and early 70s—here today, gone tomorrow. Based around former John Dummer Blues Band vocalist/ guitarist Dave Kelly and sister Jo Ann on harmonies and occasional lead, the group got a boost from Fleetwood Mac mainstays Mick Fleetwood, Danny Kirwan, and Bob Brunning, as well as former Savoy Blues keyboardist, Bob Hall. If not quite as compelling as their 1969 debut, this 1974 LP has the hallmark touches that made the Mac leaders of the British blues scene. Fleetwood Mac devotees and British blues lover, get stuck in!

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!

Limited 500 copy edition with 200 gram vinyl and polylined inner sleeve

American psychedelic band from Boston, Massachusetts. Active 1967 to 1969. Their second album was originally released in 1968. Recorded in September 18th, 19th, 26th, 27th and October 26th, 29th 1967 at Bell Sound Studios, New York City

Formed in the biker hotspot of San Bernadino, east of Los Angeles, Alkana centred on the voice and lyrics of future Warlord frontman, Jack Rucker, and the guitar pyrotechnics of Danny Alkana, who drew heavily from the style of Boston's Tom Scholz and Deep Purple's Richie Blackmore, bassist Craig Williams and drummer Donny McLaughlin keeping the rhythms fast and furious. 'California Rock n Roll Queen' and psych epic 'The Tower' have the kind of Golden State rock majesty of Van Halen or Journey, and there are shades of Granmax, Asia and Judas Priest too. Originally issued on the Baby Bird label in 1978, this is a long lost hard rock gem, ripe for rediscovery!

Formed in the town of Rosario, northeast of Buenos Aires, in 1971, Argentinian group El Reloj are considered South American pioneers of progressive rock and heavy metal, their forward-thinking experimentalism scoring a contract with RCA Victor. Following the massive success of singles 'Alguien en Quien Confiar' and 'Blues del Atardecer,' their legendary self titled LP found the group between Deep Purple and Uriah Heep, with a harder edge than subsequent symphonic releases. A must for all fans of early metal, South America rock and obscure prog, El Reloj is an essential classic.

Fully licensed, ltd to 500 copies, 180 gr. 1967, just like it was yesterday, pre Vietnam war scenario, high hopes and a new bright horizon, soon to be fall. Meanwhile, the music and - in this case - the celestial vocal harmonies of the East Coast unit formally known as Free Design Their 1967 debut 'Kites Are Fun' is still a case in point and a major influence on today's alternative pop. Often referred as the East Coast answer to Mamas & the Papas, the band had a more ethereal and eclectic approach. From the gentle orchestral accompaniment of 'Make the Madness Stop' to the folkish bossa of 'When Love Was Young' through the sensational arrangements of 'Proper Ornaments' - a number eventually championed by Madlib in the stunning tribute The Now Sound Redesigned (released on Light In The Attic in 2005) - you'll find more than a singular approach. Produced by none other than Enoch Light the album is still an astonishing piece of heavenly art-pop with such a lysergic counterpoint.

Mod revivalists the Merton Parkas formed in the anonymous neighbourhood of Merton Park, southwest London, with Danny Talbot on vocals and guitar, brot- her Mick on keyboards, Neil Hurrell on bass, and future Wedding Present drummer, Simon Smith. Discovered by punk journa- list Alan Anger, they signed to Beggar’s Banquet in 1979 for this riveting debut, which included the top-40 single, ‘You Need Wheels,’ as well as power-pop ‘Plastic Smile’ and reggae-influenced ‘Give It To Me Now.’ This brilliant LP captures the band’s dynamic start, emphasising the glory days of their short-lived grea- tness, before Mick Talbot joined Dexy’s Midnight Runners and ultimately formed the Style Council with Paul Weller.

Prog-rock supergroup Judas Jump was formed by saxophonist Alan Jones, following the demise of Amen Corner, with future Status Quo keyboardist/vocalist Andrew Bown and future McCartney/Clapton/Pete Townsend drummer Henry Spinetti, who had both been in Herd with Peter Frampton. At the heavy, hard-rocking end of prog, Judas Jump’s prominent woodwinds and occasional Mellotron yielded the distinctiveness that is all over this compelling debut LP, but despite featuring at the Isle of Wight festival and making the front cover of NME, Judas Jump broke up by 1971, rendering Scorch a lost classic.

reissue with original insert on 180g vinyl plus three bonus tracks

An acid rock LP on the Isley Brothers’ T-Neck label? Yes, the unlikely collaboration resulted from a Jimi Hendrix concert at New York’s Syracuse University, supported by the Isleys and mixed soul-rock group, Soul Survivors, who had worked with Tom Bell and Gamble & Huff. When Soul Survivors morphed into Privilege, they convinced the Isleys to sign them to T-Neck, the result being this rare self-titled album, a fine set of hard-rocking originals, expertly produced by the Isleys with plenty of stereo panning, blistering guitar from frontman Edward Leonetti, atmospheric organ from Paul Venturini and melodic bass lines from Jack Douglas, later an engineer for Aerosmith, Lou Reed and Cheap Trick. A true classic, not to be missed!

Canadian bassist/vocalist Neil Merryweather relocated to Los Angeles in the late 1960s and hooked up with the singer, actress and future Penthouse pet, Lynn Carey. They would find greater fame upon forming the band Mama Lion in 1972, but Vacuum Cleaner captures the prototype of the group on this collaboration cut the year before, after RCA signed them as a duo. Merryweather’s bass is a solid anchor and his harmony and musical arrangements help keep everything in place; Canadian keyboardist JJ Velker adds atmosphere, but it is Carey’s powerful voice that really drives this hard rockin’ beast, gleaning comparisons with Janis Joplin. Merryweather & Carey notably appeared in Russ Meyer’s The Seven Minutes too.

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.

South London blues-rock band Killing Floor was formed in the late 1960s with lead singer and harmonica player Bill Thorndycraft, guitarist Mike Clarke, bassist Stuart McDonald, pianist Lou Martin and percussionist Bas Smith, with Muddy Waters their foremost inspiration. After an eponymous debut album produced by former music writer John Edward, issued by the independent Spark label (and licensed to Sire in the US), Killing Floor was signed by Larry Page, who placed follow-up LP Out Of Uranus on Penny Farthing, again with Edward in the producer’s chair. In contrast to the debut LP, Out Of Uranus had heavy acid rock and psychedelic leanings, as heard on the anti-religion title track and songs like “Acid Bean,” though “Where Nobody Ever Goes” was more in standard blues-rock mode. As was the case with several other Page projects from the period, poor album sales made the release a true rarity, its scarcity keeping it in high demand today. Limited RSD press with original artwork in gatefold sleeve, licensed by original rights owner Larry Page Productions.

Here's a collection of rare psychedelic/freakbeat tracks from such bands like The Kinetic, The Factory, Steerpike, State of Micky & Tommy, Cain, Nimrod and more. This is for fans of these 80s and 90s cult psych comps like the ones on Tiny Alice Records, the Justafixation series, Voyage Through the Sugarcube etc.

During the early 1970s, Detroit rock band Howl The Good signed to Motown’s prog-rock offshoot, Rare Earth. Travelling to London to record their self-titled debut album at Olympic Studios, they were fortunate to work with engineer Chris Kimsey (best known for his later work with Peter Frampton and The Rolling Stones), with ex-Spooky Tooth keyboardist Gary Wright in the producer’s chair; Wright was a highly-rated session player that worked with George Harrison, Elton John, Joe Cocker and Steve Winwood, and he also enjoyed a successful solo career. The resultant album is a competent slice of semi-commercial prog rock with an undercurrent of blues and the odd pastoral number; despite the obviously American feel of the material, Billboard assumed the group was British, due to the location of the album’s recording. Despite the strength of “Just Pretend It’s Another Day” and “Long Way From Home,” both co-written by Wright, and a one-off rendition of Cat Stevens’ “The Joke,” the album flopped on release on both sides of the Atlantic, leading the band to remain in obscurity and ultimately break up.

A Gun Club live recording from the On Broadway, supporting their groundbreaking debut 'Fire Of Love', but also anticipating it's follow-up 'Miami' from 1982 ('Watermelon Man', or the revisitation of CCR's classic 'Run Through The Jungle').