Classic Rock 101 Items

Jess and the Ancient Ones released a three-song EP titled Astral Sabbat on 22 February 2012, recorded with the Swedish sonic wizard Tore Stjerna of Necromorbus Studio in their hometown Kuopio. Astral Sabbat pushed forward the boundaries of the sound established on their first full-length and forging their own path, as personified by the rather unusual choice of cover song Long and Lonesome Road, originally written and recorded by the Dutch rock outfit Shocking Blue, known for their mega-hit Venus.

“We wanted to give these works a space entirely their own, so that listeners can focus on them completely. For this purpose, we considered an EP the perfect means. Regarding the surprising choice of cover, I had heard the song at a very young age. And now, after travelling many roads, it returned to me. It is a timeless song and I hope someone discovers Shocking Blue through us”, revealed guitarist Thomas Corpse more than 10 years ago.

Astral Sabbat proved that Jess and The Ancient Ones were already back then way beyond all those occult, prog or retro-rock tags and playing a game of their own. Svart Records will release limited 12” colored edition of Jess and The Ancient Ones mini-LP Astral Sabbath on 25 October 2024. Svart Records’ webstore also has a limited edition of 150 copies package of green/red/purple marble vinyl version of the self-titled debut album, limited edition of Astral Sabbath mini album with a special slip mat Svart Records’ webstore has a limited edition of 150 copies package of green/red/purple marble vinyl version of the self-titled debut album, limited edition of Astral Sabbath mini album with a special slip mat – all of these are packaged in a unique Jess & The Ancient Ones totebag.

Back in 2012, the Jess and the Ancient Ones debut album was an essential part of what was known as the occult rock revival. The band's progress has since then ventured beyond such sub-genres, but the debut remains a cult classic, with its triple guitar NWOBHM-influenced melodies and furious vocal delivery. On this album, the band's lyrical concept is based upon the personal occult experiences of the writers. Combined with music it creates a strong mystical atmosphere.

With the vocal talent Jess as their frontwoman and three guitars in the lineup, Jatao draws inspiration from heavy metal and rock groups of the classic era, such as Mercyful Fate, Roky Erickson, Iron Maiden and Abba. The album was recorded in December 2011 by Necromorbus Studio, known for their previous work with bands such as Watain. The result of these sessions is the eponymous album, a 53-minute moonlight ride into the nether regions of progressive occult heavy rock.

Svart Records releases the new edition of this modern classic on 25 October 2024 as a part of the record label’s 15th anniversary. Jess and the Ancient Ones’ self-titled debut album will be out on CD, black and transparent lime/black marble vinyl. Moreover, Svart Records’ webstore has a limited edition of 150 copies package of green/red/purple marble vinyl version of the self-titled debut album, limited edition of Astral Sabbath mini album with a special slip mat – all of these are packaged in a unique Jess & The Ancient Ones tote bag.

Jess and the Ancient Ones released a three-song EP titled Astral Sabbat on 22 February 2012, recorded with the Swedish sonic wizard Tore Stjerna of Necromorbus Studio in their hometown Kuopio. Astral Sabbat pushed forward the boundaries of the sound established on their first full-length and forging their own path, as personified by the rather unusual choice of cover song Long and Lonesome Road, originally written and recorded by the Dutch rock outfit Shocking Blue, known for their mega-hit Venus.

“We wanted to give these works a space entirely their own, so that listeners can focus on them completely. For this purpose, we considered an EP the perfect means. Regarding the surprising choice of cover, I had heard the song at a very young age. And now, after travelling many roads, it returned to me. It is a timeless song and I hope someone discovers Shocking Blue through us”, revealed guitarist Thomas Corpse more than 10 years ago.

Astral Sabbat proved that Jess and The Ancient Ones were already back then way beyond all those occult, prog or retro-rock tags and playing a game of their own. Svart Records will release limited 12” colored edition of Jess and The Ancient Ones mini-LP Astral Sabbath on 25 October 2024. Svart Records’ webstore also has a limited edition of 150 copies package of green/red/purple marble vinyl version of the self-titled debut album, limited edition of Astral Sabbath mini album with a special slip mat Svart Records’ webstore has a limited edition of 150 copies package of green/red/purple marble vinyl version of the self-titled debut album, limited edition of Astral Sabbath mini album with a special slip mat – all of these are packaged in a unique Jess & The Ancient Ones totebag.

Back in 2012, the Jess and the Ancient Ones debut album was an essential part of what was known as the occult rock revival. The band's progress has since then ventured beyond such sub-genres, but the debut remains a cult classic, with its triple guitar NWOBHM-influenced melodies and furious vocal delivery. On this album, the band's lyrical concept is based upon the personal occult experiences of the writers. Combined with music it creates a strong mystical atmosphere.

With the vocal talent Jess as their frontwoman and three guitars in the lineup, Jatao draws inspiration from heavy metal and rock groups of the classic era, such as Mercyful Fate, Roky Erickson, Iron Maiden and Abba. The album was recorded in December 2011 by Necromorbus Studio, known for their previous work with bands such as Watain. The result of these sessions is the eponymous album, a 53-minute moonlight ride into the nether regions of progressive occult heavy rock.

Svart Records releases the new edition of this modern classic on 25 October 2024 as a part of the record label’s 15th anniversary. Jess and the Ancient Ones’ self-titled debut album will be out on CD, black and transparent lime/black marble vinyl. Moreover, Svart Records’ webstore has a limited edition of 150 copies package of green/red/purple marble vinyl version of the self-titled debut album, limited edition of Astral Sabbath mini album with a special slip mat – all of these are packaged in a unique Jess & The Ancient Ones tote bag.

Like a puff of smoke, Stoned Jesus have risen above the Carpathian Mountains as not only the heaviest, but perhaps the most important rock band to emerge from Ukraine. Prior to Stoned Jesus' first communion, affable frontman Igor Sydorenko was just another familiar face among local progressive rockers. But after rekindling his old flame for metal amidst a stormy period in his personal life, Igor and his two new bandmates went off in search of more crushing highs. While only their second album, Seven Thunders Roar marks an early milestone for Stoned Jesus. The riffs still roll downhill with all the sludgy force of a mudslide, but the band added crisp acoustic guitars to reflect their newfound inner strength. "Climbing up", Igor sings on "I Am The Mountain", a 16-minute instant classic that charges through lush folksy valleys and peaks of headbanging doom at full steam. "And we're never going to stop". For fans of Black Sabbath, Sleep, Electric Wizard. 1. Bright Like The Morning 2. Electric Mistress 3. Indian 4. I'm The Mountain 5. Stormy Monday 6. Bright Like The Morning (Extended) 7. Stormy Monday (Extended) 8. I'm The Mountain (Extended)

Like a puff of smoke, Stoned Jesus have risen above the Carpathian Mountains as not only the heaviest, but perhaps the most important rock band to emerge from Ukraine. Prior to Stoned Jesus' first communion, affable frontman Igor Sydorenko was just another familiar face among local progressive rockers. But after rekindling his old flame for metal amidst a stormy period in his personal life, Igor and his two new bandmates went off in search of more crushing highs. While only their second album, Seven Thunders Roar marks an early milestone for Stoned Jesus. The riffs still roll downhill with all the sludgy force of a mudslide, but the band added crisp acoustic guitars to reflect their newfound inner strength. "Climbing up", Igor sings on "I Am The Mountain", a 16-minute instant classic that charges through lush folksy valleys and peaks of headbanging doom at full steam. "And we're never going to stop". For fans of Black Sabbath, Sleep, Electric Wizard. 1. Bright Like The Morning 2. Electric Mistress 3. Indian 4. I'm The Mountain 5. Stormy Monday 6. Bright Like The Morning (Extended) 7. Stormy Monday (Extended) 8. I'm The Mountain (Extended)

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.

Squadra Omega is one of the bands which best represents the vast spectrum of the Italian underground. Psychedelic, avant-garde, jazz-rock, improvisation, kraut-rock, rock in opposition and ethno-tribalism blend seamlessly into the work of a collective that moves and expands depending on the urgency of the moment, focused around a core that rotates around the two members OmegaMatt and OmegaG8. In the band's wide discography we find compositional freedom, improvised jam-sessions in and a amplitude of references, all of which move between different spaces and times.

Materia Oscura (Dark matter) offers a glimpse at the same time the soil of the "rock" matter as well as the alien, seen from multiple points of view, neighbors and materials distant and mysterious. Three tracks that stretch their eyes at Orient or Africa as well as into the depths of the cosmos, landing on the side of the art-rock of the '70s and towards some psychedelic, visionary, cinematic drives then explode into a real ecstatic trip. Inputs from Coltrane, Canterburian jazz-rock, Grateful Dead and Synthy-Space views are melted into free-form landings until they discover their own personal form of prog. Different Universes collide and coexist in the band in a constant mutation, maintaining faith in one single ideal: "music for the third eye”.

The album comes in a thick carton cover and with a central hole.

Historical Graffiti is the band’s fourth full-length, out in 2016. Gary Arce, the guitarist, seems comfortable sitting on a single vamp throughout the opener ‘The Wind Cries Edalyn’, allowing the additions of violin and bandoleon accordion (played by the tango musicians Sara Ryan and Adolfo Trepiana, respectively) to weave melodies in between. Despite the titular connection to the Jimi Hendrix song, it bears no discernible resemblance to ‘The Wind Cries Mary’ and it is a deceptive number; what seems such a simple, almost easy-listening song reveals more colour with every listen. ‘Her Phantom Finger of Copenhagen’ is slightly darker and almost sounds, with the slight distortion on Arce’s guitar, as if it could have come from Pot Head, the EP the band released in 2005. Mario Lalli, the bass player, begins the third song, ‘Naomi Crayola’ with a throbbing single note, aided by Bill Stimson’s metronomic drumming. Imagine if Can grew up near the beach, it’s that sort of vibe. The only problem with the song – and the album, as it happens – is that it is too short. Ryan’s violin returns in ‘The Secret Language of Elephants’, this time playing the role of keeping the main vamp alive while Arce’s guitar generates an evocative soundscape that opens in your mind a wide, violet sky like that above a desert the moment after the sun disappears for the night. The closing song and title track is the most free of the five on the album, with Stimson’s beat conjuring memories of Kyuss’s more mellow moments from Welcome to Sky Valley, Lalli’s bass marking the simplest of bottom ends and Arce having a ball over the top. (taken from the band's Bandcamp)

Historical Graffiti is the band’s fourth full-length, out in 2016. Gary Arce, the guitarist, seems comfortable sitting on a single vamp throughout the opener ‘The Wind Cries Edalyn’, allowing the additions of violin and bandoleon accordion (played by the tango musicians Sara Ryan and Adolfo Trepiana, respectively) to weave melodies in between. Despite the titular connection to the Jimi Hendrix song, it bears no discernible resemblance to ‘The Wind Cries Mary’ and it is a deceptive number; what seems such a simple, almost easy-listening song reveals more colour with every listen. ‘Her Phantom Finger of Copenhagen’ is slightly darker and almost sounds, with the slight distortion on Arce’s guitar, as if it could have come from Pot Head, the EP the band released in 2005. Mario Lalli, the bass player, begins the third song, ‘Naomi Crayola’ with a throbbing single note, aided by Bill Stimson’s metronomic drumming. Imagine if Can grew up near the beach, it’s that sort of vibe. The only problem with the song – and the album, as it happens – is that it is too short. Ryan’s violin returns in ‘The Secret Language of Elephants’, this time playing the role of keeping the main vamp alive while Arce’s guitar generates an evocative soundscape that opens in your mind a wide, violet sky like that above a desert the moment after the sun disappears for the night. The closing song and title track is the most free of the five on the album, with Stimson’s beat conjuring memories of Kyuss’s more mellow moments from Welcome to Sky Valley, Lalli’s bass marking the simplest of bottom ends and Arce having a ball over the top. (taken from the band's Bandcamp)

1st Repress in Limited Edition of Trees Speak’s debut album. Trees Speak's debut record, Trees Speak, is the band's first of five albums they've produced in half a decade, and it is finally getting its worldwide reissue to their fans' long-awaited anticipation. Released on Cinedelic Records. Before their first album, they planned to create music with an unrehearsed approach performing simple beats, riffs, sequences, and going by instinct. They endeavored to create an auditory environment that let the listener's mind to be set free of tone, melody, and structure. They began to experiment with sounds, blending vintage aesthetics and equipment, which led them on an unexpected journey into creating and producing records. Always with their roots in 1960s-70s jazz, rock and roll, and experimental music they began to experiment with live sound performances and performance art. The band's live performances dramatically captured their idea of merging early experimental music such as the Dadaist, John Cage, and early electronic experimental music. While their music might seem organic and unrehearsed, the band has developed an creative way of communicating ideas into sound using visual art. For example, they use diagrams when communicating a musical idea. The band often refers to musical diagrams to express dynamics, chords, key signatures, and emotional expressions. These graphic notations are a template to communicate esoteric concepts, which they ingeniously transform into their music. They also use this form of illustrated art expression during live performances and in-studio recordings. It is a simple way to explain an overarching idea through music and art. Trees Speak are Daniel Martin Diaz and Damian Diaz both appear also on the album by Others (Cinedelic Records).

Uzelli Psychedelic Anadolu is a brand new product from Uzelli label, based in Turkey. Uzelli was established as a cassette label in Frankfurt in 1974 and since its beginnings was bringing Turkish music to Turkish people in their homeland and Germany. Produced more than thousand of albums of various artists from genres as arabesque, tavern, arabic music, psychedelic pop and rock, bellydance, Turkish classical music and folk.
Following a big international demand for original and obscure Turkish music from 70s and 80s, Uzelli selected tracks from their archive and brought them together as a compilation of psychedelic sounds of famous and unknown artists of Turkey. Compilation consists of highly popular names such as Erkin Koray or Ünol Büyükgönenç from legendary KardaÅ?lar band as well as undiscovered talents of vintage Turkish pop, rock and folk - Akbaba Akilisi, Zor Beyler, Kerem Güney, AÅ?ık Emrah, Elvan Sevil, NeÅ?e Alkan and Ali Ayhan. All tracks were recorded and produced by Uzelli between 1975 and 1984. Most of the tracks were never released on any other source than cassette. Uzelli brings them on vinyl, CD and digital. Compilation consists of 10 tracks plus 1 hidden track - all remastered by Emil Berliner Studio in Berlin. The design of the release was created to follow the original style of Uzelli's cassette covers' style from 70s and 80s.
Uzelli Psychedelic Anadolu is a first production that initiates a new project of Uzelli - creation of series of compilations and albums from its vast archive. Bringing original, undiscovered sounds from Turkey to worldwide music amatours is a main goal of the production. The project is created by international crew - curated by Polish music explorer and digger, esthetically redesigned by Polish artist, backed by Turkish researcher, American ethnomusicologist, Israeli and German DJs and producers. All production and management of the project takes place in Istanbul, in the headquaters of Uzelli company. All this make the production awaited by many music and culture networks all around the world.

Twelfth studio album by Australian psychedelic rock band King Gizzard & the Lizard Wizard, fourth of five albums released by the band in 2017. Amongst the 20 best rock albums of the same year. Polygondwanaland, is another stellar entry in King Gizzard near-flawless discography.

2023 repress

This latest instalment in Soul Jazz Records’ successful Deutsche Elektronische Musik series delves deeper into the German nation’s vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.
The music of Deutsche Elektronische Musik 3 ranges from the introverted pastoralism of Hans Joachim Roedelius and Bröselmaschine, to the angular and futuristic electronic experimentations of Klauss Weiss, Pyrolator, Deuter, Michael Bundt and others, to the proto-punk of La Düsseldorf and the heavy space, progressive and cosmic rock of Missus Beastly, Niagara and Dyzan.
The music on Deutsche Elektronische Musik 3 was all recorded in the 1970s up to the early 1980s, at a time when forward-thinking German electronic and rock groups were searching for a new musical identity in order to separate themselves from both the cultural legacy of post-world war two Germany as well the ‘cultural imperialism’ of USA and UK rock. In this process German groups created some of the most unique and inspired music, the defining motorik beat alongside a host of ethno-musical influences from far afield – including Turkey, India, Brazil – as well as the musical and futurist possibilities of developments in electronics and technology itself.
Deutsche Elektronische Musik 3 is released as a heavyweight 3xLP, deluxe double CD pack and digital release. The new extensive sleevenotes are by David Stubbs, who is the author of the acclaimed book, ‘Future Days: Krautrock and the Building of Modern Germany’ (Faber & Faber).

Limited edition for Record Store Day 2017!

Snot's music is a mix of rough around the edge rock 'n' roll and fun funky hardcore punk-rock, especially on the standout songs "Snot", "Deadfall", "Joyride", "The Box". Celebrating the 20th anniversary of the album, Music On Vinyl proudly presents the first ever vinyl release of Get Some!

Limited edition for Record Store Day 2017!

The first ever collection of Ranny Sinclair's brilliant late '60s recordings, featuring A- and B-sides plus unreleased material that includes alternate versions. Ranny's four singles were soaked with the vibe and essence of NYC in the '60s and seasoned wi

Deluxe 4 x LP set of David’s incredible concert in the 2,000 year-old Pompeii amphitheatre in July 2016.
148 minutes of amazing performance across 21 tracks in a hardback slipcase containing 4 x LPs with poly liner bags,
2 x gatefold sleeves and 24-page large format photo booklet.
Produced by David Gilmour. Mixed by Andy Jackson and David Gilmour, assisted by Damon Iddins.
Vinyl half-speed mastering by Mandy Parnell at Black Saloon Studios, London.

2022 repress

I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called “Supersense” at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I’d planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing “public sessions". I’ve always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That’s when the idea for an “Experience” was born. I decided that pieces from the second and third Ash Ra Tempel albums “Schwingungen” and “Seven Up” (both from 1972) would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. … It felt a bit like pushing at open doors - or, to put it another way - it felt like being welcomed with open arms!

Originally released on Philips in 1970, Zweistein's trippy kraut psych experimental masterpiece gets its first vinyl reissue ever. Even more experimental than Faust, Kraftwerk or Cluster, their only album was a triple LP housed in a marvelous double gatefold cover, all made in silver & gold cardboard, with the front embossed and featuring a small mirror on it. Electronically adventurous, the sounds give you what's promised in the title in the form of an avantgarde collage produced by Suzanne Doucet -a successful pop singer and TV guest then, and now a famous voice in New Age music- with the help of her sister Diane and sound engineer Peter Kramper, who besides his recognised work as a studio wizard starting with many German beat bands like The Rattles or The Blizzards and later remixing albums by the likes of Hawkwind a.o. He also played synthesizer in some Amon Düül albums an records by other krautrock travellers like Utopia's 1973's self titled LP.

At the time Suzanne didn't want to link the avantgarde experiments collected here with her succesful pop career, so she used a pseudonym and signed the production as Jacques Dorian, while the recordings were issued as being made by a whole band named Zweistein. The photo you see on the cover of their only 45, here included as a bonus, show the Doucet sisters surrounded by friends who where ask to play any instrument they could, be a tambourine, a flute or simply stomp their feet on the ground, on the sessions.

The Wah Wah reissue has been licensed from Suzane Doucet, comes with remastered sound and will include one bonus 7" reissue of their non LP single. Like the original, it will be printed over metallic silver & gold embossed cardboard, plus comes with an insert with liners and photos. Limited edition, only 500 copies pressed!

Hitchhiker includes solo, acoustic songs recorded in 1976 at the Indigo Ranch Studios in Malibu, California.

The 6th entry in the Now-Again Reserve Edition series is the definitive reissue of a lauded and misunderstood Krautrock album as well as the first band-sanctioned reissue in the series.

The most mysterious Krautrock album, German Oak’s “Down in the Bunker” has been fetishized and demonized, lauded and misunderstood for nearly four decades. In this definitive Reserve Edition of the album, the German Oak trio – together again after 30 years apart – have approved the remastering of their 70s music, finally tell the story behind the creation of their dark, brooding album – and the occult-obsessed record collector behind the original album’s release and its myth – and they share previously unreleased music and photos.

The obscure Düsseldorf band’s self-produced debut were mainly spontaneous sessions recorded in a bunker. According to an online statement by the alleged bandleader the music was later published by a friend of the band who centered the titles and the artwork on World War II themes, in which the band itself had little say.

This two LP set presents the album as it was initially released, and a second disc of other songs by the band, both rare and previously unreleased.

For the first time on vinyl and pressed on 180-gram vinyl.

For the first time on vinyl and pressed on 180-gram vinyl.

Issued in 1983 as a limited private pressing, ‘Die Erde und Ich sind Eins’ was Florian Fricke’s first ‘solo’ LP. It features the guitar of his Popol Vuh partner Daniel Fichelsher and vocals by Anni Morris Wieland, Bettina Fricke Waldthausend, Dieter Prym, Florian Fricke, Friedemann Berger, Friedemann Wieland, Gisela Von Doering, Ingeborg Jahnke, Jan Lorck-Shjmerning, Jana Faust, Karl F. Weber and Klaudia Wieland.

‘You could label it as ‘body-space-music’ (Körperraummusik) where you sing inside the body and take it in such a way that every cell in the body, from the sole of the foot to the crown of the head, starts to vibrate. In order to be able to realise this I have experimented to find where speech resonates in the body. The consonants vibrate at the body walls, the bones and flesh and the vowels fill the body spaces. And that sounds like a gong-concert: it also has a great therapeutic effect.’ (FLORIAN FRICKE)

Being a private pressing 'Die erde un ich sind eins' has become one of the rarest LPs in the Popol Vuh saga, a mint original may cost you over 400 euros. Comes in original artwork plus the 50 page book that Fricke wrote for the release but was never published (until now!), plus an insert with liner notes by Dolf Mulder & Original insert all in a limited edition of 500 copies only.

What would American southern rock be without the scorching sounds of Lynyrd Skynyrd? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of "Second Helping“ and "Nuthin' Fancy“. Back to the well then, we go, for two more Skynyrd favorites — the epic "Gimme Back My Bullets“ and the band's bluesy, hard-rocking 1973 debut "Pronounced Leh-nerd Skin-nerd“.
Remastered from the original analog tapes by Ryan Smith at Sterling Sound, our Analogue Productions reissue of "Pronounced Leh-nerd Skin-nerd“ is the ultimate in luxurious reproduction and unbeatable sound. 200-gram plating and pressing by Quality Record Pressings, and a tip-on Stoughton Printing jacket round out the package.
The undeniable youthful hunger of "Pronounced Leh-nerd Skin-nerd“ pumps through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, "Pronounced Leh-nerd Skin-nerd“ bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.
Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.
It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches - twinkling piano notes, soaring mellotrons, a one-off harmonica - provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.

Remastered recordings from 1977, including bonus material, reproduced original artwork, lyrics and background info. The band's style here is similar to what's heard on England's legendary LP 'Garden Shed', so fans know what to expect.

In 1995, Zao released their first album, "All Else Failed," on Steadfast Records. Never a band to repeat a past success and always searching for new boundaries to push within their own music, "The Well-Intentioned Virus" finds Zao utilizing just as many familiar touchstones from their catalog as introducting new ones. Dense and clastrophobic one moment, beautiful and spacious the next. Vinyl version includes digital download.

“Havana Moon” captures the historic, once in a lifetime concert by The Rolling Stones in Havana, Cuba on 25th March 2016. Directed by Paul Dugdale (Adele, Coldplay) this epic, record breaking concert is packed with hits and classic tracks. Filmed at the end of the “América Latina Olé” Tour, Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood performed a truly spectacular set to an estimated 1,2 million adoring fans. The highly anticipated free show attracted a huge audience in the same week as President Obama became the first serving US President to visit Cuba in 88 years. TV News reported that Obama was 'the warm up act' for the Rolling Stones and Obama paid tribute to the Stones in his first speech to the world's media in Havana. As the Stones took to the stage under a perfect “Havana Moon” for a show that will forever go down in history books as a life changing moment for a country on the brink of change, there was nothing that was going to come between the band and their fans including the Vatican in Rome who had objected to rock n roll in Havana on Good Friday.
This release contains 3LPs and the DVD.

Straight from the vaults of the legendary Golden Voice Recording Co. comes REMEDY's funky hard-rock boogie sound. Remedy was one of the top live rock bands in Illinois in the early 1970s and their recorded legacy has remained largely unheard until now. This previously unreleased album was created from the restored four-track masters. It includes an insert with a in-depth bio and pictures of this nearly forgotten Pekin, IL band.

Steve Howe's recording career began as early as 1964 under the production of Joe Meek when he was the lead guitarist of the savage R&B outfit The Syndicats. He then joined The In Crowd, who soon became Tomorrow, legendary pioneers of UK psychedelia who along with Pink Floyd and Soft Machine changed the face of pop music forever. When Tomorrow's singer Keith West's first solo single became a huge success (it was a part of the "lost" Teenage Opera project by Mark Wirtz) all band members went their separate ways. Drummer Twink joined The Pretty Things and then formed The Pink Fairies, bassist Junior Wood -along with Twink- tried luck in Aquarian Age and Steve Howe accompanied West on tour before finally giving birth to Bodast in 1968.

Bodast was formed by Steve Howe (Guitar), Dave Curtiss (bass, vocals) and Bobby Clark (drums). The name was creatied by taking the first two letters of their names (BObby, DAve, STeve). Curtiss and Clark where veterans of the early UK scene, having been members of Screaming Lord Sutch's Savages or Vince Taylor's Playboys, and they had also worked in France backing Françoise Hardy.They were soon joined by Clive Skinner (vocals) and Bruce Thomas (bass), and also acted for a while as Canto.

While back in the era no recordings of Bodast saw the light of day, the fact is that they did record a whole LP under the production of Keith West. Ten incredible songs that are the missing link between Tomorrow and Yes, a stunning progressive opus which still has it's share of psychedelia, and which should have been a classic since day one but, sadly, the album was filed and left unreleased, and Bodast finally disbanded. Howe got some offers to join other established groups. He took the one from Yes, with whom he soon entered the studio to record The Yes Album, to which he added parts of the lost Bodast compositions (the most evident being Nether Street, an important part of it ended up in Starship Troopers). And the rest, as they say, is history.

The Bodast LP finally saw the light of day in 1981, when Cherry Red issued 8 of the recorded songs as The Bodast Tapes. The original tapes had been newly remixed by Steve Howe himself. It was, again, issued in the 1990s by C5, same remix, with the addition of two extra tracks. That version was also available on CD. In 2000 RPM released a new CD version, this time rescuing the original 1968 mixes, and with the addition of four tracks by Canto (essentially the same band, who changed the name for a while).

Now, for the first time ever on vinyl the original 1968 mixes, which are rawer than those early eighties ones done by Steve Howe, are issued by Wah Wah Records Supersonic Sounds, on a limited edition of only 500 copies, housed in a nice three backflaps sleeve like they did them in the UK in the sixties!

UK psychedelia moved into prog rock with spices of hard rock in the late sixties, some even coined a new label to describe the strong textures resulting of the mixture of rockier blues sounds, jazz, revolutionized freakbeat and the hardest side of popsike - ‘heavy psych’. Amongst the best works of the era were the two splendid LPs recorded by Welsh band Eyes Of Blue.

The Eyes Of Blue where formed in 1966 and soon won the Melody Maker Beat Contest, a fact that secured them a recording deal with Deram records. The label issued their first 45s, they were good but -due to company pressure- more Blue Eyed Soul or even bubblegum oriented. By the time they released their first LP, on Mercury, their real sound had surfaced, showing influences by some of the coolest bands from the US West Coast like The Doors or Love, and also counted on the help of Graham Bond.

Originally released in 1969, In Fields Of Ardath was the follow up to their superb debut LP, expanding the path of heavy Hammond based psychedelic progressive rock at its best with their aim of experimentation. This album contains also material they recorded for the movie Toy Grabbers in collaboration with Quincy Jones.

Members of Eyes Of Blue would later join Man, Pete Brown & Piblokto! and Gentle Giant.

First ever legit vinyl reissue, in a limited run of only 500 copies, including two bonus tracks from a non-LP 45, in remastered sound and featuring an insert with photos and liner notes.

Love Will Tear Us Apart should have been the band's most shining moment, instead it became their tragic swan song. Released just a month after frontman Ian Curtis' heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy. This special edition features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the 'radio version') and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time). The remaining tracks include "These Days" (which appeared on the original "Love Will Tear Us Apart" single), along with "Transmission" (their debut single released in 1979) and "Atmosphere" (originally released as a France-only single) in 1980.

Colosseum was one of England's prime rock-jazz outfits. Valentyne Suite takes the band out of their bluesy comfort zone into something closer to prog rock. The album is generally seen as their best album and still extremely enjoyable.

This double vinyl set is a 150g pressing on grey and blue Colored Vinyl, packaged in a gatefold jacket with photos and liner notes.