Classic Rock 365 Items

close to NM

The album “Electric Fluxus” is a mind-expanding audio landscape, continuously morphing and progressing - ranging from calm psychoacoustic fragments to more dramatic tunnels of eruptive sessions in which electronic structures melt with heavily manipulated electric cello and electric guitar. Eberhard Kranemann and Pharmakustik have a common language and understanding regarding organic sound-textures and interactions, from meditative fields to dynamic dissonances that reflect the technological apocalypse.

Eberhard Kranemann (ex Kraftwerk, Neu!, Pissoff, Fritz Müller) is an audiovisual artist. He studied classical double bass at the Dortmund Conservatory and painting at the Kunstakademie Düsseldorf. In 1968 he collaborated with Joseph Beuys and later on with many other well-known artists. Numerous CD and video productions, television interviews and documentations, reviews in art & music magazines and books exist.

Siegmar Fricke (Pharmakustik) started his earliest musique concrète-experiments in 1981. Since his activities within the global tape-scene, he has been concentrating on his solo-works and on collaborations with originators of the experimental scene who focus on idiosyncratic sound-architecture and decomposition. Siegmar Fricke has been working on decomposed collages since 1984.

Still sealed with hype sticker. Numbered Limited edition Translucent vinyl.

Clear with Black Smoke vinyl seems unplayed. Original inner sleeve. Cover is close to NM. 2016 reissue.

Top left corner is bent, otherwise NM cover. Record looks unplayed.

Of the several Ayers BBC collections that have been assembled, this is the most interesting, focusing as it does on the most interesting phase of his solo career. Taken from four sessions (three of them from 1970), it has a good cross section of some of the better songs from his early career, including "Lady Rachel," "Whatevershebringswesing," and a revamp of his Soft Machine numbers "We Did It Again" and "Why Are We Sleeping?." About half of this is pretty uncommon material: the verging-on-tipsy "Derby Day" and "You Say You Like My Hat" don't seem to have shown up on any studio releases (though the latter appears on a recording of a 1972 show, Banana Follies), "Gemini Child" only showed up as an outtake on the Odd Ditties collection, and "Butterfly Dance" was a 1970 single. Furthermore, there's a cover of "Falling in Love Again," the pop standard whose languor lends itself well to Ayers' low, crooning voice, and "Queen Thing," which is nothing more than a brief satire of "Wild Thing." You get to hear a few different lineups of musicians as well, with the Whole World (including Mike Oldfield) backing him on two of the 1970 sessions and the Soft Machine plus David Beford and Lol Coxhill playing on the earliest 1970 session. By contrast, the 1972 session has a nice skeletal feel, for the most part drumless, with low-key reverbed guitar and harmonica

Leftoverture is the fourth album by Americanrock band Kansas, released in 1976. With Steve Walsh taking a back seat on the production of material, Kerry Livgren stepped up and his compositions retained much of the classically inspired complexity of Livgren's previous work. The album begins with the hit single "Carry On Wayward Son". Kerry Livgren wrote the song as a sequel to the final song, "The Pinnacle", from the previous album, Masque.

180g vinyl.

Out on May 6th 2022 via Svart Records, Finland’s own masters of frenzied Proto-metal, Kaleidobolt, bring the past up to date with a new album that perfectly elevates all the promise and flair their reputation has been boiling over since their 2015 debut album. “This One Simple Trick” packs more punch than most bands with far larger lineups, the deadly trio of Sampo Kääriäinen on guitars, lead vocals and keyboards and Marco Menestrina on bass, vocals, keyboards, percussions are reinvigorated by recent new recruit, drummer Mårten Gustafsson.

Gustafsson, according to Menestrina, brought his own “very creative musical mind, drumming chops for days and a great sense of humour” to “This One Simple Trick”. Kaleidobolt have never sounded this ferocious and exhilarated, that their joy makes the songs on “This One Simple Trick” as infectiously contagious as the pandemic they were created under. Gustafsson’s relentless drumming matching every beat of Menestrina and Kääriäinen’s genius instinct for bad-ass rebellious Hard Rock, it feels like “This One Simple Trick” is Kaleidobolt hitting the bullseye in every enthralling moment.

Kaleidobolt’s incendiary humour and sense of fun that the band had in the studio with the injection of new blood, transfuses straight through the jugular into a powerhouse collection of explosive songs, and relentless energy that’s impossible to deny. Kaleidobolt’s ascension to the zenith of “This One Simple Trick” has been mounting like wildfire, where Finnish bands of this caliber haven’t been seen since the 1970s. “This One Simple Trick” was mostly recorded at E-Studio (a very fancy and large studio in southern Finland) in August 2021 and a bunch of overdubs and vocals sessions at Wastement in September/October (a well worn rehearsal place in Tampere that has been birthplace of some of last decade’s best Finnish Psychedelic Rock music).

All the sessions were supervised by Niko Lehdontie (best known for Oranssi Pazuzu & Kairon:IRSE!) who produced and mixed this blistering album of stone-age Blues and crushing riffery. Rabble rousing tracks like “Weekend Warrior” give Scandinavian Blues-Rock titans Hellacopters, Graveyard and Witchcraft a serious run for their money with psychedelic riff-mountains like “Ultraviolent Chimpanzee” bringing to mind the purple–hazed deserts of Josh Homme on acid suddenly gone all Tame Impala. References hard to come by when a band this inspired hits full throttle but must be witnessed and experienced to believe. Not just our favourite underrated live band of timeless song-smiths, plenty of Psych-Rock afficionados and Prog Rock freaks the world over are starting to wax lyrical about how stupendously potent Kaleidobolt’s hard rock magic–brew really is.

All sides NM or close to it.

Jethro Tull, recorded live for radio broadcast at the 1969 edition of the Newport Pop Festival, Devonshire Downs, CA 21st June 1969. The majority of the set here is to promote the album Stand Up, with a couple of episode coming from the stellar bluesy debut This Was, released in 1968.

Gold vinyl

Recorded live in Toronto on New Year’s Eve 1979 and originally released the following year, "Rock 'n' Roll Resurrection" was Jayne County's first release after the Electric Chairs disbandment. A great live show with County fronting a raw and loud new band performing a breathtaking selection of cracking songs, among them, the phenomenal title track and some "in your face" versions of classics such as "Paranoia Paradise," "Fuck Off," and "Cream in My Jeans". One of the best live albums of the whole early punk era.