Classic Rock 145 Items

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!

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.

Yes (1969) is considered among the first progressive Rock albums. We've included a bonus LP to the original package, with early versions of other songs, previously not included on the album. With remastered audio and augmented by a 4-page booklet, this is an essential Prog collector's item!

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)

Mexican rock had a strong renaissance in the eighties, when most bands, majorly coming from the prog scene, turned to Spanish language again. One of the big acts from that era was Jorge Reyes' led Chac Mool. Chac Mool counted on its ranks with Carlos Alvarado, who was an accomplished musician on its own and who would record one of the most interesting electronic prog albums of the era, on which Reyes also collaborated. Originally released on mexican private label Momia in 1980. Carlos Alvarado's Via Lactea (Milky Way) is now reissued on vinyl 35 years later. Eurock was especially interested in electronic Cosmic Music exploring both the inner and outer spaces of sound and consciousness. Of all the great music I had heard from Germany’s Klaus Schulze to Tangerine Dream & Spain’s own Neuronium, the album by Carlos stood apart from the rest. The Wah Wah reissue, made under license from and with the help of Carlos Alvarado himself, comes with remastered sound and will include one bonus track not on the original LP. Like the original, it will be housed on a flapped envelope style cover, this time in luxury silk screened metallic copper cardboard. Features are a colour insert with photos and notes, plus a bonus Momia sticker based on the one given on the original release. This is a limited edition, only 500 copies pressed.

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.

Psychedelic Garage & Heavy Psych From The Golden Voice Label'. If you think that all the cool & obscure U.S garage-psych 45s have been already exhumed, please listen to this! Golden Voice was a custom label and state-of-the art studio based in Pekin, Illinois. In the 1960s-'70s, countless garage bands from the area recorded there, releasing custom-made 45s in very limited quantities. This vibrating scene had not been documented, 'til the release of this 15-track compilation. The music here is prime cut hard psychedelia, punk-a-delic sounds and proto hard-rock from the late '60s-early '70s with lot of fuzz-wah guitars, groovy organs and effects. All tracks are taken from obscure 45s and previously unreleased master tapes.

OBI is missing! Record with scuffs and slight scratches!

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).

Alle fünf Studioalben der Band um Rio Reiser versammelt auf acht 180g Vinyl-Platten in dieser Box plus Buch und Poster sind wieder erhältlich.

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.

Original inner sleeve. Vinyl is close to NM.

“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.

Still in shrink but opened. Few slight paper scuffs. Original inner sleeve.

Copy is close to NM!

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.

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

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

Quarta Pagina (Poliziesco) is an unique obscure recording by The Braen's Machine Now available for all music library lovers." - Despite a long series of reissues and rediscoveries that are throwing the ultimate light on one of the most fascinating and enigmatic periods of Italian music history - that of sonifications - the project that goes by the name Braen's Machine continues to evade categorization, and positive information. If you are among the many who got their hands on the beautiful "Underground", republished by Schema a few months ago, you will already know of the involvement of, among others, Piero Umiliani, Alessandro Alessandroni - the name Braen seems to be his alias - and Oronzo (Rino) De Filippi, real name of the other credited author, the mysterious Gisleri. For this new chapter from Braen's Machine, the beautiful and hard to come by "Quarta Pagina (Poliziesco)", published apparently in 300 copies, there are few available pieces of information, pointing to an involvement of Giuliano Sorgini, hidden under the name of Raskovich, and author of five out of the eleven tracks on the release.

The lack of reliable information and the enigmatic flavor surrounding the project Braen's Machine, as opposed to the ease with which the music allows us instant identification, are among the secrets that make their records unique. Unlike "Underground", "Quarta pagina" portrays with great skill some possible - who knows if they ever have been realized - crime scenes, with hard-boiled and dark atmospheres, alternating with the psych funk rides that have always characterized many of the projects related to the Italian cinematic genre. All this without excluding, however, avant-garde attitudes and atonal passages that makes "Quarta pagina (Poliziesco)" comparable to the best pages of the Gruppo d'Improvvisazione Nuova Consonanza.

The track titles, fascinating as usual, tell of "Fraud", "Shadowing", "Remorse", "Soliciting", and emphasize decisive moments as in the case of "The Victim", "On the Run" or "In Prison", while the indications that accompany the pieces will be a treat for fanatical collectors of sonifications. It's not that hard to imagine situations of "exotic full moon, preparation for a violent action, spiritualism, facing fear, sexual freedom, preparation for a revolt" while listening to these precious eleven tracks, which alternate between "slow and animated". And, believe it, you don't even need a dose of LSD (as per the advice of "The Den") in order to travel back to 1971, the year of the album's first release. A page 4 ("Quarta pagina") crime story perhaps, but a legacy of sound that largely deserves a nine-column headline on the front page ...

“Live At The Hollywood Bowl” shows the great and magic atmosphere of the band’s sold out concerts in the Hollywood Bowl from the years 1964 and 1965. This is the first ever vinyl release of the material. The records are pressed on 180g vinyl and will be housed in a beautiful gatefold cover.

8 panel gatefold. CD is missing. Original inner sleeves.

Yellow vinyl. Tiny wear. Limited edition. With insert

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. When it first arrived back in 2014, even Stoned Jesus were surprised by The Harvest. Having already reached the summit of stoner metal after just two albums, the band planned on digging into their progressive rock roots. With its synth-laden passages and weaving guitar solo, "Silkworm Confessions'' definitely sows those seeds. But while it leans heavily into the album's sci-fi narrative, "Here Come the Robots" comes busting out the gate with a hard-charging riff that's so aggressively catchy, it could've been programmed by alt-rock radio. "Yet another proposition / I don't want this anymore", Igor rattles off with biting swagger. With The Harvest, Stoned Jesus reaped fresh seeds of invention from stoner metal. For fans of Queens of the Stone Age, Electric Wizard, Black Sabbath 1. Here Come The Robots 2. Wound (03:14)3. Rituals Of The Sun 4. YFS (05:10)5. Silkworm Confessions 6. Black Church

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. When it first arrived back in 2014, even Stoned Jesus were surprised by The Harvest. Having already reached the summit of stoner metal after just two albums, the band planned on digging into their progressive rock roots. With its synth-laden passages and weaving guitar solo, "Silkworm Confessions'' definitely sows those seeds. But while it leans heavily into the album's sci-fi narrative, "Here Come the Robots" comes busting out the gate with a hard-charging riff that's so aggressively catchy, it could've been programmed by alt-rock radio. "Yet another proposition / I don't want this anymore", Igor rattles off with biting swagger. With The Harvest, Stoned Jesus reaped fresh seeds of invention from stoner metal. For fans of Queens of the Stone Age, Electric Wizard, Black Sabbath 1. Here Come The Robots 2. Wound (03:14)3. Rituals Of The Sun 4. YFS (05:10)5. Silkworm Confessions 6. Black Church

Still in shrink but opened with hype sticker. Vinyl is close to NM. With insert.

Limited edition for Record Store Day 2017!

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.

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).

Cover has a bent corner, close to NM!

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!

Cover close to NM

Yellow vinyl has a few paper scuffs. Original inner sleeve

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

Colored Vinyl, download, limited to 2000, indie-retail exclusive Limited edition for Record Store Day 2015!

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.

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

Cosmic acid-psych-soul-funk-prog extravaganza from Spain, 1971! A delirious concept album about the solar system and its planets, fuelled by fuzz-wah guitars, powerful and crazy vocals, bizarre electronic effects, Hammond organ, soulful horns and funky drums. This reissue also includes the previously unreleased 'Proyecto B' recordings from 1974, which were meant for the (unissued) second Proyecto A album.
This material features founder Frank Dubé backed by the famous Spanish prog band Iceberg and sax/flute player Juan Mena (ex-Maquina and Eddie Lee Mattison Band). A must for fans of Latin-psych-funk and library/cinematic sounds! The 8-page insert offers rare photos and detailed liner notes in Catalan, Spanish and English.

Vinyl is close to NM. Still in shrink but opened with hype sticker. with booklet and insert. 2017 reissue.

Still sealed with hype stickers. Stuffed corner, cover is close to NM. 2016 reissue on 180gr vinyl.