Classic Rock 35 Items

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

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)

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.

“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.

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.

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.

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.

“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.

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.

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!

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)

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.