Folk Vinyl 252 Items

3 Hürel is a folk-rock and psychedelic-rock band consisting of 3 brothers from Trabzon, a northern city in Turkiye, who gained fame in the early 1970s with their authentic music and hippie outfits. Thisis their first album compiled from 45 rpm singles. The original release date was 1972. The band's guitarist uses a self-made double-handled guitar and reed instrument, which has become a symbol of the band in concerts. What makes the band special is its groovy guitar tone and excellent bass guitar and percussion technique. They have become one of the most important representatives of psychedelic-rock in Turkiye. "Aşk Davası", "Haram", "Pembelikler" and "Madalyonun Ters Yüzü" are their most popular songs.

3 Hürel is a folk rock and psychedelic rock band consisting of 3 brothers from Trabzon, a northern city in Turkiye. The band's guitarist uses a self-made double-handled guitar and reed instrument, which has become a symbol of the band in concerts. What makes the band special is its groovy guitar tone and excellent bass guitar and percussion technique. They have become one of the most important representatives of psychedelic rock in Turkiye. This album was first released in 1974. "Sevenler Aglarmış", "Yara", "Gönül Sabreyle Sabreyle", "Canım Kurban" are their most popular songs

This - somehow - mythological album from one of Iran’s top sitarist lurches between traditional Eastern forms and more modern Western styles, blending the two into a fascinating fusion of cultures and flavours. Similar to the work of Indian rare groove master Ananda Shankar, the record brings to life the ultimate marriage of funky drums, lush horns, wah-wah guitars and Eastern harmonies. A necessary re-discovery !

A reissue of this ultra rare Oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. This is the first part of Abdou's 'Nuits' trilogy. Mystical sounds from Morocco!

Originally pressed in a limited run of 1000 numbered copies in December 1974 The Alice Island Band is one of the rarest UK folk private pressings, having sold in auction for over 600 pounds. Little would school friends Keith Hughes, Tim Phillips and Roger Moore imagine that when they formed The Conqueroos blues band back and subsequent projects like Cinderella's Party Songbook from 1967.



By 1974, Keith, Tim and Roger were ready for something special, and the arrival of Cinny - the ‘Princess’ from the principality of Wales - completed the line up for the next LP. They became The Alice Island Band and recorded Splendid Isolation - Tim, Keith and Cinny played, Roger produced and recorded the 14 songs, some of which had been conceived back in 1968.



For those into the UK folk and psych scenes who love the homemade recordings of Peter Howell and John Ferdinando's projects (Tomorrow Come Someday, Alice Through The Looking Glass, Agincourt, Ithaca...), the bare, raw sound of Comus or those impossibly rare folk albums cut through the Deroy Sound Services – but also for lovers of good crafted songs with male & female vocals and mostly acoustic performances.



Done in close cooperation with Keith and Roger who have been very kind to provide original masters, information and photos for the gatefold insert which also includes the original lyrics – here are 500 copies for those who cannot afford or find an original copy. Comes housed in a reproduction of its original sleeve. Order yours before they fly!

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs' own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs' tales of brief affairs, invisible dogs, and getting lost in a changing America.

Following their groundbreaking collaboration with the Art Ensemble of Chicago, Comme à la Radio, Areski and Brigitte Fontaine began recording almost exclusively together as a duo. Originally released in 1973, Je Ne Connais Pas Cet Homme is their first record billed under both names. Deeply rooted in North African and European folk traditions, the album features evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings and woodwinds. As always, there is a mercurial quality to their lyrics. The title track (translated as “I Do Not Know This Man”) suggests at once Apostle Peter’s denial and a poetic acknowledgement. On “C’est Normal” Fontaine playfully questions the status quo while Areski offers satirical answers. What makes Je Ne Connais Pas Cet Homme one of their best-loved albums, though, is its remarkable sense of intimacy—as if Areski and Fontaine beckon listeners into their strange and beautiful world. This first-time domestic release continues Superior Viaduct’s reissue campaign of Fontaine’s classic ’70s catalog.

1983’s Waves of Peace is an album of gentle reflection. The sound of ocean waves permeates every track. Sitar, tambura, synthesizer, and bamboo flute are among the instruments that Aziz & Friends use to conjure their blissful oceanic meditation.

Aziz reminisces: “Waves of Peace was born in the beautiful oceanside town of Santa Cruz, California. Living there in 1982 was the first timeI had ever lived so close to the ocean. I would walk down to the beach on a daily basis. Nature has always been a major source of inspiration in my quest to create beautiful original music. Equally important to me has been recognizing the healing potential of harmonious sound. This potential was made clear to me through my illuminating work with the Sufi order, as well as various modern dance companies. Finally, my music has always been shaped by my lifelong commitment to peace and non-violence. With all of these things in mind, drawing inspiration from the nearby ocean and the growing popularity of New Age music, I produced Waves of Peace.

Waves of Peace was my first album to combine instrumental music with the sounds of nature. Graced by the presence of some truly exceptional local musicians, most of the music was performed and recorded live in the studio. Waves of Peace was created to facilitate relaxation, meditation, healing, and awakening for the body, mind, heart and soul. Let the rhythmic waves of the ocean nourish and inspire you to find your peace within”. - Aziz Paige, 2022

2019 Re-mastered, 180g black vinyl in gatefold cover. It was originally released in 1981. May be the last impressive album of Baris Manco and his band Kurtalan Ekspres which is giving a respect to 1970’s Golden Era of Turkish Rock. The album consists of funk and progressive rock elements from track to track just like their previous release. Hypnotic, cool and clear sound, will make this LP as a reference album.

2018 Re-mastered, 180g black viny. The single compilation of Barıs Manco from 1972-1975. Originally released in 1976. Psychedelic Sound flavoured by Turkish traditional instruments and anonymous lyrics, Can’t take your ears off the sound that you hear.

Accidentally blinded at adolescence, the Portland-based Bob Desper released just one record-- in 1974, and limited to a 500-copy pressing on a local Christian imprint-- before fading into the woodwork, leaving only this tiny morsel of music behind for anyone to find and follow back to its source. New Sounds is a classic lost record, though whether it counts as a lost classic is pretty relative, considering that even folk heavy hitters Nick Drake or Bert Jansch were once tagged as totally obscure by all but the most ardent followers of the form. New Sounds isn't the sort of record that would appeal to casual toe-dippers, anyway. Rather, it's the kind of recording, like Gary Higgins' similarly recently unearthed Red Hash, pretty much designed to be lost and rediscovered decades later.

180 gram vinyl of Rolling Stones number 9 ranked best album ever.

180 Gram 45RPM Audiophile Vinyl, limited/numbered, Mastered from the Original Master Tapes, Five-Times Platinum Collection of Dylan's World-Changing Singles Spanning 1963 Through 1966

New Morning is the eleventh studio album by American singer-songwriter Bob Dylan, originally released in 1970.

Shot of Love is the twenty-first studio album by American singer-songwriter Bob Dylan, originally released in 1981.

180 gram audiophile vinyl, numbered limited edition!

Originally released in 1972 on Vanguard Records, Bob Frank’s self-titled debut album took elements of Dylan, Johnny Cash, and Ian Tyson and filtered it thru a pot-smoked haze and the infusion of Frank’s long-time friend, Memphis guru Jim Dickinson. Dickinson and Frank shared a mutual admiration that ran so deep that on Dickinson’s own 1972 debut album Dixie Fried (released on Atlantic Records), he recorded one of Bob Frank’s songs “Wild Bill Jones.” But despite the Dickinson/Memphis connection, Bob Frank’s only LP for Vanguard became a forgotten, hard to find relic - until Light in the Attic reissued it to great acclaim in 2014. Now, from Real Gone comes more 1972 Vanguard Bob Frank recordings (all previously unreleased studio songs) coupled with a live set from the Old Quarter in Houston 1973 (the first-ever vintage live Bob Frank recordings to be released). Includes an insert with extensive liner notes detailing Frank’s career self-sabotage by Pat Thomas and the director of the documentary Within A Few Degrees: A Little Gest of Bob Frank, Isaac Pingree. 20 tracks, all unreleased, pressed on stems ‘n’ seeds “marijuana” vinyl.

First time repressed after the original release in 1981. Prices of original copies in good condition going up to 500 euros. Boban Petrović is a legend of Belgrade's sophisticated disco funk scene from the late 70s and early 80s. The ŽUR album is one of the the holy grails of disco music releases on a global level. Original copies in good condition rise up to 500 euro on the market. ŽUR represents the essence of underground club life in Belgrade from the late 70s, when the album was created. The quality of this trust is confirmed by the fact that Boban Petrovic's music is still actively listened to today, not just anywhere, but at the finest club events. High end production and extremely authentic arrangements outside the mold of classic disco music, and lyrics that literally convey the vibe of his already jet-set lifestyle in Belgrade at the time. Shortly after his musical career, Boban Petrovic became a businessman of the conscious class, and along the way he also wrote two books describing the time when the album ZUR was created. The album was carefully remastered by grammy nominated sound engineer Jessica Thomson.

Canterbury-based progressive jazz-rock act Ben only released one obscure album, issued on Philips’ prog subsidiary Vertigo in 1971, but it’s a lovely collective of extended instrumental jams, worthy of discovery for those that missed it the first time around. Peter Davey’s saxophone and clarinet melodies push the material to high peaks, against an understated backing from future Nashville Teens bassist, Len Surtees and former Graham Bond drummer, David Sheen, keyboardist Alex Macleery and guitarist Gerry Reid adding flourishes at key moments. The songs “The Wooing Of The Child” and “The Wooing Of The Man” credit a certain K Jarrett as songwriter, making this rare beast all the more intriguing.

First ever legit vinyl reissue, sanctioned by the band members, of this collectable psych/folk/hard-rock album from 1973. Brigg were a rural Pennsylvania folk-tinged psychedelic band formed by three high school friends: Rob Morse, Jeff Willoughby and Rusty Foulke. In 1973, they borrowed the money to record their first album together. They called it Brigg after one member saw the name in a dream. It was recorded at a grocery store converted into a 4-track studio. The photos for the cover were taken in a purportedly haunted house in Danville. The band members pressed 1000 copies and sold some to their friends but never played a live show together. They divided the remaining copies between them and went their separate ways. Several decades later, the Brigg album became a collector’s item and was bootlegged all over the world.

Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

Official vinyl reissue of the 1980 debut of legendary Hawaiian artist Brother Noland. "Speaking Brown". Includes 2024 interview and lyrics insert.

The first ever LP reissue of this prime Buck that was available only in Norway for a brief time in 1970. At that time in the States, with the in-person London and Vegas albums released in such close proximity, Buck hardly needed any more live concert sets. Besides, Capitol, noting his rising status with Hee Haw, had flooded the U.S. market with a total of nine Buck albums from December 1969 to February 1971, including new studio albums and reissues of earlier albums. And that doesn’t even count the three Buckaroos solo albums that appeared in that same period.

Carl Erdmann’s Bizzarrophytes was recorded in Roswell, New Mexico, during the final years of the 70’s. A desert-fried haze of buzzing sitar raga, shimmering guitar soli, and lonesome instrumental psych. Erdmann had been galvanized several years prior by witnessing an intimate performance by Ravi Shankar at Austin’s University of Texas. Erdmann spent the next several years with a sitar in the back of his pickup truck - teaching himself the instrument between stints working on an oil field as a geologist.

After settling in Roswell, Erdmann procured a Tascam 4-track reel to reel tape machine and began to experiment with recording. He played most of the instruments himself, and followed a fresh muse each day. One day his recordings would mine the same instrumental guitar territory as Leo Kottke and John Renbourn, like on Bizzarrophytes’ opening track, Majesty. The next day Erdmann might multi-track some bass and drums and end up landing in the same hazy psych-folk territory as Relatively Clean Rivers, as evidenced on album standouts Turritella Flats, and Portugal. And then, perhaps his Ravi Shankar influence would shine through, and he’d deliver a stirring sitar raga like Dhun. Erdmann explored all of these sounds without ever considering releasing them into the world. He was simply experimenting with his equipment and his instruments, and flexing his muscles with whatever kind of inspiration happened to strike. It wasn’t until 1980 that a friend convinced Carl to assemble some of these recordings into an album and self-release it.

Bizarrophytes was released in a miniscule private press run, financed and distributed by Erdmann himself. Most copies didn’t make it out of the southwest. And it has remained woefully hard to find until now. The disparate sounds of Erdmann’s experimentation hang together as a beautifully cohesive tapestry of home-brewed psychedelic folk. A menagerie of eclectic instrumental experimentation, baked in the desert sun, and captured to tape. Morning Trip Records is proud to present Bizzarrophytes.

Record Store Day 2020 Release.
Limitation: 5000 copies.

7″ single of Cat Stevens songBut I Might Die Tonightfrom the album Tea For The Tillerman. Side A will feature the alternative version of the song from the film Deep End. The A-side was reworked specifically for the film (which starred Jane Asher and somewhat a UK cult classic) and is a previously unreleased in any form! Colour of the 7″ Single is Light Blue.

Sophisticated & passionate, with flamboyant taste in sunglasses, Cem Karaca once led Istanbul’s music fans through a period of violent political turmoil. Karaca reworked traditional folk lyrics with molten electric bass lines that played up both a poet’s broiling righteousness and also his listeners’ common ground with their elders in Turkey’s history. This is the second album from Karaca, released in 1974, reissued for the first time in Picture Disc with remastered sound. It leads the listener through Karaca’s own musical history, skipping across various collaborations and bands up to his then-current project Dervisan. Can throbbing Anatolian guitars take on the assassins of the Grey Wolves? Imagine a hairy pied piper with R Kelly’s flair for drama, wailing into a microphone over an electric baglama, and you’re ready to enter the bohemian world of Papa Cem.

2021 Reissue, recorded in 1973. studio live session, 180g black vinyl in gatefold cover with 6 posters describing each track.

What a fantastic recording from a man and his band which is a real gem, haunting your soul in the first seconds (especially first track of B side “Alageyik Destani”). Cem Karaca is one of the leading vocal man and songwriter of Anatolian Rock scene, Mogollar (founded in 1967) is the first band which is the inventor of Anatolian Rock in Turkish rock music history. It offers amazing musical taste inspired by the traditional folk heritage of Turkiye. Strictly recommended.

Formed in 1984 by bassist Takuya Nishimura and erhu player and singer Chie Mukai is Che-SHIZU. Their debut on the indie record label Zero records (also known for producing acts such as Shonen Knife, and Luna Park Ensemble) “Yakusoku wa Dekinai” (I Can’t Promise) drew attention for its uncompromising approach to simply making ‘songs’. With Tori Kudo (who’s recent analog release, Tangerine with Reiko Kudo, is making waves across the world) on guitar, ‘Yakusoku wa Dekinai’ is filled with songs that are simultaneously experimental and catchy. P-vine is proud to be reissuing this historic album for the first time ever on vinyl.

Ultimate space-age exotica trip from Venezuela.
In the early 70s, well-known composer and arranger Chelique Sarabia (who penned the famous “Ansiedad” when he was just a kid) decided to register an album of traditional & folkloric songs from Venezuela but giving them a modern touch, using especially developed equipment (M.R.A.A.), based off of the principles of the Moog.
Chelique, helped by a team of gifted musicians, employed traditional instruments like the cuatro and the bandola llanera, filtering them through oscillators, playing with feedback, tape delay, synthesized frequencies, echoing sounds… The result was “Revolución Electrónica en Música Venezolana”, an album with a truly exotic, psychedelic, and ahead of its time sound.
Originally, the album was sponsored by the Shell Company in Venezuela, given away to customers, employees and friends of the company as a Christmas gift in 1973. It was titled “4 Fases del Cuatro - Música Venezolana desarrollada Electrónicamente por Chelique Sarabia” (“4 Phases of Four – Venezuelan Music Electronically Developed by Chelique Sarabia”). Once the exclusivity period with the petrol company was over, Chelique did a commercial release, this time under the name of “Revolución Electrónica en Música Venezolana” (“Electronic Revolution in Venezuelan Music”). Thanks to this, Chelique and his team were considered electronic music pioneers in Latin America.
“In the past five decades, there have been many attempts at modernizing the vast folkloric tradition of Venezuela, but nobody has reached the level of depth that CHELIQUE SARABIA did when he put his impeccable reputation as a composer and arranger at risk with this out-of-the-blue revolutionary musical manifesto in 1971. 47 years later, an album that remains ahead of its time.” - Alex Figueira (Fumaça Preta)

Limited edtion of 200 copies on transparent red vinyl.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.
Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

Such an elusive British artist, Christine Harwood was sailing the sea of lone folk singers with a sole album of rare beauty. Released in 1970 on small british label Birth, Nice To Meet Miss Christine is still an exercise in pure beauty, a dramatic/magic affair that materialized into thin air and suddenly was gone. Featuring a who’s who of the british prog and psych-folk scene – the late King Crimson alumni Ian McDonald on sax and flute, drummer extraordinaire Pete York, Nucleus and Jody Grind bass player Roger Sutton, Strawbs guitar player Dave Lambert – the album is more than a miraculous rendition of the (acid) folk revival venturing on more audacious territories, as shown in the rare groove of standout track Wooden Ships. Blue eyed soul and yacht rock fanatics take note !

Record Store Day 2020 Release. Limitation: 1000. Numbered. Prosperous was originally released in 1972, and was the first release on the iconic Irish music label 'Tara Music', which was also home to early Clannad records, Planxty, Moving Hearts & Stockton'

The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."

The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."