HHV Records Vinyl 399 Items

Why you'll love it...
“Released on June 20, 1966, Blonde on Blonde is the third entry in Bob Dylan’s so-called ‘rock trilogy’ of the mid-1960s. Following half an electric album (Bringing It All Back Home) and a romping raw rocker (Highway 61 Revisited), Dylan renewed the sound he was seeking with number three. But words can’t fully describe the music on this double LP. It’s simultaneously wiry and mercurial, skirting the border of out-of-control – too fresh to pin down with record store bin titles.”

Why you'll love it...
Freddie Roach’s first three albums introduced him to the world, but Brown Sugar showed it who he was. It was the album that Roach made to capture the energy of soul jazz. To somehow take the sounds in the city, in the clubs, and bring them to a record. In his original liner notes, Roach writes that the album is an ode to late nights and loud clubs, to backs damp with sweat, arms wrapped around waists. ‘’Not caring for the moment about troubles or problems,'' he wrote of people dancing, ‘’their bodies quivering under smiles that seemed to promise ‘after the dance.’'' After talking to Alfred Lion, president of Blue Note, they decided that the album needed to be made up of standards — not the standards of the stage or screen, but the standards of the people. ‘’To get the ‘soul,’'' Roach wrote, ‘’I decided to do show soul tunes.''

Hank Mobley was inspired by 'Birth of the Cool' on his 1966 album 'A Slice of the Top' featuring Duke Pearson’s arrangements for an octet that added euphonium and tuba to a group with James Spaulding on alto sax, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums.

BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a gatefold sleeve with deluxe tip-on jacket.

After appearing on Blue Note albums by Ike Quebec, Hammond B3 organist Freddie Roach made his own run of soul jazz classics for the label including the standout 1963 date 'Good Move' featuring Blue Mitchell on trumpet, Hank Mobley on tenor saxophone, Eddie Wright on guitar, and Clarence Johnston on drums.

BLUE NOTE TONE POET EDITION: Mono, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a Gatefold sleeve with deluxe tip-on jacket.

Donald Byrd was off to the races after joining Blue Note in 1958 and had fully hit his hard bop stride by 1961 with his excellent album "Royal Flush". Joining the trumpeter was a state-of-the-art rhythm section featuring Herbie Hancock on piano, Butch Warren on bass, and Billy Higgins on drums plus Byrd’s frequent collaborator Pepper Adams on bari sax.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas.
Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs.

Why you'll love it...
“In the first 75 years of Carnegie Hall being in operation, country music was an intermittent guest in the hallowed hall. In March 1966, however, a country band from Bakersfield, California, took to Carnegie Hall’s stages at the peak of their powers, as only the second country band to headline a show there, and ultimately released — outside of At Folsom Prison — the most important live country album ever. An album that proved many things between its two sides: that country music had an audience around the world already, and that the artist behind the album’s gamble on himself and his sound proved that you didn’t need to go to Nashville and sell out to sell big. With Carnegie Hall Concert, Buck Owens and His Buckaroos entered the pantheon of country music, becoming part of its very fiber, and altered the way it was considered in big cities and at record labels.”

180 gram audiophile vinyl
Sleeve finished with linen laminate
Recorded live at the Philharmonic Hall at Lincoln Center, New York, February 12, 1964
Featuring Herbie Hancock, George Coleman, Ron Carter and Tony Williams
Album produced by Teo Macero
Black vinyl

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.

Slovenly is proud to present the first ever official reissue of a Turkish holy grail—the 1966 tripped-out surf 45 by Istanbul’s Gökçen Kaynatan. Originals of this record—his first ever release, and from 1966—are so rare that none of our Turkish pals have ever seen a copy, and believe us, they’ve been on the hunt! “Moda / Fırtına” is the platter from his early years as a teenage rock’n’roller, and these two tracks each offer a compelling listen and demand motion. While mostly drenched in the twang of his custom built guitar with relentlessly swinging beats, his budding experimentation with electronics steals the show. Imagine the sought-after Countdown! LP by legendary session man Jimmy Haskell with an Anatolian lean during the peak of modernism and you’re starting to get the point. Gökçen Kaynatan was recently honored by Finders Keepers with an LP reissue of his 70s-era pioneering in electronic realms that reminds of Suicide and Mort Garson, but with the pungent tang of Turkey. This dancefloor ready 7-inch, however, fills a glaring gap for the Wild, and satisfies the raw global itch that is the Slovenly Recordings modus operandi.

Time and troubles seem to melt away during the fifteen enrapturing minutes of “Idle Moments,” the opening track of Grant Green’s sublime 1963 album of the same name. As the piece unhurriedly unfurls all the unique colours of the ensemble present themselves with Green’s soulful guitar joined by Duke Pearson’s elegant piano, Bobby Hutcherson’s crystalline vibraphone, Bob Cranshaw’s reassuring upright bass, Al Harewood’s subtle drums, and Joe Henderson’s magnificent tenor saxophone. The pace quickens for the rest of this tremendous set including the nimble Green original “Jean de Fleur,” a bluesy take on John Lewis’ MJQ standard “Django,” and a driving performance of Pearson’s original “Nomad.”

Mixed Bag is the debut studio album by Richie Havens, released in 1966. Mixed Bag is frequently cited as the singer's best work,[1] and was his first album to appear on Billboard's charts (appearing on both the jazz and pop charts). The recording was the first to introduce a wider audience to Havens's rich baritone vocals and the full-sound of Havens's distinct guitar style (thumb-chorded and played in open E tuning).[1] Electric Havens and Mixed Bag were two of the records reported among the personal collection of Havens' one-time Greenwich Village buddy, Jimi Hendrix.

1961 Art Blakey and his Jazz Messengers made their only recording for the label Impulse! Records. It marked a turning point for the popular hard bop formation as it was their first appearance as a sextet with trombonist Curtis Fuller, and secondly their last recording with pianist Bobby Timmons. Also unusual is the fact that only one piece by a band member was on the program and otherwise only standards were played.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve.

On his second and last album for Impulse! Records, trumpeter Freddie Hubbard went all out: with a first-class orchestra conducted and arranged by Wayne Shorter, occasionally reinforced by strings, and a varied repertoire that seamlessly combined standards with originals by Hubbard.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve

No one can doubt that Lightnin' Hopkins is the king of Texas country blues. P-vine is reissuing on LP for the first time in 35 years the classic album, which was originally released on Crown in 1961 and is a compilation of Modern/Kent recordings from 1950-51, one of the pinnacles of the Lonesome & Dirty Blues world. With its deep, withering vocals, which sometimes sounded even terrific, and a guitar that moved nimbly and uninhibitedly, this is one of Lightnin's top-class recordings in his storytelling style. No one can escape the devilish charm of these dense blues.

Sourced From The Original Master Tapes; Out of print since the 1960s

Now joining Jackpot Record's ever-expanding collection of Martin Denny re-issues is the hypnotic "visual sound" of Exotic Percussion, which has not been on vinyl since its original release in 1961.

His production on Exotic Percussion is ambitious, adventurous, and fascinatingly futuristic, especially when a tumbler with ice was still the preferred way to let loose. Xylophones and chimes swim from ear to ear; traditional jazz instrumentation collides with such musical oddities as boo bas, shamisens, Manga harp, and Burmese gongs.

As always, the choice of compositions on a Martin Denny record is a bizarre yet exciting spin around the globe, but this one is even weirder than usual. From the faster-than-light of "Cumana" to the luscious groove of "Moonlight On The Ganges" (made famous by Frank Sinatra and a track that is still being played on a loop at Disneylan's Jungle Cruise attraction), it's a whiplash of a ride. But the stand-out on the record is the combo of "Misirlou" (which would be made famous a few years later by Dick Dale and even decades later with its appearance in Pulp Fiction).

So join the conga line and head out into the street as Martin Denny once again creates a world we yearn to return to and an album we can always revisit.

The definitive vinyl reissue of V3Nancy’s third album - Contains the hits “Summer Wine” and “Friday’s Child” - Features audio freshly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin - Includes four bonus tracks: The complete 1969 Mickie Most sessions with the previously unreleased “Colors Are Changing” - Vinyl pressed at RTI on black, "Summer Wine" red, & "Little Bird Blue w/ Peach" splatter wax - Beautifully packaged and expanded gatefold LP with 20 page booklet features Q&A with Nancy & GRAMMY®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive “Strawberries, cherries, and an angel’s kiss in spring…” were the immortal words sung by a twenty-five-year-old Nancy Sinatra on a frigid spring day in a London recording studio during the sessions for her third LP in four months! The 1966 album was cut in three days at Pye Studios where The Kinks, Petula Clark, and David Bowie recorded their songs in the mid-1960s. By going directly to the source and choosing songs like “On Broadway,” “Wishin’ and Hopin’,” and “This Little Bird,” the album has an unequivocally British feel. The LP includes the timeless Nancy & Lee Hazlewood duet “Summer Wine.”

The definitive vinyl reissue of V3Nancy’s third album - Contains the hits “Summer Wine” and “Friday’s Child” - Features audio freshly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin - Includes four bonus tracks: The complete 1969 Mickie Most sessions with the previously unreleased “Colors Are Changing” - Vinyl pressed at RTI on black, "Summer Wine" red, & "Little Bird Blue w/ Peach" splatter wax - Beautifully packaged and expanded gatefold LP with 20 page booklet features Q&A with Nancy & GRAMMY®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive “Strawberries, cherries, and an angel’s kiss in spring…” were the immortal words sung by a twenty-five-year-old Nancy Sinatra on a frigid spring day in a London recording studio during the sessions for her third LP in four months! The 1966 album was cut in three days at Pye Studios where The Kinks, Petula Clark, and David Bowie recorded their songs in the mid-1960s. By going directly to the source and choosing songs like “On Broadway,” “Wishin’ and Hopin’,” and “This Little Bird,” the album has an unequivocally British feel. The LP includes the timeless Nancy & Lee Hazlewood duet “Summer Wine.”

The Soul Album is the fourth studio album by American soul singer-songwriter Otis Redding, released in 1966. It features Redding performing songs that he co-wrote, as well as covers of songs by such musicians as Sam Cooke, Eddie Floyd, Roy Head, and Smokey Robinson. Guitarist Steve Cropper contributed guitar on the album and is also credited as the co-author of three tracks. The Soul Album shows Otis Redding moving from strength to strength in a string of high-energy, sweaty soul performances, interspersing his own songs with work by Sam Cooke ("Chain Gang"), Roy Head ("Treat Her Right"), Eddie Floyd ("Everybody Makes a Mistake"), and Smokey Robinson ("It's Growing") and recasting them in his own style, so that they're not "covers" so much as reinterpretations.

1964 was one of the most momentous years in the musical life of Wayne Shorter. Early in the year the saxophonist was still a member of Art Blakey & The Jazz Messengers, appearing on classic Blue Note albums like Free for All and Indestructible. Shorter made his own auspicious label debut that spring with Night Dreamer and quickly recorded the impressive follow-up JuJu. That summer he joined the Miles Davis Quintet, cementing a line-up that would become one of the seminal bands in jazz history. And when Shorter entered Van Gelder Studio with Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones on Christmas Eve 1964 they created a masterpiece with Speak No Evil, a transcendent set of six Shorter originals including the swinging title track, “Witch Hunt,” and sublime ballad “Infant Eyes.”

Blind musician Hrant Kenkulian (1901-1978), generally known as Oudi Hrant was a master of the oud (fretless lute) who was probably best known for his taksims. He was an Armenian born in Adapazar, a city close to Istanbul which had a large Armenian population before the Genocide of 1915. After WWI, Hrant's family settled in Istanbul. Hrant started out singing in the church choir, but soon moved on to the oud. He made his career in Istanbul, but he toured the US in 1950, and did a world tour in 1963 to Paris, Beirut, Greece, America, and Yerevan, Soviet Armenia. He was a teacher of many Armenian-American oudists including Richard Hagopian. He was the pride of the Armenian people, and many consider him to be the most soulful oudist ever to emerge from Turkey. Released in 1964 on jazz label Prestige the record shows the stunning classical inspiration of the musician.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

Vinyl LP pressing.

Limited green colored vinyl LP pressing.

Nobody had expected the extraordinary success of this album and its funky title track. When Blue Note released trumpeter Lee Morgan's “The Sidewinder” in 1964, the label “only” pressed 4,000 copies, but they were completely sold out within three days. The instrumental album reached number 25 in the pop charts and number 10 in the rhythm'n'blues charts, while the soul-jazzy title track, which was shortened for that, was also successful as a single. The album, recorded with tenor saxophonist Joe Henderson, pianist Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins, is now a classic album that should be in every jazz collection.

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley. The alto saxophonist was a memb¬er of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breathtaking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.

Oscar Peterson's Frank Sinatra tribute features his trio with bassist Ray Brown & drummer Ed Thigpen. The renditions are all under four minutes and are highlighted by "Come Dance with Me," "Just in Time," "I Get a Kick Out of You," and "How About You?" This is one of Oscar Peterson's most essential dates—swinging and enjoyable.

VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Single Sleeve

Los Syn were born in 1966 in Chile, formed by four young lads from the US whose parents were working in Santiago at the time, and they released this sole 45 before all going back to the US next year. The record is practically nowhere to be found, and such an amazing example of teen garage folk-punk the way we all lose our head for.

Limited reissue of 500 copies, with an insert with liners by Gary Pilgram (bass player), and two postcards with unseen photos!

180 gram pressing!

Long-awaited reissue of this rare Jamaican ska record, originally released in 1964. In 1961 Byron Lee And The Dragonaries took a huge break when they were part of the first James Bond film - Dr. No - as the hotel band . In 1964, the band was also featured in a broadcast called "This is Ska!" alongside Jimmy Cliff, Prince Buster, and Toots and the Maytals. Amazing back cover illustrations: how to learn classic ska dance in 12 easy steps !

Ike Turner, a guitarist, pianist, band leader, producer, talent scout... With his diverse talents, he excelled in many fields. In a recent announcement from Rolling Stone magazine, he was ranked 148th in the "250 Greatest Guitarists of All Time," highlighting his undeniable talent as a guitarist. His 1st album "Rock The Blues," recorded in the 1950s and released on Crown Records in 1963, serves as proof of his exceptional skills and originality as a guitarist. P-vine is delightfully reissuing the important album on Japanese edition vinyl with Obi-strip for the first time.

A Twangy Touch On 1960s Hits!

As one of America’s most influential guitarists, Duane Eddy’s famed twangy, reverb-drenched guitar shines on a wide variety of pop-rock hits, standards, and more!

Backed by two drummers, four more guitars, organ, piano, bass, saxes, and that's just the beginning, Duane goes unafraid at the kind of tunes that normally are "one person songs" Like "Ballad of the Green Berets" which becomes a twang-bang march under Duane's banner. Like "Monday, Monday" which was "The Mamas and Papas" and now has the wild newness of Duane Eddy.

After rising to fame in the late ‘50s with “Rebel Rouser,” Eddy’s influence on radio inspired musicians like George Harrison and Bruce Springsteen. Rockabilly and country music were both major factors in Eddy’s trademark sound; heavy, catchy guitar riffs over a ska-type beat. His hits included “Peter Gunn,” “Because They’re Young,” and “Twistin’ ‘n’ Twangin’.”

As music morphed into melodic sunshine pop, Eddy adapted his sound to fit chart hits of the ‘60s in his own twangy style.

Year 1964. Almost out of nowhere, the little-known and regarded director Sergio Leone transposes into a western key a film by Akira Kurosawa, and by putting together all the right pieces, adding a bit of intuition, lays down new rules for the ‘spaghetti western’ genre, giving way to an endless series of imitations.

“A Fistful of Dollars” would not have the same impact without the inimitable music written by Ennio Morricone, who had curiously been an old elementary school Leone’s classmate. The main soundtrack themes were chosen from two arrangements that Morricone had already drafted two years earlier; once removed the lyrics and added the unmistakable whistle of Alessandro Alessandroni, the spaghetti-sound was finally complete!

The film was an incredible success, and projected Leone, Morricone, and in particular the actor Clint Eastwood into the Olympus of the Great. The soundtrack was released for the first time the following year (1965), along with the one of Sergio Leone’s subsequent work “For a Few Dollars More”.

The first and best out of just two collaborative albums by organist Jimmy Smith and guitarist Wes Montgomery, Jimmy & Wes: The Dynamic Duo was recorded in 1966 and features arrangements by Oliver Nelson. It is frequently listed among Jimmy Smith's best albums. The duo's follow-up record, Further Adventures of Jimmy and Wes, was taped during the same sessions and released in 1968. Al/Music critic Richard S. Ginell gave The Dynamic Duo the maximum * * * * * rating, stating that "Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary- a near-ideal meeting of yin a.nd yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair."