Rock & Indie Vinyl 241 Items

180 gram pressing!

Japanese pressing with obi.

Red vinyl.

Red vinyl!

Early german pressing, has B5 misspelled. Record has many thin hairlines and surface marks that you can hear, but does not skip. The Cover has shelf and ringwear, no splits.

Japanese pressing without obi | Foxing inside gatefold

Donovan Philips Leitch is a Scottish singer-songwriter and guitarist who in the 1960s developed an eclectic and distinctive style that blended folk, jazz, pop, psychedelia, and world music. He emerged from the British folk scene and reached fame in the UK in early 1965 before replicating this in the US the following year, baring the fruits of the blossoming, successful, and eventually long collaboration with record producer Mickie Most.

Blisterin’ bleach blonde garage punk from Long Beach’s Emperors!

Previously limited to a handful of singles, this full length LP includes all of their material, including 4 unissued tracks! From the maniacal laughter on “Laughin’ Linda” to their foot-tappin’ cover of the Zombies’ “You Make Me Feel So Good” it’s easy to see why this group of teens were hailed as Long Beach’s favorite group.

Susan Gilmore, an Emperor fan, recollects, “The highlight of the dances were when they played. While attendance was pretty good for other bands, the Emperors packed the place every time. The buzz would start during the week at school. ‘The Emperors are playing this weekend. Are you going to go?’”

The wild teenage sound of the original Emperors is still the greatest. “It's just a lifetime experience,” concluded Randall. “In a way, I felt that we were ahead of our time. The way we played and the way we presented everything on stage, nobody was shy. It was a wonderful experience.”

A new version of the band rebranded as simply Emperor, led by Steve Watts and Randy Budihas, would record for RCA, then Private Stock during the ‘70s. After a 20-year break, The Emperors reformed in 2002 and are still performing and entertaining fans today.

Cover is missing.

No Obi. Cover has damage on spine. Red vinyl is full of marks.

Jackson C. Frank’s eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside.

Frank’s backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank’s only LP.

For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener “Blues Run The Game” to the stunning melancholy of “Milk And Honey,” Frank’s nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no ‘60s folk record that is simultaneously as rare and influential as Jackson C. Frank’s self-titled debut.

Vinyl with scuffs and hairlines. Cover with edge wear

Cover close to VG+

Red Vinyl with scuffs and hairlines.
OBI not included.

This seminal British blues album gave Clapton the chance to finally show his chops, not surprisingly, launching Clapton into stardom. Recorded in 1966 during Clapton's short stint with the Bluesbreakers, just after leaving the Yardbirds (the birth place of other legendary guitar players like Jimmy Page and Jeff Beck) and before he joined Cream. Includes 4 bonus tracks. Light blue vinyl LP.

180 gram pressing!

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!

Japanese pressing. OBI is missing. Few paper scuffs. 1974 reissue.

Japanese pressing. OBI is missing. close to NM. 1982 reissue.

Japanese pressing. OBI is missing. 1972 reissue. Vinyl is close to NM. Torn spine.

Japanese pressing. 1980 reissue. Few paper scuffs. OBI is missing. Sticker on front cover.

180g 45rpm pressing. Newly repressed at 45 RPM by Quality Record Pressings. This recording was originally mastered at the former AcousTech Mastering facility and the sound is fantastic.



John Lee Hooker himself did not know his exact date of birth. If he hadn't died at around the age of 80, this ageless musician would still be easily pulling the next generation to his gigs. Hooker remains a phenomenon, a mysterious figure of black rhythm and blues, a charismatic king who reigns supreme in rock 'n' roll's Hall of Fame. John W. Peters described his music as a synthesis of scorching emotional ardour, unrelenting rhythmic intensity, and original poetry of a highly personal character. Anyone hearing him for the first time may well be startled at the unfiltered passion and power of his music.



And another surprise is in store for those who compare Hooker's late recordings with those made in the Sixties. His unmistakable, raw voice has fully matured, but his incantory style of singing appears markedly finer and more flexible. And then there is the perfect gem of a rhythm group whose sinewy sounds fill the grooves with merciless gravitational force. It's enough to make your spine tingle!

Red Vinyl with a couple of light scuffs. Cover with sticker

Vinyl with scuffs and hairlines. Cover with long open seam split on bottom spine and punch hole.

Copy closer to VG+

Red vinyl. Japanese pressing.

Japanese pressing. With insert.

Japanese pressing.

2012 reissue on 180gr vinyl. Still sealed with hype sticker.

2012 reissue. Still sealed with hype sticker.

Still sealed with hype sticker. 2012 reissue.

Record has some hairlines and a few superficial scratches.

Still sealed with hype sticker. 2012 reissue. 180gr vinyl.

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.

Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere. Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage.

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

close to NM

German reissue. Cover and vinyl are close to NM.

Vinyl with a couple of scratches, closer to VG