Rock & Indie 280 Items

1972 reissue. Gatefold cover.

Vinyl with a few scratches! Close to VG+!

Record with clean labels plays with faint surface noise which is especially audible in the run-ins but far from overpowering the music.

Sticker residue on front cover. Mono, gatefold.

1972 reissue.

US first pressing. Strong VG copy!

Taped spines. Japanese pressing. OBI is missing. Vinyl is close to NM.

Original UK mono pressing.

Original UK Mono pressing.
Writing on label.
Small light scuff on side 2.
Record is close to VG+.
Yellowed cover with faint ring wear on the back.

Japanese pressing. OBI is missing. close to NM. 1978 reissue.

Vinyl with a couple of light scuffs. Cover with punch hole

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

Sleeve has wear and scuffs.
LP has surface marks.

Record has some hairlines and a few superficial scratches.
Sticker on label.

Numbered 1973 reissue: A151010. Japanese pressing without OBI. No pin-ups, with folded poster. Vinyl has a bit of foxing on the matrx runout and the cover has yellowing. Overall copy close to VG+.

Vinyl with a couple of marks and scuffs. Cover with yellowing

Vinyl with many scuffs and hairlines

Vinyl is close to NM. 1980 reissue.

Clear vinyl!

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.”

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

Vinyl with a couple of scuffs and hairlines. Cover with creasing

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.”

Vinyl is close to NM.

The Seeds’ second album released in 1966 is a pop-art garage rock classic. ‘Mr Farmer’ was to become a Billboard Hot 100 single in 1967 and the second side of the album features the 14-minute epic ‘Up In Her Room’. This deluxe gatefold edition features the original stereo mix along with an 8-page insert. “Web Of Sound” deluxe comes with a second LP stuffed with mono versions, outtakes and more.

‘Faithfull Forever…’ is a 1966 studio album by Marianne that was only issued in the United States. This RSD pressing marks its first U.K release and it has not been re-issued on vinyl in the U.S. In 2024 Marianne celebrates her 60th anniversary in music, and for fans of her Decca catalogue ‘Faithfull Forever…’ is a must. All tracks have been remastered from the original tapes by Andrew Batt, and this special RSD release comes with detailed sleeve notes featuring exclusive commentary by Marianne herself and new artwork based on the original sleeve shot by the master French photographer Jean-Marie Perier.

Mapache is proud to present the first ever vinyl reissue of The Chuck & Mary Perrin album: Brother and Sister. Recorded in 1968, this gemm is one of the biggest secrets of US folk. Full of amazing melodies and beautiful songs, this is one of the hardest to find records for collectors of folk, psych and singer/songwriters style records. Includes covers by Donovan or John Sebastian plus stunning originals like "Commencement", "Mornings" or "Babe can you see" .

Only 500 copies were pressed, originals of this rarity have been sold for more than $1.000. It is one of the highest rated albums on record collectors guides.

Remastered from the original tapes, this reissue comes with an additional insert. Includes previously unseen pictures and comes in a gatefold tip on jacket, exact replica of the original record issued on Chuck's own label, Websters Last Word.

Why you'll love it...
Townes Van Zandt’s work, as far-reaching and as universal as it has become, begs for possessorship. It’s a love language understood by all who find it, yet one that remains acutely difficult to translate to those who haven’t.



No one understood this better than his earliest fans. It’s perhaps why his first studio album, For the Sake of the Song, remains a point of controversy among anyone who discovered Townes Van Zandt outside of these LP’s grooves. Townes Van Zandt the songwriter was the antithesis of bells and whistles, and so an album with such accoutrements, as this album has in spades, rings false — however unfairly — among purists. Taken in context, though, For the Sake of the Song is a gorgeous study in polarity. Each anchor is an artist from wildly different backgrounds, united under the profound effect of songcraft.

This is one of the first Chilean rock albums recorded in Spanish. "Boots a Go Go" (1966) by Beat 4 is released now on vinyl, from the original IRT masters! Los Beat 4 (Santiago de Chile, 1966) began as the partnership of four childhood friends: brothers Mario and Willy Benitez, Johnny Paniagua and Reinaldo Rhino Gonzalez. Under the influence of the Beatles, the Kinks and the Animals, they formed Los Electrones, a group with which they played at school parties and various meetings, following the style of the New Wave. Around 1966, and after the explosion of the beat rhythm in our country with the arrival of the Beatles, they decided to change their name to Beat 4 and sing in Spanish. In 1967, backed by the wide radio diffusion of their single "Llora conmigo" (a Spanish version of an Italian pop song), they toured throughout the country. The band's second hit came with the jingle "Dame un Bananino", composed to promote a banana-flavored ice cream. The song was released as an EP, was a great success and took them on tour to the main beaches of Chile. They would later replicate the model with the song "Ta ta ta ta", as simple and catchy as the previous one. The Beat 4's career was short but intense and popular. At the beginning of the 70's they had already released four LPs, and since then they began to incorporate their own compositions. When Willy Benítez left the band, Tilo Mandiola replaced him, but soon after, the Beat 4 decided to leave. Willy Benítez entered the theater school of the Catholic University, to later begin a career as a humorist in television programs such as "El festival de la una". Reinaldo Rhino González, vocals (1966 - 1971). Johnny Paniagua, guitar (1966 - 1971). Willy Benítez, bass (1966 - 1971). Mario Benítez, drums (1966 - 1971). Tilo Mandiola, bass (1971).

Rare, historic 1966 “Early Allman” sessions Featuring Duane and Gregg Allman recordings pre Allman Brothers Band

Songs featured include “Spoonful” & “Gotta get Away”

First time available on vinyl in over 45 years

Prepared from original Dial/ Mercury analog master tapes Mastered by Tom Lewis at Jim Hawkins’ Studio 1093, Athens, GA

Vinyl cut by Kevin Gray at Cohearent Audio Vinyl pressed at Record Technology Inc.

Red vinyl with many scuffs, hairlines and some deeper scratches. Japanese pressing without OBI.

After 53 years of oblivion, Walkin Up con Los Walkers, the fundamental work of Argentinian garage-psych is being reissued again in Argentina from the original mono master tape. An iconic LP from “the other” youngster music—the one that was known as “beat music"—it was originally released in 1969 and has never been reissued in its original format until now. The band had previously released two LPs and several 45s which contained an exquisite selection of covers, from The Rolling Stones material to songs by Astor Piazzola, but with Walkin’ Up they entered history as excellent songwriters and conceptual artists. With a great use of studio production, unseen before in Argentina, they laid down a wide range of psychedelic sounds and structures that decades later are be considered as the Buenos Aires version of Los Shakers’ La Conferencia Secreta del Toto’s Bar—both albums under a huge influence from The Beatles’ Sgt. Pepper’s. Limited edition of 300 copies on 180-gram vinyl with the careful restoration and printing of the original artwork. Includes a printed postcard and a lavish 4-page booklet with photos and liner notes by journalist Víctor Tapia.

Dark Horse Records and Record Store Day are excited to announce a multi-year partnership to release limited Zoetrope picture disc pressings of George Harrison’s entire studio album catalog. The first two titles in the RSD exclusive series — Wonderwall Music and Electronic Sound — will be available on Record Store Day in April 2024. Limited to 8,000 units globally and exclusive to Record Store Day, each unit is individually numbered in silver foil and includes an insert reproducing the original artwork. Released in November 1968, George Harrison’s Wonderwall Music was the first solo album released by a member of The Beatles and the first LP to be released by Apple Records. The soundtrack music for director Joe Massot’s debut feature-length film, Wonderwall, the predominantly instrumental album is an intricate, vibrant tapestry of Western rock music and compositions in an Indian classical style.

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.”