Rock 'n' Roll Vinyl 7 Inch 176 Items

Dick Dale’s first recording came two years before he formed the Del-Tones and was crowned King of The Surf Guitar. That record was “Ooh Whee Marie,” released on his father’s fledging Del-Tone label in the summer of 1958. Dale was 21 years old at the time and encouraged by his father to learn guitar and trumpet. His musical hero was Hank Williams and other country stars he heard on the radio, including Buddy Holly, whose influence is apparent on “Marie.” He soon developed an impression of Elvis that he took to various talent shows around the Los Angeles area. He won enough of these shows to bring him to the Town Hall Party stage, a three-hour live Saturday night viewing staple broadcast from Compton. Dale played trumpet in the backing band that accompanied various guest stars. There was also plenty of rockabilly music from the younger artists on that show, which influenced Dale’s third outing on record, “Jessie Pearl” and “St. Louis Blues,” recorded earlier, but released in the summer of 1960. “Jessie Pearl” was Dale’s first self-penned song. “St. Louis Blues,” an old W.C. Handy jazz number, was a song Dale had picked up learning how to play trumpet. Around July, 1960, Dick Dale formed the Del-Tones and began playing to capacity crowds at the Rendezvous Ballroom in Newport Beach. His next release was “Let’s Go Trippin’.” He had single-handedly launched the surf music genre. --John Blair

Cool Misfits release. The back sleeve credits the live recordings as being from a show at DC Space on 2/31/1983 - but everyone knows February doesn't have 31 days in it, and the band has never played at DC Space. The live tracks on the B-side were actually recorded live at Michigan Union Ballroom in Ann Arbor, MI on 4/23/83.

Shaghayegh was an Iranian rock band that emerged in the mid-1960s. They only released one EP, which was released under two different labels (Royal and Monogram), both versions rare as hell and go try find one. and their original vinyl records are some real highly rarity. Only four tracks are known to exist from the band, and they were printed on two different labels at the time.

Now it’s reissued thanks to the mighty Juzz label out of Tehran, bringing their garage-beat particular sound to a new life, in a well-cared production, limited to 500 copies in grey vinyl and beautiful cover.

Monkey is the second single by The Rellies since releasing 'Isabella is Annoying/ Brainwaves' in 2020. Ryan, guitarist and dual singer and songwriter for the band describes the making of 'Monkey' during lockdown with his brother Riley. "During covid we got very bored. Originally, we wanted to get our Monkeys and run them over with our dad's car, but we settled for filming them falling down the stairs and writing a song about it. When the other members of band finally heard the song, they liked the Monkey and then we made a clip with our friends and some TV monkeys. Everyone sang 'I like the Monkey' and soon everyone liked the Monkey!" Helicopter is Ryan's sonic representation of "hunks of steel flying through the sky. I'm an aviation nerd." He doesn't disappoint. Helicopter's opening riff is catchy and travels. Ryan's vocal powers through the song and the background vocals from kid brother Riley kicks it up a notch as he improvises his way through the chorus begging for a ride. The Rellies ages range from 13-16 and developed at Kings Cross Conservatorium. The brothers began writing and recording at age 9 and 11 respectively and doing shows as The Rellies in 2018 with Jarlath Kiernan on drums. In 2021, the band replaced guitarist Aiden Burke with Lachlan Knight when Aiden decided rehearsal was too loud. Ryan: "We love the Beatles but lately we've got more of a punk energy in our songs. Also, Riley likes a lot of different stuff like Tyler the Creator... his lyrics are inspiring us to be creative with humour."

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY Hamper - April 2023

This EP contains their second & third singles. Both were originally released in 1965 by Parlophone. Produced by Joe Meek.

In 1970, famous Spanish duo Manolo y Ramón, known as El Dúo Dinámico since the early 60s, changed musical direction and name and recorded a full album in London in a cool pop-psych style. Using a dream team of session musicians (Jimmy Page, Ian Anderson, Billy Preston…) and arrangers connected to George Martin, the duo laid down 13 tracks of which “Lágrimas Sonrisas” backed with “Adiós, Adiós, Goodbye” were selected for a 45 release. It went unnoticed at the time but now “Lágrimas, Sonrisas” is mod psych anthem, full of powerful vocals, Hammond splashes, female chorus…highly sought after by DJs and collectors, here’s a deluxe legit reissue limited to 500 copies (not to be repressed). Includes postcard and insert with liner notes in Spanish by Vicente Fabuel.

A collection dedicated to Garage USA 1965-1968 featuring rare tracks from a particular state: Florida, Mississippi, New York and Ohio.

A collection dedicated to Garage USA 1965-1968 featuring rare tracks from a particular state: Florida, Mississippi, New York and Ohio.

A collection dedicated to Garage USA 1965-1968 featuring rare tracks from a particular state: Florida, Mississippi, New York and Ohio.

A collection dedicated to Garage USA 1965-1968 featuring rare tracks from a particular state: Florida, Mississippi, New York and Ohio.

Finnaly we got it, after a long time waiting we were able to reissue this 1969 killer 7" of The Blue Condition, from Waukegan, Illinois. The original wax is a most wanted and a mega rare gem searched by garage punk collectors from all over the world. With "Coming Home" as the main track, a garage punk/freakbeat killer stomper. Fuelled with fuzz and groove. The record come with 2 postcards, linernotes and interview with the band members.

A rock'n'roll band consisting of ROY (Vo,B), Taxman (G,Vo), JIM (G), and Marcy (Dr), who have been classmates since their college days. Their songs are sublimated from their beloved Rhythm & Blues/Rock 'n' Roll roots. The band's style of all-English lyrics has earned them a strong following not only in Japan but also overseas. The Bawdies brings Garage Punk Freaks the Garage Punk of 2022 with their brand-new 4-track EP!!

A rock'n'roll band consisting of ROY (Vo,B), Taxman (G,Vo), JIM (G), and Marcy (Dr), who have been classmates since their college days. Their songs are sublimated from their beloved Rhythm & Blues/Rock 'n' Roll roots. The band's style of all-English lyrics has earned them a strong following not only in Japan but also overseas. Special 7" from the album "Section #11", in celebration of the Record DAY 2020.

Peanut Rubble was a power trio from Buckinhamshire, a rural area a few miles northwest of London. This Radio Luxembourg Studios recordings were made back in 1968, being an early sample of british heavy music one year before Led Zeppelin released their first album. They used to play in college/university circuit, airbases and youth clubs with 100w Marshall stacks, being too loud for some of those clubs. They supported bands such as Status Quo, The Pretty Things, Arthur Brown or Pink Floyd. The single contains three remastered songs of pure loud heavy blues, with a smooth drum playing and a thick fuzzy sound, being now released for the first time. It includes an insert with the story of the band.

The Black Chillies are the spiciest cocktail of rock'n'roll, latin surf and R&B. From Salamanca (Spain) they return with the wildest saxophonic fantasies to make you lose control with this sip of hi-energy instrumental. ''Suavesito!'' Enter soft and hit hard. The Black Chillies present their first single in advance of their forthcoming album.

One would be hard pressed to find a better example of the hormone-enriched, attitude-laden 1960s garage rock opus than ‘So What!!’ by San Diego’s Lyrics. Chris Gaylord's incredible rant over a pounding, almost blueswailing accompaniment on this late 1965 nugget never fails to hit the spot.

Coupled with its equally snotty flip ‘They Can't Hurt Me’, this double-whammy firebomb is an exasperatingly expensive item in its original incarnation, but we have made this great sound facsimile available at a fraction of the cost to accompany the new Big Beat garage psych collection “Blow My Mind!”. Grab ‘em while stocks last!

The Millennium Stands As One Of The Most Remarkable Psychedelic Bands From '60s California.This Single Presents On Vinyl For The First Time, Two Rare Recordings That Never Made It Into The First Seminal Album "Begin" + 2 Demo Tracks.Essential Listening For Those Into Sunshine Pop Harmonies And Psychedelia!Detailed Info:The Millennium Stands As One Of The Most Remarkable Psychedelic Bands From '60s California Despite The Sales Of Their Only Lp, "Begin", Did Not Match The Big Expectations Created By The Great Critical Acclaim Received And The Huge Financial Costs Of Its Recording.Although Conceived As A Studio Group By Curt Boettcher (Ballroom, Sagittarius_), The Millennium Was A Real Band Despite Never Performed Publicly. Following A Carte Blanche Deal With Columbia, He Assembled A Group Of Talented Californian Singers And Musicians (Lee Mallory, Sandy Salisbury, Joey Stec, Doug Rhodes, Michael Fennelly And Music Machine Drummer Ron Edgar) To Record An Album, Resulting In A Sublime Pop Masterpiece, Combining Sunny Melodies, Outstanding Vocal Harmonies And Psychedelic Touches.This Release Presents Some Rare Recordings And Demo Versions By The Band On Vinyl For The First Time.

This release is handmade and numbered silk screen cover. Reprint of Radio Martiko’s 2nd single from 2015.

"Louie Louie" by Belgian schlager legend Joske Harry's (aka Joe Harris) blows The Kingsmen's original version away. Absolute dancefloor-filler.
There must be about 11,283 versions of "Tabou." This ultra-rare gem by Burt Blanca just might be the ultimate version... or maybe not. Anyway, this is a must-have for your collection.

Making their debut on Wick Records, New York's own Steady Sun deliver two sublime sides of ethereal psych. We're not talking about your run-of-the-mill fuzz fodder here, folks - Steady Sun delivers some of the most refreshingly satisfying psychedelia in decades! Truth is the Needle floats out of the speakers like lysergic vapor, engulfing the listener in layers of delicate guitar, spaced-out vocals, and pulsating bass that swirl around the heavy, grounded groove - generating an intoxicating juxtaposition. On the flip is Lash Around, whose insistent beat and hook-heavy melody will send you through a sonic wormhole that marries the experimentation of Barrett era Floyd with the hypnotic bounce of 1990s Manchester.

Los Saicos Created A Raw, Wild And Visceral Sound, The Southern Hemisphere Equivalent Of The Garage Rock That Was Coming Out Of The Us And Their Anthem 'Demolición' Is One Of The Most Insane '60s Punk Songs Of All Time. Unavailable On A 45 For Over A Decade, Here It Is Again! The Archaeology Of Rock'n'roll Is Much Like Any Other Form Of Digging. Significant Finds Demand The Re-Addressing Of Previously Considered Certainty. You Can Hear Direct Links To Both The Stooges And The Cramps Here And Several More Equally Enthralling Combos. The Latter Spawned Several Generations Of Individuals Who Would Dig Deep To Previously (Mostly) Unheard Seams Of Music And Other Forms Of Culture That Have Since Become Part Of The Mainstream Fabric. When Los Saicos' Front Man Erwin Flores Was Asked How Aware He And His Friends Were Of What Was Happening In Britain And The Us At The Time, Here's What He Had To Say: "We Knew The Beatles, They Were Our Idols. We Heard The Rolling Stones After Recording 'Demolición' And Also Bob Dylan And Others. The Primitive Nature Of Our Songs Is Something That Came Spontaneously Out Of My Head. The Band Had No Problem With Assimilating And Arranging It. We Thought Of Ourselves As Bad Boys And That Must Have Been A Driving Force." "Primitive To The Point Of Primordial, Los Saicos Are An Important Benchmark. Not Were. Who Ever Thought There Could Be A Combo Out There In Peru That Would Make The Sonics Sound Like Simon And Bloody Garfunkel? There Is Quite Possibly Some Other Music Out There, Someplace, That Could Well Make Us Re-Address This Consideration, But Until Then, Cherish This Short Course Of Saicotherapy."

"Let me hear you say YEAH!!!". We’re proud to bring you the first official reissue of this essential 60s garage classic, after several bootlegs hitting the market in recent times and its appearance in countless compilations in the last 20 years. Done in cooperation with surviving band members Pat Walters and Danny Huntley, the single receives the usual deluxe treatment at Altercat and comes housed in a brand new picture sleeve, with a 12-page booklet with the band’s story written by Mike Stax (Ugly Things magazine) and previously unseen pictures. Sound mastered by Tim Warren (Crypt Records / Back From The Grave). We aim to get these to you Asap so they are available for the Christmas period. Read on below

Ace’s 45th anniversary 7-inch selection continues this month by taking us back to our roots, and bringing you incredible previously unreleased alternate takes of two all-time classics of rockin’ 1950s rhythm & blues.

R&B lovers will need no introduction to either Roy Brown’s ‘Boogie At Midnight’ or Lloyd Price’s ‘Lawdy Miss Clawdy’, but these recently discovered ‘Take One’s put whole new perspectives on two proven classics. The fast and furious ‘Boogie’ makes the issued 1951 master sound like a lullaby in comparison, while ‘Clawdy’ has an alternate opening line that would have guaranteed no airplay would have been forthcoming back in 1952.

Both tracks are taken from new transfers of the original acetate and tape sources, and both play loud and proud. Each side of the 45 offers a representation of the original label design that would have been used, had they been issued at the time of recording.

No self-respecting R&B singles collector will want to be without a copy of this essential commemorative single, featuring two of the greatest names in 1950s black American music.

Despite a scant recorded legacy, the Royal Chessmen were one of the more popular 60s bands of the Mid-Ohio area.

Originally named for their hometown, 25 miles south of Canton, the Dover Chessmen, or simply the Chessmen, were assembled in 1965 by 15 year-old guitarist David Bird along with Dover High classmates Ken Weigand on bass, Keith Whiddon on guitar and Jeff Gintz on drums.

By 1967 Rich Bellanco of rival band the Pendletones had replaced Gintz, and Dave’s older brother Rodney Bird, a junior at Ohio State, was recruited on organ.

As they began to pick up local gigs they added equipment manager Edward Hardesty. They also MOD-ified their moniker to the more regal Royal Chessmen.

Two previously unreleased tracks have been rescued from the vaults by B-W label owner Matt Baker and are presented in this handsome gatefold sleeve.

Another great R’n’B dancer from the Dolemite!

Classic Rockabilly two sider.

The label on this single hits the nail on the head - Michigan's singing cowboy! Despite a very long 45-year career in country music as a promoter, radio station operator, artist and label owner, very little is known about Earl Peterson. In late 1952, he formed Nugget Records with his mother, basically as a means of self-releasing his music.
While shopping his music down South, he met Sam Phillips and agreed to release his song on Sun Records in the spring of 1954. This bouncing, twangy single would prove to be a cult hit and original pressings still command a lofty price. As the first remotely contemporary country single on the label, Peterson's single paved the way for Sun to later pivot into the country genre.
From there, Peterson's story becomes a bit murkier. He recorded the same song for Columbia in the fall of 1954, strangely disregarding his contractual agreements with Sun. He went on to release a couple more singles with Columbia and by the '60s, was holed up in rural central Michigan to run a radio station (WPLB) with his family.