Rock 'n' Roll Vinyl 413 Items

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.

Deluxe vinyl reissue of The Meteors' 2012album!

Deluxe vinyl reissue of The Meteors' 2012album!

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!

Wailing and thrashing around the melody like candy-fueled maniacs, The Little Bits pack a punch so savage it makes appropriately aged teen rockers hopped up on testosterone and intoxicants sound like they're phoning it in. This is the real deal ' Cajun country's untamed youth. Featuring their killer single and nine newly discovered tracks!

Formed in Edinburgh in 1992, The Kaisers set out to bring the excitement and joi de vivre of the early ‘60s beat era back to the Scottish music scene. Armed with junk shop guitars and tiny amplifiers, they quickly gained a reputation as one of the country’s most exciting live bands, belting out forgotten rock ‘n’ roll gems and their own period-perfect compositions with unsurpassed rawness. As their fame spread, they were soon firing their beat salvos at audiences from America to Japan. The broadcasting authorities took notice and radio sessions for John Peel, Mark Radcliffe and many others followed, both at home and abroad. The Kaisers released seven albums plus many singles and EPs – all on vinyl and always in mono. One EP was recorded during a particularly wild night at New York’s famous Cbgb. Although their records featured plenty of the good-humoured sonic violence that their fans craved, heartfelt yet visceral ballads were never off the musical menu. After a 13 year hibernation, The Kaisers returned to the stage via the festivals circuit and continue to appear at festivals across Europe. The resurgence of interest in the band has led to the writing and recording of a brand-new album ‘More From The Kaisers’.

14 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

Turning in a smoking rendition of studio guitarist Jan Davis’ “The Fugitive,” later covered by the Ventures (and much later, Laika & the Cosmonauts), they also lay down a hot version of “Opus Twist” – also by way of the Ventures, written by Tommy Allsup and J.I. Allison of the Crickets. Three other instrumentals came from the Let’s Hide Away & Dance Away With Freddy King album: “San-Ho-Zay,” “Just Pickin’,” and “Sen-Sa-Shun.” He delivers a lovely “Sleep Walk” sans Santo & Johnny’s steel guitar, and converts pianist Floyd Cramer’s “Last Date” to guitar.

Balancing out the program are live tracks from Big Al’s Gas House in neighboring Belmont, showing the emergence of British Invasion along with credible renditions of R&B warhorses “Linda Lu” and “Come On.” “Route 66” is obviously the Stones version, with Rich playing the Keith Richards guitar solo – “and ‘Roll Over Beethoven,’ you could tell it was the Beatles’ version because my guitar licks are George Harrison.”

Vividly illustrating the band’s meld of R&B and surf are the two versions of “San-Ho-Zay” – the relaxed groove in the bedroom versus the furious live rave. Lord knows what’s going on in “The Fight” – a typical set-opening/closing riff breaking up a brawl?

Though they never released even a 45, these live cuts and “Bedroom Tapes” prove without a doubt that they’d have been up to the task had the opportunity presented itself.

Buffalo NY’s THE Hamiltones are back with a new high concept surf record, In Space It serves as the soundtrack to an epic space opera, borrowing familiar themes and textures from mid-century sci-fi and superimposing them onto thoroughly modern surf rock. While most bands of the style only use guitar, bass, and drums, The Hamiltones dare to utilize layers of vocal ooos and aaas, lush strings, horns, space-age synthesizers, and even theremin on their new opus. The result is a record that has just as much in common with John Williams, Ennio Morricone, and John Carpenter as it does with Dick Dale or The Ventures. In Space is unflinchingly audacious, daring to boldly go where no surf band has gone before. The experience is fully immersive, as the 12” record comes with a companion 7” EP of music by the mysterious Moon People, and a 6-page insert spelling out the plot of the fictitious film to which In Space serves as the soundtrack.

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

The hits kept on coming from heroic Dallas fivesome The Five Americans with their third longplayer, 1967's Progressions. Both 'Zip Code' and 'Evol-Not Love' careened up the charts as The Five Americans squared off on live stages throughout the Deep South with artists such as the Doors and Jefferson Airplane ' and more than held their own against the best American rock 'n' roll had to offer!

The tracks from the group’s two 1984 EPs together on a swanky 10-inch vinyl LP. Inner bag features liner notes by Kris Needs incorporating new interviews with all three Delmonas and a series of great photos by Eugene Doyen.

Sarah Crouch, Hilary Wilkins and Louise Baker started singing together as a unique spark of spontaneous magic inextricably linked to their boyfriends in the Milkshakes, then rocking a garage-punk antidote to shiny synth-pop and brash chart stars with a direct lifeline back to rock’n’roll’s original simplicity and wildness. After Billy Childish and Bruce Brand formed the Pop Rivets in 1978, the guys hooked up with Micky Hampshire and Russell Wilkins to found the Milkshakes. Sarah shared a student house with boyfriend Micky plus Billy. After she and Hilary, then dating Russell, sang backing vocals on the Milkshakes’ rollicking Beatles-translated take on the Shirelles’ ‘Boys’, Louise’s arrival turned them into a girl group pretty much by accident.

“I loved the music the Milkshakes were playing,” Louise recalls. “Loved the small, intimate venues and most of the bands that played with them, especially the Prisoners. I’d gone with the Milkshakes to Belgium and was somehow persuaded to get up on stage and sing something. Next thing I knew, there was some kind of plan to get the three of us in the studio.” At first the three girls were called the Milk-boilers, renaming themselves the Delmonas by the time Ace Records’ Roger Armstrong and Ted Carroll suggested recording the EPs that furnish this collection. “I think we were asked to each think of three songs and turn up,” says Louise. “I mostly listened to music from the 60s: lots of girl groups, Irma Thomas, Dusty Springfield, Bo Diddley, Velvet Underground, Kinks. Bruce had the best record collection; Mel Tormé was in there somewhere and one of my faves. Sarah came up with doing the Doors cover.”

‘Comin’ Home Baby’ was written as an instrumental before Bob Dorough added lyrics and Mel Tormé recorded it in 1962. The Delmonas’ finger-clicking, noir-dynamic version kicked off their first EP with authentic-sounding 60s production resonance, iced with mysterioso organ. The Cookies scored a hit with Goffin & King’s ‘Chains’ in 1962, the Beatles’ version providing the Hamburg Star-Club template for the Delmonas’ energised rendition. The first EP, “The Delmonas Volume 1”, rounded off with two songs from the Childish-Hampshire songwriting partnership: ‘Woa’ Now’ and ‘He Tells Me He Loves Me’, the latter recalling the New York Dolls covering the Shangri-Las’ ‘Give Him A Great Big Kiss’, mainly because it has similar chords.

“The Delmonas Volume 2” opened with Sarah’s idea of covering the Doors’ hit. “We thought, ‘How would the Kinks have played it?’” she affirms. ‘Hello, I Love You’ had got the Doors into hot water with the Kinks’ publishers for its resemblance to ‘All Day And All Of The Night’. The Delmonas home in and highlight that similarity, adding bonkers psychedelic drop and evocative new coda. Their surf-tinged version of the Milkshakes’ ‘I’m The One For You’ is followed by the swampy screaming of ‘Peter Gunn Locomotion’, a cover of a 1963 single by Freddie Starr in his pre-stand-up comedian days as singer with the Midnighters. The set closed with the sultry organ-led vamp of the Milkshakes’ ‘I Want You’, the nearest the Delmonas get to the slowies Sarah helpfully points out they referred to as “shag songs”.

All these tracks would re-appear on their “Dangerous Charms” album, along with out-takes and recordings from a BBC session, before the original trio splintered, leaving Sarah and Hilary to return for further adventures as Ludella Black and Ida Red. The eight tracks here capture a moment when three fun-loving friends got to live out some musical fantasies and had a blast doing it. 37 years later, it sounds just as contagious.

“‘Please Stay’, by The Cryin’ Shames, was the last song by producer Joe Meek to enter the UK Top 40, peaking at No. 26. Released on 18 February 1966, the song should have reached the top, but its progress was held back by the fact that the Decca record label had not pressed enough copies to meet demand. The collaboration should have been long and successful for both of them, but the Cryin’ Shames story is cursed with bad luck and, sadly, within a year of the success of ‘Please Stay’ the band broke up and Joe Meek died. This compilation brings together a first part of the material collected by Cherry Red on the double CD ‘The Tea Chest Tapes’ . The group began as The Bumblies, formed in Liverpool in 1963 by bassist George Robinson and singer Joey Kneen who had previously been in a band called The Calderstones, that included Tom Evans, who later went on to form the group Badfinger. The Bumblies’ name was taken from a television series of the same name featuring Michael Bentine. The rest of the line-up included Charlie Crane (vocals, harmonica), John Bennett (guitar), Phil Roberts (keyboards) and Charlie Gallagher (drums). Charlie Crane would be known in addition as ‘Carl’ or ‘Paul’ to avoid confusion with the other Charlie in the group. Joe Meek didn’t like the band’s choice of name so they changed it to The Cryin’ Shames. Ritchie Routledge replaced Bennett (guitar) after the recording of their debut single ‘Please Stay’. Derek Cleary (bass/guitar) replaced Robinson in time to play on their second single ‘Nobody Waved Goodbye’. After the original Cryin’ Shames fell apart, Routledge and Crane formed a group known as Paul And Ritchie And The Crying Shames with new members Brian Norris (bass), Mike Espie (guitar), Pete Byrne (organ) and Paul Commerford (drums). They released one single, ‘September In The Rain’. The group (as The Bumblies) auditioned for Joe Meek in late October or early November 1965 - the exact date cannot be ascertained because Meek’s tapes contain very little information, and only one or two of the more than seven hundred tapes actually bear a recording date...” (liner notes extracted from the Cherry Red’s booklet made by Mr. Craig Newton)

Tracks A1 to A5 are studio outtakes, June 1977. Unknown studio. Track A6 recorded live at Cbgb. Tracks B1 and B2 Ardent Studios outtakes, Memphis, Tennessee, October 1977. Tracks B3 to B6 are Hot House Studio outtakes, New York City, February 1979.

A few years back someone released a 10″ boxset comprising of a box, badge, poster and a 10″ lathe cut EP with just 6 tracks taken from the set played at Pukkelpop Festival in Belgium (Aug 26th 1990).

You didn’t get much in the way of music for your hard earned €’s, £’s or $’s….And it was claimed that there were only 10 (?) set’s made.

What you get here is basically the full gig with a great sound pressed on 200 grm coloured vinyl and housed in a high quality, heavy guage sleeve with a beautiful glossy finish. No hand numbering, you can put your own number in up to 100 although it seems 200 have been pressed and what’s more it comes with a fab poster, identical to the poster in the box set !

We’re told only 200 of these were pressed (although a bunch in black no doubt) and we have a couple of boxes coming…As usual it’s a case of 1st come, 1st served.

This September, coffins will shake and graves shall release their dead

Darkness is falling. A cold wind blows from the snow-covered Carpathians, making the windows rattle and the corners of the house creak. Something is coming, eyes flashing red in the night and its footprints filled with grave dirt. What nocturnal terror is this? Why, it’s the arrival of the long-awaited third album by The Coffinshakers, folks.

While most bands quickly lose the spark, The Coffinshakers have stayed relevant – eternal like the undead. Though humor is their hallmark, there is also poignancy and something genuinely spine-tingling in their rugged, melancholy ballads. And this new offering shows them at the height of their baleful, campy power. They truly are a band that ages like fine wine – although vampires, of course, never drink… wine.

Much will be familiar to dedicated fans. Rob’s trademark malevolent chuckles still reverberate with sardonic glee, the deep rumble of his voice continuing to send all yellow-bellies hiding behind the barn. At the same time, his vocals have gained in both power and subtleness. The same goes for the guitar, bass, and drum work, now incorporating a broader array of classic Americana influences. These unholy badmen have drunk the blood straight from the neck of the authentic country, bluegrass, folk and other rootsy music of inbred US backwaters – and it has made their fangs sharper than ever.

And though The Coffinshakers still ride forth with tongue firmly planted in cheek, there is a new apocalyptic urgency to their third offering. From the marching drums of the desolate “Graves, Release Your Dead” to the echoing vocals of “River of Souls” and the cathartic cataclysm of “Down in Flames”, it all forebodes the imminent end of the whole dirty enchilada of existence. The band’s flippancy comes with a genuinely unsettling kernel of darkness – and black humor is always the most satisfying. Vampires may not cry, but we all know they laugh wickedly as they rise from the bone orchard.

- Per Faxneld, Södertörn University department of religion and vampirism, author of Satanic Feminism, Offerträdet, The Devils Party and others

The Coffinshakers' past nocturnal glories include the debut album "We Are The Undead" (1998) and the eponymous sophomore record (2007), after which the cadaverous quartet retreated to the silence of the tomb, having vacated their respective coffins only sporadically when invoked to perform undead rituals in front of a live audience. Now, many moons since they last haunted the earthly domain, the hour has come for another foray into the realm of the living. Yet again the dead shall live, the living die, and Musick shall untune the sky.

Svart Records will release Graves, Release Your Dead by The Coffinshakers on September 15th on long playing vinyl, compact disc and digital formats, including an exclusive variant with a 3D cover.

Svart Records proudly present Earthly Remains, a three 7" singles box set with new Coffinshakers tracks!

The ”Earthly Remains” box-set includes three songs from the latest ”Graves, Release Your Dead” album and three brand new tracks from the same sessions. These tracks shouldn’t be seen as left-overs though, they certainly deserve their place in any serious Coffinshakers collection and in a sense makes the album complete.

”March of The Coffinshakers” marks the procession of the dead featuring a lead guitar taken straight from the spaghetti-horror dimension with massive string arrangements to boot. ”Raising Hell” sees the band in garage mode, complete with a vicious fuzz! Finally the doomsday story of ”No Return” almost takes us to crooner territory, imagine that! The three 7”s are housed in brand new watercolor artwork by Jenny Bengtsson. Will you dare to take one step further into the strange realm of The Coffinshakers?

Svart Records proudly present Earthly Remains, a three 7" singles box set with new Coffinshakers tracks!

The ”Earthly Remains” box-set includes three songs from the latest ”Graves, Release Your Dead” album and three brand new tracks from the same sessions. These tracks shouldn’t be seen as left-overs though, they certainly deserve their place in any serious Coffinshakers collection and in a sense makes the album complete.

”March of The Coffinshakers” marks the procession of the dead featuring a lead guitar taken straight from the spaghetti-horror dimension with massive string arrangements to boot. ”Raising Hell” sees the band in garage mode, complete with a vicious fuzz! Finally the doomsday story of ”No Return” almost takes us to crooner territory, imagine that! The three 7”s are housed in brand new watercolor artwork by Jenny Bengtsson. Will you dare to take one step further into the strange realm of The Coffinshakers?

Billed as "Canada's All Indian Band," the Tsimshian Nation garage band The Chieftones stormed the U.S. in the mid-'60s with their own brand of native rock n' roll. More Buddy Holly than Link Wray, The New Smooth and Different Sound compiles their debut single for Wisconsin's lauded Cuca label and adds a dozen previously unissued demos from their brief time in the Driftless region.

Billed as "Canada's All Indian Band," the Tsimshian Nation garage band The Chieftones stormed the U.S. in the mid-'60s with their own brand of native rock n' roll. More Buddy Holly than Link Wray, The New Smooth and Different Sound compiles their debut single for Wisconsin's lauded Cuca label and adds a dozen previously unissued demos from their brief time in the Driftless region.

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.

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.

Essential comp including all the non-LP single and EP tracks for Decca, Parlophone and Fontana (in original mono mixes) by London’s favourite beat / R&B / Mod band, featuring a pre-Deep Purple Jon Lord on organ. From mod classics like “Big City”, “I Take What I Want”, “What Shall I Do” or “I’m Looking For A Saxophonist…” to the proto-psychedelia of “In The Deep End”, “Brother Can You Spare A Dime” and more. *Remastered sound in mono *Gatefold sleeve with liner notes by Mike Stax (Ugly Things) *Insert with photos / memorabilia “The Artwoods recorded and released several singles, a four song EP and an LP during their tenure. Largely overlooked in their day, the band’s recordings stand up well against those of The Pretty Things, The Action and The Yardbirds, among others…” – Kevin Rathert (It’s Psychedelic Baby)

After the very successfull "jimmy Widener" first issue on the label dedicated to Hillbilly musice: "red Barn Record", We had dig a little more into our personnal shellac collection to offer you the complete Bullet sessions, 1950-52 of this obscure but very talentful "proto" rockabilly band. Two year before Elvis recordings at SUN, you already feel the wind of musical change' a coming!

She's back, the gloves are off and she is coming out swinging. Tami Neilson won't be staying New Zealand's secret for much longer. For the past decade, the Canadian-born, New Zealand-based singer/songwriter has been the queen of her adopted homeland's country and roots music scenes. She has picked up a handful of Best Country Album awards at the New Zealand Music Awards and won the prestigious APRA Silver Scroll for excellence in songwriting. With her new album, Sassafrass!, Neilson takes a giant step forward. On this 11-track knock-out, she places a heavier emphasis on soul music without abandoning her country and rockabilly roots. Neilson conjures up a wonderfully retro style that sounds like it could be a lost gem from the late '50s or early '60s; however, beneath the classic veneer are frank, highly relevant lyrics. Sassafrass, a slang word for a sassy person who isn't afraid to speak her mind, serves as a perfect title for this album. The songs, Neilson divulges, reflect her developing a low tolerance for bullsh*t after years of encountering sexism in her life. They were also influenced by her being a mother of two young boys as well as by the death of her father, who led the family's band, the Neilsons, which was popular in Canada during the '90s. Neilson characterizes her new album as a mouthy lovechild of the current social climate and my own experiences as a woman, mother and daughter.