Rock 'n' Roll Vinyl 154 Items

After crisscrossing the nation for the last half-decade looking for a home, Pokey LaFarge found himself in Mid-Coast Maine. Upon arriving, the Illinois-born singer/songwriter/actor pursued a major life change, working 12-hour days on a local farm—a turn of events that catalyzed an extraordinary burst of creativity and redefined his sense of purpose as an artist. Rhumba Country was initially shaped from material that emerged while LaFarge was deep in work on the farm. “I’d be pushing a plow or scattering seeds, and the songs would just come to me,” he recalls. “It was tremendously inspirational and made me realize that apart from singing, farming is perhaps the oldest human art form.” While farming, LaFarge began dreaming up a kaleidoscopic sound informed by his love of music from far-ranging eras and corners of the globe, including mambo, tropicália, rocksteady, and mid-century American rock-and-roll. “The songs that naturally come to me are upbeat and make you wanna dance or at least bop your head—they’re all very colorful,” says LaFarge. “I used to think of my music in dark blue, but now I see it in technicolor.” Co-produced along with Chris Seefried and Elliot Bergman and recorded in L.A., the resulting Rhumba Country is an invitation to come together to celebrate life and love.

After crisscrossing the nation for the last half-decade looking for a home, Pokey LaFarge found himself in Mid-Coast Maine. Upon arriving, the Illinois-born singer/songwriter/actor pursued a major life change, working 12-hour days on a local farm—a turn of events that catalyzed an extraordinary burst of creativity and redefined his sense of purpose as an artist. Rhumba Country was initially shaped from material that emerged while LaFarge was deep in work on the farm. “I’d be pushing a plow or scattering seeds, and the songs would just come to me,” he recalls. “It was tremendously inspirational and made me realize that apart from singing, farming is perhaps the oldest human art form.” While farming, LaFarge began dreaming up a kaleidoscopic sound informed by his love of music from far-ranging eras and corners of the globe, including mambo, tropicália, rocksteady, and mid-century American rock-and-roll. “The songs that naturally come to me are upbeat and make you wanna dance or at least bop your head—they’re all very colorful,” says LaFarge. “I used to think of my music in dark blue, but now I see it in technicolor.” Co-produced along with Chris Seefried and Elliot Bergman and recorded in L.A., the resulting Rhumba Country is an invitation to come together to celebrate life and love.

“‘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)

Born in early 1966 as a garage band playing heavy covers by the Rolling Stones, the Byrds, the Who, and the Animals, the Fringe conquered Toronto’s coolest hippie clubs in 1967 with their underground psych vibe. In 1968 they scored a national hit and blasted across Western Canada with their psychedelic light show and transcendent songs like “Token for My Mind,” “Plastic People,” and “Executive Dream,” culminating in a spotlight appearance on CBC TV’s Let’s Go! teen show and at a Love-In festival. Now for the first time on vinyl – all 11 of their 1967-68 trippy songs in glorious mono, including everything on their mega-rare promo EP. Sourced from the original analog tapes. 500 copies, in deluxe gatefold jacket. Includes 12-page booklet insert with interviews, lyrics, unseen photos, charts, clippings and more.

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’.

This 1986 album by The Primates remain as the only recording ever released by these four 60s r&b and garage fans. Originally published on Greg Shaw's very own Voxx (Bomp! sublabel focused on revival garage/psychedelia) and produced by Shaw himself, this valuable musical document that portraits the essence of the L.A. 80s garage scene, has been out of print for more than 20 years! So we thought it would be a perfect record to reissue as part of our Bomp! reissue series. The Primates were formed in 1984 and cut their teeth at L.A. spots such as the Cavern Club, as part of a growing scene of devoted Nuggets/Pebbles fans, fascinated with 1960s garage punk classics. The core of the band were Brett Miller and Ted Edlefsen, sporting Vox guitars, and Erik Bluhm as front man, with different drummers, mostly Brian Corrigan but then also Eric from Threw the Looking Glass and Gene from The Miracle Workers. The opener 'I Ain't Like You', 'Bad Luck' or the fun cover of Neil Sedaka's 'I Go Ape' reflect the wild, party-driven mood of the entire album, making you wonder how crazy their shows were in the golden era of the L.A. 80s garage scene. Combining originals and versions (check their great take on Q65's 'I Got Nightmares'), "We Are The Primates" remains as a wild, raw, party album that every fan of garage music should own. Munster is thrilled to reissue this essential '80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes a booklet with liner notes and rare photos and ephemera.

Great Old School Psychobilly in a true 80's style from this russian trio with Taras (former guitar player of Stressor) recorded in August 2010!!! Fans of early Batmobile and Honey Hush (pre-Archie) should take a listen!

Bad vibes, habits, and breath collide on this ten-song pile up on the freeway to nowhere. Melting neo-grunge, swamprock, and noise punk in a cauldron of drug-addled psychosis, 1985's You Get What You Deserve continues Australia's prison-as-country tradition of unhinged lunacy in the face of cultural isolation. Nuke nostalgia, femme fatale sharpshooters, demolition derbies, and a vacation at Hell Beach await.

Green Opaque Vinyl.Bad vibes, habits, and breath collide on this ten-song pile up on the freeway to nowhere. Melting neo-grunge, swamprock, and noise punk in a cauldron of drug-addled psychosis, 1985's You Get What You Deserve continues Australia's prison-as-country tradition of unhinged lunacy in the face of cultural isolation. Nuke nostalgia, femme fatale sharpshooters, demolition derbies, and a vacation at Hell Beach await.

The ensuing album, “Future”, seemed at once both calculated and confused. For some, it represents the Seeds’ grand psychedelic statement, a mind-blowing articulation of the flower power movement of which they had been proclaimed torchbearers. To others, “Future” is Sky Saxon’s folly: an over-egged, acid-damaged pudding that submerged the true power of the band with meaningless grandeur. The truth lies somewhere between. A narcissistic over-confidence made Sky feel the need to now augment Daryl, Jan and Rick in the studio with numerous overdubs – strings, harp, tuba – on hastily cobbled material that brimmed with bizarre lyrical concepts. On certain tracks the combination worked fine, on others it seemed almost like a parody of psychedelia. Nevertheless, “Future” contains many fan favourites such as ‘Painted Doll’, ‘Flower Lady’, ‘Two Fingers’ and ‘A Thousand Shadows’.

Probably the most astonishing hard rock LP out of 1970s Spain, repressed by popular demand and this time offering a very limited transparent blue colour run.

THE STORM hailed from Sevilla and were acclaimed by both audience and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego), on guitar and drums respectively, plus Luis Genil (organ) and José Torres (bass).

Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.

This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era such as DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATÓN...

It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.

We are talking of one of the seminal Spanish hard rock LPs.

Probably the most astonishing hard rock LP out of 1970s Spain, repressed by popular demand and this time offering a very limited transparent blue colour run.

THE STORM hailed from Sevilla and were acclaimed by both audience and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego), on guitar and drums respectively, plus Luis Genil (organ) and José Torres (bass).

Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.

This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era such as DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATÓN...

It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.

We are talking of one of the seminal Spanish hard rock LPs.

One Accordion and a Girl with a Hell of a Voice, the Watzloves from Hamburg/Louisiana are the Band Around the Accordion Wild Girl Silky Toss, low Bow Painter and Musician travelling around in a Bus selling paintings and making together with her band the Watzloves the best Cajun and Swamp Blues besides the Bayou.DM Bob the Drummer boyfriend of Silky is a Legend himself played in several other bands the most famous was DM Bob and the Deficits (Crypt,SFTRI) and is a Low Brow Painter.he's roots are in Louisiana where he grow up, his present to Hamburg was the Swamp Blues what he had and what the Watzloves try to play now for over 10 jears. Jakobus the mulit-instrumentalist is a he's natural Crazy and a painter as well makes crazy shit and have exhibitions all over Europe, and plaing besides the Watzloves in DIE STERNE a Hamburg Based band that is Pretty famous in the German speaking area of Europe. Together the Wat...

The Zeros is a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. The first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary. Unfortunately, the band never cut an album during these days.Their debut single was released in 1977 on Greg Shaw's very own Bomp! Records. It included 'Don't Push Me Around' and 'Wimp', two of the greatest punk rock songs of all time, both written by Javier Escovedo. It was followed by another single in 1978, "Wild Weekend" and a third one in 1980, "They Say That (Everything's Alright)". This release compiles all their early singles, some rare tracks (including the previously unreleased 'Left to Right') and songs taken from a 1978 live show. Munste is thrilled to reissue this essential '80s power pop gem as part of a series of releases celebrating Bomp! 50th anniversary.

Treat Her Right is the first ever vinyl compilation of the best tracks ROY Head released on the Backbeat label in the 1960s. They are his finest recordings, including the hit that launched his career, “Treat Her Right.” With most tracks produced by The Crazy Cajun himself, Huey Meaux (who also scored hits with Doug Sahm, Freddie Fender and so many others), they are the best examples of early southern swampy pop. Come do The Bug with Roy Head. With liner notes by Bill Bently and cover by JAD Fair (of Half Japanese).

Housed in a former grocery store in an industrial backwater, Meteor records lived in the shadow of the Sun label in 1950s Memphis. It was run by Lester Bihari, the mild-mannered brother of Joe, Jules and Lester Bihari, as an outpost of their thriving Modern/RPM label in Los Angeles.Hoping to give Sun a run for its money, Meteor kicked off promisingly in 1952 with the R&B hit ‘I Believe’ by Elmore James recorded in Chicago. Though worthy, subsequent R&B releases proved less successful. However, a second hit, this time in the country field, ‘Daydreamin’ by Bud Deckelman in late 1954, gave Meteor a new lease of life and piqued Lester’s interest in recording rockabilly artists, especially now that newcomer Elvis Presley was breaking through on Sun. Soon they came calling: local honky-tonk bawlers like Bill Bowen and Brad Suggs, out-of-State rockabillies (Junior Thompson, Steve Carl), determined amateurs (Jess Hooper and Wayne McGuiness) and a smattering of Sun renegades (Charlie Feathers and Malcolm Yelvington). Each and every one had something cool to say and laid it down for posterity at Meteor, among the most collectable of post-war labels since few releases were distributed beyond Memphis and the surrounding area.The sign on the awning out front boasted ‘The Supreme Achievement in Recorded Sound’ but in truth the sound was quite the opposite – woolly, dark and mysterious, governed by whoever was closest to the mike in Meteor’s ill-equipped studio housed in a backroom with poor acoustics. Meteor’s studio was made to keep its secrets and herein lay the magic. No-one was ever paid and no-one was invited back for a second session.At some point in summer 1957, Lester Bihari turned off the lights, locked up Meteor’s storefront for the last time and walked away without bothering to take the masters and any documentation, mythologising the label with that last turn of the key. SIDE ONE1.TONGUE-TIED JILL – Charlie Feathers with Jody & Jerry2.RAW DEAL - Junior Thompson with The Meteors3.DON'T SHOOT ME BABY (I'M NOT READY TO DIE) - Bill Bowen with The Rockets4.YAKETY YAK - Mac & Jake with The Esquire Trio5.LATCH ON TO YOUR BABY – Jimmy Lamberth with The Saxons6.CURFEW - Steve Carl with The Jags7.CHARCOAL SUIT - Brad Suggs with The Swingsters8.SLEEPY TIME BLUES – Jess Hooper with The Daydreamers9.GONNA SHUT YOU OFF BABY – Jimmy Haggett with The Daydreamers SIDE TWO1.MAMA'S LITTLE BABY – Junior Thompson with The Meteors2.HAVE MYSELF A BALL – Bill Bowen with The Rockets3.ROCK, ROLL AND RHYTHM – Wayne McGinnis with The Swing Teens4.BOP, BABY, BOP - Brad Suggs with The Swingsters5.18 YEAR OLD BLUES - Steve Carl with The Jags6.GET WITH IT - Charlie Feathers with Jody & Jerry7.ALL MESSED UP – Jess Hooper with The Daydreamers8.BROTHER, THAT'S ALL - "Red" Hadley's Wranglers9.LONESOME RHYTHM BLUES - Wayne McGinnis with The Swing Teens

Holy Beat! - A collection of 60's Italian Christian beat from the vaults of Ariel Records. Nine tracks from three amazing Italian bands, Angel and the Brains, I Barritas & The Bumpers. Originally released as La Messa dei Giovanni in 1966 and recorded live the same year, this record has been the stuff of legend for deep cut Pop connoisseurs and 60's Beat archeologists, a beautiful and mesmerizing gem that goes way beyond the Christian novelty. Presenting here three amazing Italian bands (Angel and the Brains, I Barritas & The Bumpers), this is not just a Christian pop record, this is a collection of beautifully crafted Italian 60's Beat that will blow the mind of anyone remotely interested in 60's music, a must!

Is rockabilly perhaps the first white form of rock 'n' roll? It clearly embraces the country component, along with the influence of rhythm & blues, resulting in an explosive mix that never fails to captivate. It's widely known that officially Elvis Presley fired the first shot, recording That's All Right, and Carl Perkins, with Gone, Gone, Gone, alongside Sonny Fisher, with Rockin' Daddy, became the genre's first composers. So its birth could be dated back to 1954, and it was in 1956 when it truly hit the big time on the charts, only to be forgotten in 1957, in favor of a much less savage way to rock. But rockabilly, with its natural rawness, remained there, in the underground, achieving some minor regional success and leaving thousands of wonderful examples of its existence that would later become prized collector's items. Interestingly, in 1956, Eisenhower's interstate highway plan was also born, a turning point in interstate road communications across the USA, which was a genuine revolution for mass population. Two big changes in the same year that we've taken advantage of, to pick up from the roadside of those rock 'n' roll highways a few examples of great 45s, recorded by small record labels that seemed relegated to oblivion. One shot per state, eight record labels, eight different artists, condensing two raw diamonds into the coolest way ever - 8 x 7" 45 rpm wax records box set plus 4 pages 7” booklet! Ready for that Interstate Rockabilly journey?

After the success of Keb Darge’s 2023 Ace Rockabilly compilation (chd 1637) the legend returns with another collection of music close to his heart.

On “Keb Darge Presents The Best Of Ace Sixties Garage Punk” the smooth-headed maestro pulls open his curtains to reveal a selection of US garage stompers from the 60s. “Though there are a couple of “never before on vinyl” tunes here for serious collectors, this compilation is aimed at those folk who are just getting into it,” states Keb “I have picked a selection of my favourites from the nice cheap and easy to find stuff up to the four figure and bloody hard to find stuff.” Artists like the Hooterville Trolley, the Litter, the Music Machine, the Venturie 5, the Lyrics and the Nightcrawers reflect back light towards British invasion bands like the Who, the Kinks and the Rolling Stones, home-grown garage flowers and the dark end of the psychedelic street. Laced with fuzzed guitar, enthusiasm, a driving beat and an attitude that was proto-punk this music remains fresh and is already being embraced by a new generation.

With liner notes from Keb and housed in a sleeve by Robin Banks −who also did the artwork for Keb’s Rockabilly compilation − this is an essential purchase.

After the success of Keb Darge’s 2023 Ace Rockabilly compilation (chd 1637) the legend returns with another collection of music close to his heart.

On “Keb Darge Presents The Best Of Ace Sixties Garage Punk” the smooth-headed maestro pulls open his curtains to reveal a selection of US garage stompers from the 60s. “Though there are a couple of “never before on vinyl” tunes here for serious collectors, this compilation is aimed at those folk who are just getting into it,” states Keb “I have picked a selection of my favourites from the nice cheap and easy to find stuff up to the four figure and bloody hard to find stuff.” Artists like the Hooterville Trolley, the Litter, the Music Machine, the Venturie 5, the Lyrics and the Nightcrawers reflect back light towards British invasion bands like the Who, the Kinks and the Rolling Stones, home-grown garage flowers and the dark end of the psychedelic street. Laced with fuzzed guitar, enthusiasm, a driving beat and an attitude that was proto-punk this music remains fresh and is already being embraced by a new generation.

With liner notes from Keb and housed in a sleeve by Robin Banks −who also did the artwork for Keb’s Rockabilly compilation − this is an essential purchase.

Eighty-three years ago, director Rob Reiner chose the picturesque town of Brownsville, Oregon as the filming location for his classic coming-of-age story, Stand By Me. The heart-warming movie was nominated for an Academy Award and has continued to be a favorite of both critics and fans around the world. The film, whose plot is based on Stephen King's novella The Body and title is derived from the Ben E. King's eponymous song, which plays over the opening and ending credits, tells the story of four boys in small town Oregon who go on a hike across the countryside over Labor Day weekend in 1959 to find the dead body of a missing child. The classic soundtrack is crammed with early rock & roll hits (“Yakety Yak”, “Lollipop” & “Great Balls of Fire” o.a.) and still sounds very alive today, decades after they were originally recorded. 180 gram audiophile vinyl PVC protective sleeve Featuring songs by Ben E King, Jerry Lee Lewis, Buddy Holly a.o.

Sensational reissue for the first volume of iconic compilation Simla Beat 70. A psych garage manifesto, the record consisted of groups who appeared at the All-India Simla Beat ‘battle of the bands’ contest held in two years (1970 and '71) in Bombay. The annual event and the records were sponsored by The Imperial Tobacco Company. Bands from all around India would compete for first prize. The album - indeed - was not recorded live on the stage but in a primitive makeshift studio using very little overdubbing or sound reinforcement. The sound is generally influenced by the proto-garage western movement of the mid sixties and later became a massive cult for all the 70s rock fans.

We already have Weirdsville & Wowsville and now the collection is complete with ‘WILDSVILLE’…..Oh yeah, 16 tracks of weird and wonderfully whacky tracks including the Gamma Goochee himself…The Creep, The Lifeguards and sooo much more. If you don’t already have the other couple of volumes in this series, you really should….These were compiled by the same folk that originally did the Born Bad series…..Good enough pedigree for you ?

Whistle Bait, one of the internationally best known Finnish bands performing 1950's rock 'n' roll, celebrates their 40th anniversary in 2024. Besides recording and touring on their own through the years, Whistle Bait have had the privilege of working with many 1950s legends ranging from Ronnie Dawson to Wanda Jackson.Whistle Bait's third album "Bait's Motel", originally released in 2001, has now been carefully remastered and is released for the first time on vinyl LP. A remastered CD edition with four bonus tracks is also available. CD1. Reception / 2. Everlovin' Man / 3. Dream / 4. When the Time Stops / 5. Allright / 6. Shy Kind-a Guy / 7. Another Lazy Sunday / 8. Surfin' Sheik / 9. Four Aces and a Joker / 10. Rosita / 11. Need You / 12. Can't Believe What You Say / 13. Lonely Rider / 14. Sue's Gonna Be Mad / 15. Everything But Mine / 16. Bait's Motel Check-Outbonus tracks17. Secret Agent Man (from CD-single "When the Time Stops") / 18. Everlovin' Man (single version) / 19. Understand Your Man (from CD "Cash Only - Tribute to Johnny Cash") / 20. If I Can Dream (from the original "Bait's Motel" CD's special edition)LPA1. Everlovin' Man / A2. Dream / A3. When the Time Stops / A4. Allright / A5. Shy Kind-a Guy / A6. Another Lazy Sunday / A7. Surfin' Sheik / B1. Four Aces and a Joker / B2. Rosita / B3. Need You / B4. Can't Believe What You Say / B5. Lonely Rider / B6. Sue's Gonna Be Mad / B7. Everything But Minenote: the intro (Bait's Motel Reception) and outro (Bait's Motel Check-Out) on the original CD has been omitted due to the running time limitations of the viny LP

Just in time for Halloween. Zombina and the Skeletones are returning from the dead to bring you their first full-length album in ten years ‘The Call of Zombina’.

The Band Under Your BedTM returned to the studio (or in this case a creepy old church in Liverpool) to make their first album in ten years, with Stephen Cole from the avant garde “post-music” act a.P.At.T producing. ‘The Call Of Zombina’ is Hammer Horror melodrama as art-therapy, the pank roots of goth-rock meets the strings and harpsichords of baroque.

‘The Call Of Zombina’ seeks to mirror the clamic portmantean horror of ‘The House That Dripped Blood’ or ‘Asylum’, with each track telling its own self-contained story. Musically it’s death rock/ baroque, Joe Meek and James Bernard meets The Damned uptown. Lyrically, the schlocky Americanistas of old have been eschewed in favour of the no less pulpy vernacu lar of Pan Classics paperbacks... and of course the whole thing was recorded in an old spooky church, to captare some of that creaky atmosphere and gigantic reverb.