Rock 'n' Roll 408 Items

Here's a strongly recommended new release from Pancho Records: Real cool compilation of 12 wild guitar tracks from the 50s and 60s!Killer compilation of rare R&B 45's featuring wild and crazy guitarists. First volume of this series, limited edition of 300 ww copies.

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.

Rambalaya’s self titled debut album from 2020 is being released on vinyl for the first time. The band is led led by Anton Jarl, also the drummer in Los Mambo Jambo, and is completed by some of Barcelona’s finest musicians: Jonathan Herrero on vocals, Pol Prats on sax, David Pastor on trumpet, Gerard Nieto on keyboards, Héctor Martín on guitar and Matías Míguez on bass. A blend of soul, rhythm and blues and rock’n’roll that will make you fall in love again with music.

The second album from Rambalaya takes us to another exciting journey into American roots music through 11 new songs. This is the sound of a band pushing his music to reach new heights, including string arrangements, latin influences and gospel vocals. The jewel of the crown is the title track 'Only In My Dreams', a moving power ballad dedicated to broken hearts.

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.

A must to anyone into ‘60s British beat and psychedelia, here’s the complete recordings of pre-YES band THE SYN, featuring Chris Squire and Peter Banks. Including their sought after mod-psych singles for Deram ('Grounded', '14 Hour Technicolour Dream', 'Flowerman'…) plus a treasure trove of rare 60s recordings, including a five-minute rehearsal excerpt of stage favourite 'The Gangster Opera’, an earlier recording of ‘Flowerman’, a pre-Deram acetate of the unissued-at-the-time ‘Merry-Go-Round’, two tracks by pre-Syn band The Selfs and more. Also including are a couple of 1974 bonus tracks from post-Syn project Narsquijack. Led by singer Steve Nardelli, The Syn formed in1966 initially as a mod / Tamla band. They soon embraced psychedelia and flower-power with some legendary theatrical shows during their Marquee Club residency. After a string of singles for the Deram label, the band slowly evolved into legendary prog band Yes.

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

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.

Tonband (plus CD und Monsters-Magazin) THE Monsters wurden 1986 in Bern Gegründet und 1989 hatte man die LP 'masks' in 3 Tagen im Sedel, Schweinesound Studio eingespielt, und wurde damals auf dem Berner Label 'record junkie records' in einer Auflage von 666 Stück veröffentlicht und fix ausverkauft und danach nie wider nachgepresst. Vonwegen CD oder Digital, damals kannte noch niemand diese worte, doch nun ist die Zeit gekommen, diese ersten Gehversuche der Monsters einer grösseren Öffentlichkeit vor die Füße zu werfen. Die Texte sind immer noch sehr stupid und instrumentalistisch ist die Band im Neandertaler Stadium, und das ist, was dieses Machwerk ausmacht. Purer Teenage Trash A Billy, im Proberaum wollte niemand singen und die Instrumente waren zu laut und die PA zu leise so musste Beat-Man singen. Er hatte die lauteste Stimme. Ihre damalige liebe für Rockbilly und 60's Garagen punk wurde so im Primitivsten umgesetzt

Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, "Royal". Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on their first album for international ambassadors of Middle Eastern grooves, Batov Records.

Over the course of their stop-start five years together, Honeybus ventured into the BBC studios on a dozen occasions, leaving a catalogue of recordings that mirrored their latest releases as well as offering up a fascinating alternate history. The songs that make up 1970’s much-loved “almost didn’t happen” Story album (reissued by Hanky Panky/Mapache in 2018, along with the rest of the group’s output) began appearing as early as the summer of 1968. The likes of ‘Scarlet Lady’, ‘Black Mourning Band’ and ‘Under The Silent Tree’ appear almost fully-formed, played as ensemble pieces, suggesting that their album counterparts were captured quickly and without fuss during snatched studio sessions throughout late 1968 and 1969. They also demonstrate Honeybus’s often overlooked skills as a live unit – BBC sessions notoriously allowed little scope for re-takes or overdubbing; you went in and you laid it down while the men in white coats watched the clock. Thrilling as it is to finally hear these alternate versions of familiar Honeybus cornerstones, it’s the surfeit of otherwise unrecorded material that’s the most startling revelation here. Under The Silent Tree: Gentle Sounds With Strings And Things At The BBC 1967-1973 presents no less than 10 unique Honeybus songs (plus a further four on the CD version only) that virtually constitute an entire second album’s worth of unheard material. We find ourselves in a kind of musical hall of mirrors, revealing in a whole new perspective on one of the last great cult pop groups of the ’60s, where every track offers a fresh outlook, a fresh thrill, a fresh sound. With strings and things.