Rock 'n' Roll 196 Items

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.

The legendary Beatnik Termites are back with their first new album in 18 years. They may have been gone for a while but they have not missed a note when it comes to their latest album “Sweatin’ To The Termites”. The band has mastered their sound that is a mix of punk rock, surf rock and doo wop. “Sweatin To The Termites” has 12 songs that are packed with sugary sweet harmonies and will surely get you up and moving. For fans of The Ramones and the Beach Boys.

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!

The Wizzz ! saga continues with a fresh selection of 60s and 70s rarities gathered from the unchartered nooks of the French-pop galaxy. Stars, underbosses and unknown artists rub shoulders on this tangy new compilation. Take off on a sonic journey through the starry night of the late sixties. Al Awni Bouarane, better known as Abdelwahab Doukkali, was born on January 1st 1941 in Fès, Morocco. Drawn to the world of arts from his earliest years, he took an interest in theatre, drawing and painting before starting to sing in Casabalanca at the beginning of the sixties. In 1962, he leaves Morocco to settle down in Cairo, where his fame burgeoned. A singer songwriter awarded a number of honorary titles of international significance, he became, through the decades, one of the greatest figures of Middle-Eastern music. His repertoire, mostly traditional, fills the grooves of about twenty albums and some thirty singles. It holds a few surprising gems that bring together his eastern sensibility with the rhythms and harmonies of western rock: a handful of twists at the beginning of the sixties and more particularly the notable Je Suis Jaloux, sung in French and released on the label Philips in 1967. The track, recorded “as a matter of curiosity” according to the singer, is an outsider of the master’s discography. In an interview for the daily Aujourd’hui le Maroc in February 2017 he expressed his regrets for not pursuing a broader career in France: “One day I got to Paris and found people dancing to my song Je Suis Jaloux. Unfortunately I left Paris – that was a mistake. The company I was working with had offered great conditions but I am a child of the sun and the spring; I came across a cold period that lasted and led me to leave this city I still dream about”. Today Abdelwahab Doukkali shares his time between singing and painting and lives in Casablanca. Tom – a crepuscular mid-tempo with a touch of Soul produced for Barclay in 1968 – is François Bernheim’s first solo release. The arrangements are the work of Jean-Claude Petit, the recording was carried out by Bernard Estardy while the finest of French studio musicians played the instruments: Francis Daryzcuren on the bass (he appeared on Brigitte Bardot’s Harley Davidson, Le Sud by Nino Ferrer…), Marc Chantereau on the drums (Alexandrie, Alexandra by Claude François, Quelque chose de Tennessee by Johnny Hallyday, Je suis venu te dire que je m’en vais by Serge Gainsbourg…), and playing the six-string Sylvano Santorio (conductor for Jacques Brel) as well as Jean-Pierre Martin (stage guitar player for Johnny Hallyday). The session, held at the CBE studio of Paris’ rue Championnet, tests the young singer’s nerves who out-does himself in a vocal performance of great intensity. And yet, François Bernheim’s musical career had been flourishing for some time: as a youngster he had joined the Petits Chanteurs à la Croix de Bois, a choir for which he was made soloist at the age of 10. Without any formal musical background, he starts learning the guitar by himself at age 14 and, like many musicians of his generation, trains to the instrumentals of the Shadows or the Fantômes, then to the Beatles. He later evolves as a vocalist and songwriter with Roche-Martin along the Sanson sisters, Véronique and Violaine, met while they were singing on a beach. The band, produced by Michel Berger and Claude-Michel Schönberg, records two EP’s in 1967 for the label Odeon. Following the EP Tom, François Bernheim releases a second EP, on which appears yet another successful track, the dreamy Miami-Beach, then dedicates himself to artistic direction and discovering new talents. As he is still a law student, he chooses to hide his identity under the alias Gilles Péram, for fear his musical activities would discredit his status as a future lawyer. It’s with this new name he launches the Poppys, spurred by Eddie Barclay, and releases hits like Noël 70 and Non, non, rien n’a changé. Through his career, François Bernheim/Gilles Péram recorded seven albums and some twenty singles, worked with the likes of Esther Galil, Renaud, Louis Chedid, Patricia Kaas, Marie Laforêt, Brigitte Bardot, Nicoletta, Marc Lavoine, Carlos, Serge Reggiani, Richard Cocciante, Gérard Lenormand, Pierre Richard, Guillaume Depardieu, Elizabeth Depardieu, Gérard Depardieu and Chimène Badi, worked as an actor and made music for a number of ads (Cachou Lajaunie, Carte Kiwi, Malabar, Club Med, Mini Mir…), and even composed a track sung by Kanye West (Power). This chameleon of variétés made in France now works with the likes of the comedian Sandrine Sarroche and the singer Dani. Michel Handson signs this B-side with a touch of hip-hop in 1973 for the label Butterfly. The arrangements are the work of the Costa (authors of a dozen of singles between 1967 and 1987) and Gabriel Yared, a prolific movie score composer (Scout Toujours, 37°2 le Matin, L’Amant…). Before passing into oblivion, Michel Hanson records two more singles, of which L’Heure du slow traditionnel in 1978, languid slapstick track, kitsch and over the top, much appreciated by amateurs of the genre.“There’s no going out naked on the streets, Boeing!” This track from the Swede Matty Kemer’s only single, a tribute to freedom and aviation, was recorded for the label Disque d’Or. The lyrics weren’t the work of some unknown writer but of Ezra Bouskéla, member of the mythical Zorgones (from which hailed future members of Magma, like Zabu, and of Dynastie Crisis) and lyricist for Johnny Hallyday (Rendez-moi le soleil, Le monde entier va sauter, Dans ton univers) but also Herbert Léonard (L’oiseau d’argent). A real French-style beatnik, Ezra leaves for India regardless of his promising debut, leaving behind all of his musical projects, from which a collaboration with Jacques Lanzmann orchestrated by Lee Hallyday. His trip (by bus, and not by Boeing!) is the subject of the hectic autobiographical novel Shambo.

Gilles Janeyrand, piano and guitar player, witnesses two memorable stage acts in his early years: Jacques Brel’s farewell at the Olympia in 1964, then the Beatles at the Palais des Sports in 1965. It’s a revelation: coming out of the Beatle’s concert he decides he ought to become a singer. A few years later, a friend shows Gilles a classified ad published in France Soir: Robert Stigwood, producer for the Bee Gees, the Whos and Cream, is looking for French artists to showcase on his label, RSO. Gilles Janeyrand follows up on the ad and auditions at the Polydor studios, where he meets Claude Ebrard, head of RSO France. Gilles plays four songs at the guitar, from which Amour 2000 and Filles 2000, two tracks he composed for texts written by friends. Claude Ebrard chooses to record the two tracks with the arranger Jean-Claude Petit, and suggests adding flutes, in reference to Jacques Dutronc who had just released Il est cinq heures, Paris s’éveille. The track is recorded in 1969 at the Studio des Dames. Gilles remembers: “There were 25 musicians around me, and I thought it was perfectly normal! I was 18 and that’s the image I had of a career as a variété singer.” At the moment of the contract’s signature, Robert Stigwood sends a Jaguar and a photographer to pick Gilles up at this parent’s were he still lives. They’re taken to RSO’s headquarters, located near the Théâtre des Champs Élysées, and get off the car right as Jacques Brel comes out of the theatre, where he’s rehearsing his show L’Homme de la Mancha. Jacques Brel is familiar with the photographer and editor but doesn’t know Gilles yet, to whom he is introduced. Upon hearing Gilles is signing his first recording contract Jacques Brel utters a “Good luck” he’ll never forget.

Gilles leaves the choice of the A-side to the producers and Filles 2000 becomes the single’s B-side. Gilles promotes Amour 2000 on television, during a show hosted by Michel Drucker, who’ll invite him again repeatedly through the 70s. The record receives critical acclaim but the sales don’t follow. In 1974, at the Ferber studios, an LP is recorded with the musicians of the singer Christophe. The record, produced by St Preux for Heloïse Music, benefits from a rather important production: the crew enjoys over a month in the studio, not always even working full-days, preferring to round them off in the closest bar. Gilles is given full artistic freedom: Saint Preux, who lives with leopards, spends his afternoons at the cinema rather than behind the mixer. The period is one of hedonism, and Gilles adopts a psychedelic lifestyle. Some of the album’s tracks evoke the spirit of the first single: Les martiens and La fleur magique (of which a short version exists, intended for a single that never came out, probably lost in Heloïse Music’s archive). Overall, the album is a nice assemblage in the flamboyant progressive style of the mid 70s. Many more singles come out until the mid 80s, of which Je suis un passant, a minor success. But the big hit never comes and Gilles Janeyrand gradually turns to theatre, cinema and television. His name appears in the credits of Clara et les chics types (Jacques Monnet, 1981), La vie et rien d’autre (Bertrand Tavernier, 1989), J’accuse (Roman Polanski, 2019) as well as of another dozen of movies and TV series.

Albert-Henri Rykaert aka Alain Ricar was born in 1922 in Charleroi, Belgium. His father sold monkeys and, one day, exchanged a marmoset for a small accordion found in Berlin’s rubbles. He offered the instrument to his son. The latter first disregarded it, though it was to resurface in his life decades later. Peddler, birthstone merchant, he tries to lead a “normal” life before embarking on an artistic career later on, at the end of the 50s. During his first stage appearance playing the part of a dark, handsome character, the crowd bursts out laughing; Ricar involuntarily discovers his comical potential, which he was to exploit throughout his career. Comedian, singer, songwriter, he performs in cabarets or for the theatre, in Paris and in Belgium, then on RTB (Belgian TV). He namely appears in Les Aventures du Capitaine Long, a musical soap opera of his creation in which he plays the role of a lonesome singing sailor whose Camembert cheese-filled ship sank near a deserted island… Following the rediscovery of his accordion while looking through the families’ attic, Alain Ricar creates a comical singing act, which he presents at memorable concerts (for the opening act of Serge Gainsbourg in 1964, then of Johnny Hallyday in 1966). Through the 60s, he records five singles, of which I like sex is the only incursion into pop music. Alain Ricar who once wrote: “I have no age and I don’t miss it much”, dies in 1998 at the age of 92.

A cigar in his right hand, a gun in the left, binoculars around his neck complete with a predatory smile, Paul Dupret captivates us with the debonair B-side of the one and only single he released for the label Vogue in 1970.

Richard Hertel was born in Paris in 1947. At age 7 he’s the Petits Chanteurs à la Croix de Bois choir’s solo singer; he then goes on to study percussions at the Conservatoire de Paris. In 1966, he creates the Gottamou with Nino Ferrer and Bernard Estardy; they record two EPs at the CBE studio for the label Riviera. Meanwhile he plays for various French-variété stars: Nicoletta, Hugues Aufray, Claude François, Nino Ferrer. Towards the end of the 60s, Richard Hertel (nicknamed Totoche in the musical world) releases a first single as a singer on the label Liberty, Patatras Hola, on which he also plays the drums and the organ. Perfect groove, amused lyrics, and atonal gimmick: the title track is a success but the record doesn’t sell much and quickly sinks into oblivion. He releases a second single for Liberty, the score for the film Chitty chitty bang bang by Richard Hertel and his orchestra. The record though is no more than a dull commission. Richard Hertel then becomes Patcho and releases two funk-infused singles on Atlantic in 1971 and 1972, produced by the avant-garde composer Igor Wakhévitch. Close to the drummer Kenny Clark, he discovers the universe of Jazz which he integrates at the beginning of the 70s, playing the drums with the likes of Bill Coleman, Joe Newman, Eddie Lockjaw Davis, Guy Lafitte and many others. In 1974, he settles down in the Gers (Southwestern France) and develops a passion for traditional Occitan music. He starts teaching percussions at the Conservatoire Occitan de Toulouse, and plays alongside the singers Martina e Rosina De Peira. Richard Hertel passed away in 2016.

In 1968, Michel Didier lands on the French scene with five simultaneous single releases on the label Fontana. From a mainly folk corpus emerges this flashy cover of Rainbow Chaser by the English band Nirvana, here renamed Comme un arc-en-ciel, orchestrated and soaked in trippy effects by Jean-Claude Vannier.

Vedette internationale, or the lament of an inmate frustrated not to be a star of show business, is the work of the mysterious Liberatore (nothing to do with the illustrator of graphic novel RanXerox). Probably of Belgian origin, the track was released on Vogue in 1969.

Alain Serco signs a frantic homage to his best friend Kiki, the B-side of his sole single, released on South Records at the beginning of the 70s.

Gérard Gray, fond of poetry, starts signing after discovering Charles Beaudelaire’s The Flowers of Evil (Les Fleurs du mal) through Léo Ferré. From the mid 60s he regularly sings in Parisian cabarets (l’Écluse, la Contrescarpe, Chez Georges, Villa d’Este, Chez Monique Morelli…) and shares the stage with a number of celebrities such as Alain Barrière, Pierre Perret, Antoine, Jacques Dutronc and Claude François. Le Poisson vert, recorded in 1970, was created with his friend Frédéric Rochel, who first composes the music in a “nostalgic, ironic and joyful” spirit. The duo then undertakes a sound research inspired by François de Roubaix, with whom Gérard Gray and Frédéric Rochel had become friends. Sensitive to rare or exotic instruments, they search for a “different” sound and put together demos tinkering with a Revox tape deck and a variety of objects: dictionaries replace drums, water-filled crystalware simulate an organ while a whole array of flutes, jaw harps, decoys and whistles is used to create an uncanny, surrealist soundscape. With the melody and the themes clearly defined, Gérard Gray writes the beautiful lyrics inspired by underwater visions and submarine mysteries. The song is recorded in Lausanne for the Swiss label Évasions, with the label’s usual musicians. Even though they use traditional instruments, the original demo’s atmosphere is brought forward by the sound recording of Stephan Sulke (aka Steff, German singer and producer of numerous unknown sixties gems). ! Manque l’annonce de la démo dans les bonus de la version téléchargeable !

Le grand méchant loup by François Faray revisits Charles Perrault’s tale at the time of the sexual liberation, yielding an ambitious glam-rock track. Oddly enough, the singer goes off the radar right after releasing this one and only single in 1973 on the label Pathé.

Patrice Lamy, born Jacques Desachy, is a romantic singer from Lausanne. He self releases a single in 1969 under the alias Patrice Leman, then four more through the 70s. Laisse-moi médire que je t’aime is the B-side of his third record, entirely written, composed, arranged and directed in 1974 by Pascal Dufar (or Duffard, depending on the sources) to whom we owe a handful of variété songs but mostly the 1976 experimental album Dieu est fou. The musicians playing on Laisse-moi médire all hail from successful pop formations: Magma’s Francis Moze on the bass, Zao’s Mauricia Platon on backing vocals, Paul Stanissinopoulos and Demis Visvikis from the Greek band Avis on the drums and keyboards. Catherine Lara plays the electric violin while the cosmic-style cover is the work of Armande Altaï. After a short, uneven career, Patrice Lamy dies of sunstroke at age 35 in 1984.

The Tunisian crooner K.R. Nagati becomes well known at the end of the 60s with a cover of the Franco-Arab track Yasmina, originally by the Algerian albino signer Blond Blond. His repertoire goes from Arabic adaptations of Western hits (Strangers in the night, Doctor Jivago, Guantanamera…) to traditional and religious songs. Sidi Bou, the lyrics of which are sung in French, English, German, Arabic and Italian, pays tribute to a summer romance and the town of Sidi Bou Saïd, perched on the cliffs overlooking Carthage and Gulf of Tunis. De l’Orient à l’Orion, Yasmina’s beautiful B-side, can be found on the Born Bad compilation Mobilisation Générale.

Les Missiles are a group of four buddies from the city of Oran (Algeria). Together they first play instrumental pieces inspired by The Shadows, as Jupiter, before scattering all over France after Algeria’s independence. Micky Segura, drummer and later solo singer, ends up in Port-Vendres, close to the Spanish border. Well intent on reuniting the band, he leaves on a moped to find Robert Suire (the bass player) who had settled in Aubagne (South). From there they head to Jura (East), home to Bernard Algarra (rhythm guitar). With the last member impossible to locate, the trio makes its way to seek help from the mummified relics of Saint Claude, in the town of the same name. The very next morning they receive a postcard from their friend Manu Gonzalez (solo guitar), who proposes they should meet in Saint-Raphaël, were an apartment is waiting for them, or so he says. Upon their arrival, the three companions realise the apartment is in fact inhabited. They spend many weeks on the street, and then decide to get closer to the heart of French show business, Paris, and settle in Aulnay-sous-Bois (North-East suburbs). An audition takes them to Boulogne-Billancourt, were they perform their instrumental repertoire, before adding they can sing, too. The artistic director keenly asks for a demonstration, following which they sign a contract with the label Ducretet-Thomson. The name Jupiter is changed to Les Missiles, in reference to one of the directors’ car model. In 1964 they become famous with Sacré Dollar (a cover of the Kingston Trio’s Green black dollar) but also Maryline, a great success in Belgium and Switzerland. Three years of fame and concerts ensue, along with the release of two albums and over a dozen of singles. For six months the band tours with Claude François and even replace the Fléchettes on the backing vocals for the idol’s concert. Two members of the Missiles get married in 1966, and the band dissolves. Micky Segura sings as second voice and backing vocalist for Claude François, to whom he remains loyal until his death. He also sings along the likes of Nicoletta, Charles Aznavour, Gilbert Bécaud and Gérard Lenormand, as backing vocalist. La (nouvelle) guerre de cent ans, anti-beatnik jerk, comes from the band’s very last EP, which differs from the previous releases in that it features no covers and shows greater artistic freedom. The band’s sound veers towards garage, or even pre-psychedelic music, with the dissenting Publicité, filled with sound effects.

'Girls Session!' - Aptly named 'Mambo, Cha-Cha-Cha & Calypso', this swinging program comprises several sessions, for the musical productions of the '50s and '60s was phenomenally rich. This is a 100% female tracklist to emancipate your hips and feminize your soul! Groove to established artist (Lavern baker, Big Maybelle, Georgia Gibbs, Kay Starr), Hollywood actresses (Miss X, Francis Faye, Joséphine Premice, Dolores Gray) and shooting stars (Patty Brandon, Anna Valentino, Ruby Dandridge). Exploring a variety of registers (jazzy, sensual, roots, fast and furious), these dames and damsels will delight you with their tropical rhythms. Anything but square or out-of-date, these fairer-sex tunes are sure to surprise you with their fabulous finesse and amazing modernity.

Vinyl with a couple of light scuffs, closer to NM

Clear vinyl

Record Store Day 2020 Release.

Famous for their freaked out ride down “Tobbaco Road” (included on the now legendary “A Fistful Of Fuzz” comp), Peabody Co. were a mysterious US band who left behind a set of 10” acetates, collected here for the first time. Late 60s acid-punk / garage-psych, featuring seven self-penned songs plus three terrific cover versions of “I Can’t Explain” (The Who), “Let’s Live For Today” (Rokes / Grass Roots) and the aforementioned “Tobbaco Road” (based on the Blues Magoos cover but including an extended crazed theremin/drum freak out!).
NYC psych collector Mike Ascherman recalls how he came to acquire the acetates:
"Pyramid Records was a classic small used record store that opened in 1982 or 1983 and was open for about ten years. It was a gold mine for psych and private press LPs in a time when there was virtually no competition in the City for those. On the day it opened, psych collector/dealer Paul Major walked in and found a copy of Gandalf the Grey. That was but the tip of the iceberg."
"Not long after, I made my first trip there one day after work, and it immediately became my favorite store. Over the years, I became friends with both owners. As a result, I was often given the opportunity to see the new psych arrivals before they were placed in the bins in addition to my usual digging through the store. This led to me being able to buy the first known copies of such gems as Daybreak on RPC (offered to me) and the first BLO LP (2 copies, one the same day as I found my only copy ever of Spirits & Worm - all for $15 each)."
"One day in 1990, I came into the store and was shown a set of 10" acetates that one of the owners had just unearthed in one of his well-guarded secret digging spots. He asked me if I'd ever heard of a band called Peabody Co., to which I replied I had not. He then played their cover of Tobacco Road and I was instantly hooked. He then offered the set to me at a moderately hefty but very reasonable price. It took me about two seconds to hand him the cash. The rest is, as they say, history, leading up to now, when they are finally being given the LP release they should have had over 50 years ago. Many thanks to Alex and Out-sider for making a dream become reality."

Picture disc. Cover with beginning of seam split on top spine and slightly stuffed corner. Copy n° 75 / 500

White vinyl

Photoluminescent vinyl

This is Gianni and Erika third album, after two works released by Voodoo Rhythm Records and produced by Jim Diamond, musician and producer for two iconic bands from Detroit, The Dirtbombs and The White Stripes. The record features former Screaming Trees vocalist - and acclaimed solo artist - Mark Lanegan and Chilean multi-instrumentalist Alain Johannes (Queens Of The Stone Age, Spinnerette, Ten Commandos, The Desert Sessions). “The title track of the new album was born during our last day of re-cordings” - says Gianni Blacula and Switchblade Erika.. “Alain is an enthusiast of strings instruments, and on the last day he arrived at the studio with a Neapolitan mandola he bought in the historical centre of Naples. We were astonished about how a traditional instrument as the mandola can get a rock sound, so we followed up went to the recording room. Alain at the mandola and vocals and us on guitar and drums. There was suddenly the right atmosphere that to Alain reminded “ the Desert Sessions” , so much that the song came out at the first take. Then Alain wrote the lyrics and the last line “Beast Must Regret Nothing” affected us , we have chosen it as the title of the album because it totally reflects his mood, and it does taste of Devils!” Gianni and Erika got in touch with Alain for the first time in September 2019, during a Spanish tour, while they were looking for inspirations for their new record. In the same moment Alain was on a European tour which ended in Italy. The collaboration was born in a spontaneous way, for a mutual esteem between the Devils and the famous producer and musician. The album have been recorded in Naples, Italy, with a two weeks session in a historic studio equipped with a large tracking room with truly unique acoustics. Alain actively collaborated in the production of the album taking part to creative process and helping them with the arrangements. The Devils formed in Naples in 2015 and their first two albums “Sin,You Sinners!” in 2016 and “Iron Butt” in 2017 were produced by Jim Diamond (The White Stripes, The Sonics and the Dirtbombs), pub-lished by Voodoo Rhythm Records. From 2016 the duo constantly tour, and has played everywhere doing over 400 shows between Europe and Canada. The Devils are the sound of desolation and chaos; their style is primitive, filled with sex, sin and rock’n’roll. They are wild, loud and sexy. The name of the band was chosen has tribute to the movie “The Devils” by Ken Russell and they have been on tour with Jon Spencer, The Sonics, Boss Hog and The Monsters, and has open act around Europe for Mudhoney, Nashville Pussy, Guitar Wolf, Kid Congo and many more.

Includes four bonus tracks.

Impatience peaked, the music-loving hordes could no longer wait. While the 'Beach' 'n' 'Strip' compilations had been followed up, the inaugural 'Shake-O-Rama' remained sadly single. But today the sun shines again, with these 16 songs of pure unadulterated pleasure for dancefloor boogie bugs and groove-a-gogo grandees!

Cover close to NM

Still in shrink, but opened

Keith's Fifth Solo Album - And His First Self-Produced Effort - 'The Rhythm Of The City' Finds Him Expanding His Approach On A Horn-Heavy 10-Song Collection That's In Thrall To The Classic Sounds Of Bluff City Soul And Rock And Roll. "I Was At My Home In Memphis One Evening And Heard A Car Pass By Blasting Al Green's 'Love And Happiness,' Which Was Recorded Just A Couple Miles Away," Says Singer-Songwriter John Paul Keith. "I Was Struck By How Howard Grimes' Drumming Just Seems To Embody Something About The Feel And The Pace Of Life For Me Here. I Thought To Myself, 'Howard Grimes Is The Rhythm Of The City.' My Next Thought Was, 'That Sounds Like A Title Track.'" Conjuring Up His Own Unique Musical Mélange -A Sweet Spot Where The Sound Of Sun Blues, Stax Soul, And Hi R&B All Meet - It's A Record Steeped In The Geography And Culture Of Memphis, Which Keith Has Called Home For The Last 15 Years. "The Vibe Came About Organically From Playing Beale Street And Graceland And Working With Horn Sections More Frequently The Last Few Years," Says Keith. The Rhythm Of The City Was Recorded To Tape At Electraphonic Studios, And Engineered By Keith's Frequent Collaborator, Scott Bomar (Bandleader Of The Bo-Keys, Don Bryant Producer, And Film Composer For Dolemite Is My Name).

Violet Vinyl close to NM. Cover with small tear on the opening

Vinyl is Close to VG+.

Red translucent vinyl. Copy close to NM. Still in shrink, but opened, with hype sticker

Super Killer Debut Album Re-Issue From Switzerland's Mostnotorious Psychedelic Punk Band, Strictly Home Recorded Onsmokey Sundays And Hangover Mondays Between 1995 And 1996!12" Lp Heavy Paper Jacket + Free Download Cardin Their T...

An exceptional live concert for this band, formed at the beginning of the ’60s in San Francisco, where are interpreted the great songs such as “Shake Some Action” and “Feel A Whole Lot Better” on this evening of August 17, 1979 at Whiskey A Go-Go.

Under the leadership of talented Cyril Jordan, this quintet of musicians will influence many groups, embodying a spirit of rebellion and freedom.

A band that will always be a bit out of step with the world of rock and, that will develop the myth of cult-popular musicians, influential but more commercially discreet: the good ingredients of cult/legendary band.

Saigon Supersound Continues… to present more interesting tunes of a musical era that has long been obscured. With the well-received Volume 1, we are very delighted to dig deeper and share with you the beautiful music of a short but significant period in Vietnam‘s history.
Much like the country itself, the music of Vietnam has endured many twists. As the result of the Geneva Accords in 1954, Vietnam was divided into two. From the North, the Nationalist forces fought to reunite Vietnam as a Communist State, while the American troops backed the government of the South. This caused a mass migration of Northerners to the South, which includes many Tân Nhạc (Modern Music) singers and songwriters. Often characterized by its emotive, poetic and prolific personality, Tân Nhạc continued to freely develop in the South and progressively vacating from the influences of its main inspiration, French music. In the North, the Resistance music, or the so-called Nhạc Đỏ (Red Music), which promoted socialism, patriotism and anti-capitalism was the only genre allowed on national radio. Tân Nhạc was something new to the South Vietnamese repertoire. Between 1954–1960, the theme of hometown (quê hương) was a main inspiration for many songwriters such as Hoàng Thi Thơ, Lam Phương and Nguyễn Hữu Thiết. The 9th title of the compilation, “Thôn Trăng Mở Hội Trăng Tròn” showcases a variety of images that were often described in this genre: the harvest moon, playful children, old mother…
Every recording made in this era is then an organic combination of human experiences, communications and uniqueness. In 1965, the first American troop landed in Vietnam, bringing with them the musical influences of the Beatles, Bob Dylan, Jimi Hendrix, Elvis Presley… The Vietnamese people quickly integrated it into the repertoire with hope to further diversify the music of Vietnam. Constantly changing and learning from different cultures, the modern music of Vietnam cuts a window into the soul of a Vietnamese person and the country’s history as a whole. With that, we hope that Saigon Supersound Volume 2 would take you on a trip back to the unique atmosphere of Saigon through the many different palettes of music that this beautiful place offers.

With bonus CD

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