Rock 'n' Roll 415 Items

You may recognise this fine fellow as the bass player for such acts as Spoon, Lee Fields' Expressions, Reigning Sound and The Jay Vons. Or perhaps you've heard the man himself wailing away on several well-received 45's released on Wick Records and compiled on the digital EP 'Hey Lovers'.

With 'Do You Still Think of Me?', his debut album for Wick Records, Trokan takes the listener through the full spectrum of 60s influenced music: the moody teen-beat bop of 'Save a Place', the garage dwelling angst of 'Nowhere to Be Found', to the sweet soul sound of the title track. But throughout the records, it's the unique sound of Benny's raspy, vulnerable lead vocal that carries us across this truly stunning collection of modern pop. 'Do You Still Think of Me?' is a breath of fresh air from a well-seasoned veteran. Unquestionably worth the wait.

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.

Discodelic and Groovie Records present two incredible singles / amazing finds of musical archeology. Four recordings made in Panama in the 70s and lost in time, we finally managed to license these Latin Psych Funk gems through Tamayo Records in a deluxe limited edition. These four groups Conjunto Raza, The Meditators, The Scepters and Los Misticos, were groups that barely recorded a single, which were only used for radio stations and forgotten in warehouses, they represent the most underground and forgotten Panama!

You may recognise this fine fellow as the bass player for such acts as Spoon, Lee Fields' Expressions, Reigning Sound and The Jay Vons. Or perhaps you've heard the man himself wailing away on several well-received 45's released on Wick Records and compiled on the digital EP 'Hey Lovers'.

With 'Do You Still Think of Me?', his debut album for Wick Records, Trokan takes the listener through the full spectrum of 60s influenced music: the moody teen-beat bop of 'Save a Place', the garage dwelling angst of 'Nowhere to Be Found', to the sweet soul sound of the title track. But throughout the records, it's the unique sound of Benny's raspy, vulnerable lead vocal that carries us across this truly stunning collection of modern pop. 'Do You Still Think of Me?' is a breath of fresh air from a well-seasoned veteran. Unquestionably worth the wait.

THEODOR is a psychedelic sweet soul band formed by members with diverse musical backgrounds.
Whilst on a road trip to Italy Rob and Lui were listening to tapes of contemporary soul music. The idea was born to record an album channeling a moody and relaxed soundscape. „Right after our trip we called up our good friends Max and Greg, who were immediately on board. We wrote and recorded deep in the pandemic. Those weekend sessions captured this peaceful solitude“ The outcome was their self-titled debut album which will be released in February 2023 on the french label Broc Recordz. The rich sonic texture and unconventional arrangements of their very first single SHEPARD’S LULLABY gives a hint on what is to be expected on their forthcoming LP. THEODOR created a perfect soundtrack for a hot and humid summer day having a magic dash in your twelve o’clock tea. Playful melodic bass lines and the soulful acoustic drums build the playground for the warm and dreamy keys such as farfisa organs, fender rhodes and 80's synths. The lush instrumentals are spiced by the very different yet complementary voices of Max and Lui.

Limited Edition for Record Store Day 2022.

Limited edition for Record Store Day 2017!

14 tracks by Jimi Macon, Black Maffia, Blacklites and more, many reissued for the first time. Includes a 16-page booklet with extensive notes on an overlooked and important portion of Rock n’ Roll’s history & a download card to WAV files of the full album.

Nearly everyone in the world can rattle off the great African-American musical forms. Jazz, Blues, R&B, Soul, Hip-Hop, House or Gospel. One influential genre is always left off of the
list: a folk music known as rock n’ roll. Rock n’ Roll was a term originally coined to market the white-friendly version of a genre that already existed; prior to 1965, the line between
rock n’ roll and R&B was thin: Ike Turner recorded and released “Rocket ‘88’ ” in 1951 and, while its Chess Records release reached number one on the Billboard R&B chart, it is
regarded by many as the first Rock n’ Roll record.

The Great Divide between R&B and Rock n’ Roll came after the Beatles and the British Invasion decimated the Top 40 chart in 1964.

So somewhere in the mid to late-1960s, Rock n’ Roll became perceived as something for
the Caucasian kids. When Jimi Hendrix and Arthur Lee made the scene, they were said to be black musicians entering into a white world.

This anthology presents earnest questions as to why we know so little about these bands and the movement of which they were a part.

Discodelic and Groovie Records present two incredible singles / amazing finds of musical archeology. Four recordings made in Panama in the 70s and lost in time, we finally managed to license these Latin Psych Funk gems through Tamayo Records in a deluxe limited edition. These four groups Conjunto Raza, The Meditators, The Scepters and Los Misticos, were groups that barely recorded a single, which were only used for radio stations and forgotten in warehouses, they represent the most underground and forgotten Panama!

Dara Puspita (trans. "Flower Girls") was arguably the world's greatest all-female garage rock band. The reason you've probably never heard of them is that they came from Indonesia where they were extremely popular during the 1960s. Their career spanned from 1965 until 1973 including 3 years (1969-1971) living and touring in Europe.

The four albums recorded by the original members between 1966 and 1968 (the material represented on this LP) is one of the great chapters of 1960s popular music history never to be reissued in vinyl, let alone recognized beyond a few tuned-in souls and adventurous record collectors in the Western world. This is an amazing compilation for all garage rockers, fuelled with fuzz tunes and groovy rhythms.

This 2LP set contains the highlights of Elvis’ final two shows performed on the closing night of his Las Vegas engagement in early September 1973. For the first time ever, the material from these shows is presented in stereo. (DINNER SHOW)SIDE A 01 Also Sprach Zarathustra02 See See Rider 03 Elvis Talks04 I Got A Woman / Amen 05 Love Me 06 Steamroller Blues 07 You Gave Me A Mountain 08 Trouble(CLOSING SHOW)SIDE B 01 MEDLEY - Long Tall Sally / Whole Lotta Shakin' Goin' On / Mama Don't Dance / Flip, Flop And Fly / Hound Dog 02 Love Me Tender 03 Fever 04 What Now My Love 05 Suspicious Minds (Messed Up) 06 Bridge Over Troubled WaterSIDE C 01 Suspicious Minds 02 Band Introductions03 Welcoming Guests04 My Boy 05 I Can't Stop Loving You 06 An American Trilogy 07 A Big Hunk O' Love SIDE D 01 The First Time Ever I Saw Your Face 02 Elvis Talks About Mario03 Mystery Train/Tiger Man 04 How Great Thou Art 05 Help Me Make It Through The Night 06 Softly As I Leave You 07 Can't Help Falling In Love

By the late summer of 1963, Reprise Records — the independent record label founded by Frank Sinatra three years earlier — had run into a few financial difficulties, partly because the label hadn't produced any major chart hits, and was purchased by Warner Bros. Morris "Mo" Ostin, Reprise's vice-president and general manager, had brought in "whiz kid" producer Jimmy Bowen in 1963. Bowen's main job, at least in the beginning, was to produce hits for some of the younger Reprise acts, including a brand-new recording artist, arranger/producer Jack Nitzsche. Those Bowen-produced Reprise singles, released under Jack Nitzsche's own name between July 1963 and October 1965, were compiled together for the first time and released by Hanky Panky Records on “The Reprise Singles 1963-1965.” The focus of this new collection is the work of Jack Nitzsche as arranger and producer for those hopeful Reprise acts, from 1963 to 1969. The number of records supervised, one way or another, by Nitzsche in this time - not only for the Reprise and Warner Bros. labels, but for myriad others -- is simply amazing. Many of them were assembled for the first time by Ken Barnes for a legendary interview with Nitzsche in the Winter ‘76/77 issue of Who Put the Bomp! magazine, entitled “The Arranger As Superman.” The aim of the compilers for this specific collection was to include some of the harder-to-find titles from Nitzsche's Warner/Reprise legacy, along with a few favorites and must-haves, with track-by-track annotation by Barnes himself. Most of the selections feature the talents of the Wrecking Crew regulars as backing musicians, as Nitzsche applies his magic to songs written by David Gates, Ellie Greenwich, Carole King and Gerry Goffin, P.F. Sloan and Steve Barri, Sharon Sheeley and Jackie DeShannon, Sonny Bono, Hal David and Burt Bacharach, Randy Newman, Harry Nilsson and the Everly Brothers themselves, among others! The amount of talent in the grooves is staggering, encompassing the decade’s forever-changing musical landscape.

Eighteen tracks, from harder-to-find titles to must-haves, some of them unavailable since their original release! Four-page insert includes notes and track-by-track annotation by Ken Barnes, with rare photographs and ephemera.

XYZ = the transatlantic (USA/France) duo made of Ian Svenonius (singer extraordinaire with Escape-ism, Chain & the Gang and the legendary Make-Up) on vocals + Memphis Electronic (Dum Dum Boys, NON!) on instruments. Fuzz guitars! Drum machines! Analog synths! Groovy Glam! Sexy soul! Dancefloor rockers! FIVE hit singles on one 12", a real "5 Stars EP

Slovenly’s mother tongue recordings imprint is psyched beyond belief to present to the freaks and creeps of planet Earth, the 8th LP from Switzerland's THE MONSTERS—Du Hesch Cläss Ig Bi Träsch (“You’re Class I’m Trash”)! Scandinavian Bestial Death Metal? Puh-leeze. Japanese Harsh Noise? Gimme A Fuckin Break! This is the true evil that rock’n’rollers do, and you’ll be trembling in your creepers before your asses even get close to bumping to the radical raunch contained on this truly amazing long-player. Even long time rabid fans will be stunned by the sheer magnitude of nastiness and horror here, and if you’re a newcomer, we wish you the best of luck! Yeah, that’s a harpsichord and a choir on the intro. Oops, that’s the outro. We listen to shit backwards and you should too. But so fucking what? Religion rightly scares the piss out of us, and The Monsters make no bones about their just demands of servitude. But you know what the craziest part of this disaster is? It’s not simply that it transcends any trite categories like “GARAGE,” or “PSYCHOBILLY,” or even just (JUST!) “ROCK’n’ROLL,” it’s your perception of maestro BEATMAN's tried and true and fried as fuck vocal throttle that’s damaged even further by him singing in Swiss-German for the first time on any of his vast catalog o’ cool, and it’s for the entirety of this monster swingin’ album! You want the English version? Well take your ass to his legendary Voodoo Rhythm label (Records To Ruin Any Party!) and imbibe as you are wont to do, but we’re gambling that this language, which has no formal written application, is going to screw your brains like his charmingly broken English has never done before. No offense, we love everything the Beatman touches, but this bold and genius move has got our lobes knocked up like a barefoot mormon sister-wife. Mondo Mongo, mofos! Familiar tracks from killer records past, like “I’m a Stranger To Me” reappear as “Frömd vo Mir” (hell, that one is almost a cognate) but everything here promises a hellish trip into the void, and we guarantee your eternal delight, but make no promises for your mental welfare.

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

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

Classic U.K. Psychobilly from 1986!

2023 repress
"Indonesian Hard, Psychedelic, Progressive Rock and Funk: 1970-1978
The untold story of indonesia’s various underground 70s musical scenes; extensive liner notes,
photographs and ephemera; fully restored and remastered audio; officially licensed.
The progressive music scenes in 1970s Indonesia were largely underground as a result of strict censorship imposed by the dictator Suharto.
Those who performed music marked by relentless fuzz, over the top, politically charged lyrics, strong rhythms and a cranky low-fidelity were truly
rebellious. And the resulting output has been largely – outside of the confines of this island nation – unheard or ignored. Indonesia, based in large
part on the restrictions imposed by Suharto, is better known for the coffee it exports than the music it creates. This situation hasn’t been remedied
by the rough-hewn Indonesian bootlegs that dotted the psychedelic landscape over the past five years.
Thanks now to the tireless – and expensive – research of Canadian hip hop producer and Southeast Asian music specialist Jason “Moss” Connoy
- and the trust that Indonesian rock legend Benny Soebardja placed in Now-Again Records as he traversed his homeland’s islands securing the
rights necessary for us to offer you this anthology - we feel like we can, in good spirits and conscience, shine the light on some of the most
impressive organizations to offer their take on the psychedelic and progressive rock and funk sounds during the early shocking, shaking days of
Suharto’s regime."

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.

“‘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)

On this Rockabilly LP you will find twenty of the greatest Rockabilly artists and songs from the late 1950s. To name a few: ''Blue Suede Shoes'' performed by Carl Perkins is considered one of the first rockabilly records, incorporating elements of blues, country and pop music of the time. Janis Martin was only fifteen years old when she recorded ''Will You, Willyum''. This album also features Elvis Presley with his first commercial hit, ''That's All Right,'' and Bobby Day's biggest hit should not be –and is not—missing from this collection. To close, Jerry Lee Lewis with ''Great Balls Of Fire',' a single that sold more than a million times in the week it was originally released. Enjoy the Rockabilly Heroes on ''Cool Blue” vinyl!!

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.

The legendary Norwegian rockers Backstreet Girls, was founded in 1984 (!) and have delivered hard rocking, no-compromise boogie rock inspired by Ac/dc, Ramones, Rose Tattoo, Hanoi Rocks and Status Quo to their faithful fans ever since. "Let's Have It" is the band's fifth studio album, originally released on Warner Music in 1992, and was the first and only studio album featuring the swedish singer Olle Hillborg. Now available on vinyl for the first time.